A Review of Fennec Fox’s Production of Company

Do you ever find yourself the only single one in your friendship group? Well, do not fret, for it could be far worse; you could be the only unmarried one! This is the situation that Bobby finds himself in for the entirety of George Furth’s Company. Currently showing at the Oxford Playhouse, Company is a montage of moments which depict Bobby grappling with his unattached situation within the context of his married and, clearly not contended, friends. Opening with Bobby’s birthday celebrations, the audience is greeted to the swiftly ticking clock of Bobby’s thirties and all that society dictates he still has left to achieve.

Led by Aaron Gelkoff’s Bobby, this ensemble cast are each given an opportunity to present a different view of what life could look like. While it could be easy for each couple to be completely alike, costume designer Hannah Walton has ensured that each character, each couple, has a very distinct and separate style. With a large ensemble cast, it can be hard for each actor to have their moment in the spotlight. However, there are a number of standout performances, including Rosie Sutton as Amy during ‘Getting Married Today’. This whole scene is handled excellently, becoming one of the most memorable moments of the show. Graciela Blandon’s Sarah is equally memorable, the intensity of the character a joy to watch. I am also going to quickly shoutout the character of April, played by Olivia Russell, who brought a distinctly uninteresting character vividly and entertainingly to life.

It is interesting how theatre design always comes full circle and suddenly, unintentionally, the stage is filled with ghosts. Watching this musical, I found myself remembering An American in Paris, which graced the playhouse stage a number of years ago now. Few but the old guard in OUDS remember this production, yet there is certainly something similar about the choreography and heavy emphasis on music and dance within the production. I am a firm believer in choreography having a purpose, helping to push the story forward or add illumination to what is being communicated. However, it is a more glamorous, or showy, choreography style that Alex Jefferies leans into for this production. Personally, I am not the biggest fan, but perhaps this is just personal preference. For me, the best piece of choreography is in fact one of the less elaborate sequences, being a subway train during ‘Another Hundred People’.

What is probably most striking about this performance is the set, designed by Holly Rust. Director Joshua Robey states in the programme that the set design was inspired by ideas of ‘childhood delight’ and the need to leave this youthful world behind. Certainly it is an interesting choice, with a soft play area dominating the stage, and the clearly lit ‘exit’ sign looming in the background. But, I am unsure whether the design quite achieves what the team set out to. This being said, the slide is put to good use throughout!

Certainly life decisions are a large part of leaving university and this sense of getting left behind pervades the musical, making it feel relevant for both the team involved and many audience members. While the first half drags inarguably, the second feels more cohesive, picking up in pace somewhat. Of course, pacing is no doubt hard when faced with a musical that the director himself describes as ‘kaleidoscopic’. It is always wonderful to see a performance which makes use of the extensive musical talent to be found at Oxford and the pit band bring an excellent strength, led by Tom Constantinou. Although, perhaps a little too much strength at times, rendering the singers unheard. Overall, this is a solid performance, which plays with some interesting ideas.

Image courtesy of Oxford Playhouse