In comes Company. (Night After Night)

photo by Paul Kolnik (Playbill.com)

Steve Smith writes:

Doyle’s concept of actors-as-players had a different impact here than in his Sweeney Todd. There, the effect heightened the overall macabre surreality. Here, the presence of everyone onstage, or nearby and visible in the wings, effectively served to impart a sense of claustrophobia, which underscored the idea that Robert, the central character, can scarcely escape the pull of his various married friends as they offer advice on his status as an eligible single. That said, Company requires a larger cast than Sweeney Todd, and much of the blocking in this show reminded me of marching band drills — sometimes deliberately, but mostly not, I suspect.

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