Stephen Sondheim's Gender-Swapped Company Comes to Denver

"I think this revival of Company conveys modern relationships in their full complexity," says Kathryn Allison, who plays Sarah on the first national tour of the Stephen Sondheim musical. "Not only does our casting reflect the vibrant diversity of American society in terms of race, gender and sexuality, but it lightheartedly pokes fun at the imperfections of marriage and relationships."

Set to run from Wednesday, May 22, to June 2 at the Buell Theatre in the Denver Performing Arts Complex, the revival made its Broadway debut in 2021 after initially playing on London's West End in 2018, and it is anything but typical.

The original Company, which uses music and lyrics by Sondheim and a book by George Furth, made its Broadway debut in 1970. When it premiered, it was praised for its episodic structure and focus on the complexities of adult relationships rather than a linear plot. Its innovative approach earned the musical six Tony Awards during its original run, and the 2021 revival garnered five more, including Best Revival of a Musical.
Bobby, the central character, is a bachelor whose interactions with married friends inspire him to consider the nature of love, commitment and companionship. But under the visionary direction of four-time Tony Award winner Marianne Elliott, this Company revival reimagines Bobby as Bobbie, a woman dealing with the pressures and expectations of being single at 35.

"It is an honor to inhabit the role," says Britney Coleman, who plays Bobbie and turned 35 while on tour. "It’s a tribute to George Furth that this show lends itself so well to swapping the genders of multiple characters. It makes for a great study on the need for human connection. As far as Bobbie now being played as a female, it highlights the fact that there’s a biological ticking clock factored into a 35th birthday, implying that perhaps she should start thinking about kids and settling down."
The plot of Company revolves around Bobbie’s 35th birthday party, where her friends incessantly question why she isn't married and why she hasn’t settled down. These questions send Bobbie on a journey of self-discovery, exploring the nuances of being alive in the 21st century. The revival's Alice in Wonderland-inspired aesthetic, described by Coleman as "contemporary, challenging, and bold," adds a whimsical yet poignant layer to her quest for understanding.

Several cast members express their admiration for the late Sondheim, who died in 2021 and is remembered as one of the most influential composers and lyricists in musical theater history. His compositions for Company, such as "Getting Married Today" and "The Ladies Who Lunch," are celebrated for their lyrical complexity and emotional depth. Coleman finds resonance and challenge in Sondheim's songs for Bobbie, particularly "Being Alive," "Marry Me a Little," and "Someone Is Waiting," which delve into personal desires versus societal expectations without offering simple solutions.

"Sondheim is the master of capturing the whole human experience within one song, and Bobbie gets three different songs to explore her humanity," Coleman says. "All three ask questions and explore both sides of the coin in terms of what’s being asked of her in each scene. I also love that none of these songs comes to a concrete resolution, so it’s up to myself and the audience to come to our own conclusions by the end."
Allison, who plays Sarah, the vivacious karate enthusiast, believes the musical's comedic elements are important because they reveal the characters' deeper truths and vulnerabilities. "Humor is the driving force of Company," she explains. "It helps audiences not only see themselves in each of these characters, but also gives them the opportunity to take a closer look at their relationships and the company they keep in their real lives."

The gender-swapped narrative extends to other characters, such as Jamie, who was previously Amy, adding another layer of modern social commentary. Matt Rodin, who plays Jamie, spoke about how this change affects the character dynamics.

"Amy was such a hilariously written character in the original production — Sondheim and Furth created, for all intents and purposes, a beautiful bridezilla," he says. "By flipping her to Jamie, Marianne Elliott and [producer] Chris Harper gave him even more depth and nuance. His hesitation and fear of commitment is different than Bobbie’s — or Amy’s — in that at least some of it is rooted in his queerness and inability to accept himself wholly. Now the obstacle for Jamie is not only his fiancé's love and affection, but also some kind of internal demon that is finally breaking through the surface."
This modern revival of Company continues to spark important conversations about love, identity and human connection. Though the production poses more questions than answers, Rodin argues that's what gives it enduring appeal.

"With a piece as rich as this, the conversations can be endless, which just speaks to how brilliant Sondheim and Furth's original work was," Rodin says. "Many of us in the cast often liken it to Shakespeare, in that no matter which way you twist or turn it, the themes feel relevant and applicable to our own lives today. We are in a world that feels more divided than ever, and this show, I think blatantly, tells us that in order to grow and learn, even as individuals, we need company."

Company, Wednesday, May 22, through Sunday, June 2, Buell Theatre, Denver Performing Arts Complex, 1400 Curtis Street. Get tickets at denvercenter.org.