It's hard being a third wheel, but being in a relationship is often more difficult. "Company," this season's third major production from the drama and dance department, combines acting, music and dance to explore the pros and cons of married life as well as humanity's innate desire for significant relationships.
Bobby (sophomore Sean Hefferon) is surrounded by couples. Still single at 35, his best friends have long since promised "'til death do us part" to at least one or two other people, and they are constantly pressuring him to do the same. Unfortunately, Bobby's prospects look grim. All three of his romantic interests are somehow unsuitable.
Bobby's first option is April (senior Rina Sobel), a ditzy flight attendant. She lacks a certain level of intrigue and generally runs out of things to talk about after roughly four sentences. Then there's Kathy (freshman Becky Baumwoll), a preppy woman from Cape Cod. Because Bobby never proposed, Kathy is returning home and marrying someone else. Bobby's final option is Marta (sophomore Natalie Buzzeo), a woman who moved to New York City because it's "the center of the world, and that's what [she] wanted to be." Marta seems to be so caught up in exploring new things and meeting new people that she doesn't have time for a serious relationship.
Throughout the show, Bobby seems to believe that the word "marriage" has value in and of itself. He doesn't really care who he weds, as long as he weds someone. A misguided quest for love ensues, and the audience is led to question the value of company, romantic or otherwise.
The majority of college students don't plan on walking down the aisle any time soon, but Director Barbara Grossman, an associate professor and chair of the drama and dance department, believes that a younger audience can still sympathize with older characters.
"Like many shows, it's problematic. It's hard to find a way to make it resonate," Grossman said. "'Company' is not necessarily about marriage, but finding meaningful relationships. It also addresses the question of marriage in that Massachusetts is the only state to have legalized same-sex marriage."
"Company" was written by Stephen Sondheim and George Furth in the '70s, but Grossman found ways to make the show pertinent to more modern times. Though she wasn't legally allowed to change the gender of any of the characters, sophomore Emily Rosen plays the role of David, alluding to a same-sex marriage. In one of her introductory essays, Grossman writes, "'Company' will encourage audiences to think about the nature of interpersonal relationships, as well as to consider what the definition, significance, and value of contemporary marriage should be."
The sequence of scenes in "Company" mirrors Bobby's confusion. The narrative is hard to follow, but intentionally so. In a challenge to traditional theatrical progression, beginning and end blur into a disturbing montage of seemingly disconnected scenes. The show's set design perfectly speaks to the emptiness of Robert's life and serves as a versatile backdrop throughout the play.
"We see the characters through the show's prism-like images. It's almost cubist in a way," Grossman said.
The show's one refrain is Bobby's birthday party. Rather than celebratory, the scene feels frantic, and the music compliments this sentiment. Grossman feels that the combination of music and dialogue in "Company" allows for the cast to more fully articulate their characters.
"In a musical, characters can really express themselves through song and dance in ways that they can't through words alone," Grossman said.
Music is a very important part of "Company." The cast is accompanied by an ensemble of musicians who communicate the overall effect of the show without overwhelming important lyrics. Laura Espy's (LA '06) choreography is clean and engaging, communicating the emotions of each song.
In the words of Grossman, "Company" allows its audience to "see how talented Tufts students are" and "look at how art can cast light on issues that we all live with."
