Calling all Company!

By Matthew Banks     3/11/10 6:00pm

After two smaller productions last semester - Freshman One-Acts and The Moustache - Wiess College Tabletop Theater kicks off its spring season with its production of Company. A concept musical different from the plot-driven musicals seen in recent years from Wiess, Company excels musically but falls short of its full potential due to technical inconsistencies. Written by George Furth and Stephen Sondheim, Company follows Robert, a single, 35-year-old New Yorker, and his married friends. Opening with Robert's surprise 35th birthday party and moving into a series of short vignettes, the production brings into focus both a man's fear of commitment and problems facing a series of odd and memorable couples.

The acting in the production is adequate overall, with a couple of cast members commanding a strong presence. Leading the musical, Jones College senior Alex Lambert delivers a heartfelt, funny and diverse performance as Robert. He moves effortlessly through a series of short scenes, which involve him smoking marijuana with one couple and receiving a sexual advance from Peter (Wiess College freshman David Morilla), impressing with vocal finesse throughout.

Smaller standout roles are highlighted in specific scenes. Baker College sophomore and vocal director Erin Dahlstrom delivers a show-stealing performance as Marta, a New York enthusiast with an eccentric personality. She rants about true sophistication and how to tell a New Yorker by their ass, a tirade sure to elicit laughs from the audience. Jones sophomore Hermione Gilpin delivers a powerful performance as the cynical and cold Joanne. The constant air of bitterness she cultivates through a combination of standoffish body language, scathing looks and rude remarks marks her an unlikeable character from the beginning.

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These individual performances are where this production excels. But considering that Company's cast list consists mostly of married couples, this isn't enough. The majority of the pairs, despite their adequate individual performances, lack interpersonal chemistry. Jones freshman Carter Spires and Martel College freshman Maggie Sulc amuse us as Harry and Sarah, a constantly bickering couple who demonstrate karate throws. Yet despite this comedic chemistry, the two characters lack any emotional connection when on stage together and come off as two bickering teenage siblings rather than as a dysfunctional adult couple.

However, these shortcomings in the acting do not bleed into the music and vocals. Wiess sophomore Robyn Moscowitz should be proud of the musical ensemble she has assembled. The orchestra skillfully plows its way through Sondheim's tricky composition, entertaining the audience with jazz and rock influences. The combination of the cast's vocal talents and ensemble results in a true musical powerhouse, showcased in the first act's standout "You Could Drive a Person Crazy," an Andrews Sisters-inspired number performed by Dahlstrom, Gillian Kruse (Brown '09) and Brown College senior Adriana Rusinek.

Like the acting, the show's technical aspects are erratic. While the orchestral ability is great, sound balance and mixing remain an issue throughout the production. The ensemble often drowns out the cast, especially in the faster group numbers, and the audience is left struggling to keep up with the story as the characters' voices fade in and out. Furthermore, little to no volume from the speakers, feedback and malfunctioning microphones detract from the overall quality of the musical.

The set, designed by Wiess sophomore and director TJ Burleson, is simple. Black curtains adorn the walls, and a rolling black table and black stage blocks are the only physical set pieces. The immense set size allows for greater movement in specific scenes while adding to Robert's feelings of isolation. Though the simplicity allows the audience to concentrate fully on dialogue and singing, the set eventually becomes tired as scenes slow down or as the orchestra drowns out the singing.

Quick color changes in lighting, however, highlight emotions in certain scenes and make the simple set more visually dynamic. Martel freshman Matt Johnson's light design demonstrates an impressive mastery of physical levels, with stage-floor lights illuminating characters from below and punctuating certain scenes, especially the opening number and balcony scenes. Problems naturally arise from the use of the Wiess Commons as a theatrical space, but the small amounts of light pollution are negligible.

Overall, Company represents another solid product of Wiess Tabletop. While not without its share of problems, entertaining performances, a strong orchestra and stellar vocals make the show worth the price of admission.

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