At Playhouse, actors are in good ‘Company’

By Milan Paurich

The Sondheim musical is rarely performed.

YOUNSTOWN — Some of the most legendary Broadway musicals are known only by reputation — and maybe their original cast albums.

Until recently, Stephen Sondheim’s 1970 masterpiece “Company” was among them. Despite sweeping the Tony Awards that year and running for 705 performances, “Company” has rarely been performed since its original New York engagement, possibly out of fear that the show’s time-specific setting would make it seem dated or even pass .

But director John Doyle’s critically acclaimed 2006 revival of “Company” sparked renewed interest in a musical that many theatergoers feared they might never see. (A DVD recording of Doyle’s Tony-winning production has been a best-seller on Amazon.com since its May release.)

Taking advantage of the show’s currently high profile, John Holt and the Youngstown Playhouse have stepped into the breach with their very own “Company.” It opens Friday night and runs through Oct. 4. During a recent interview, Holt explained his interest in directing one of Sondheim’s most acclaimed (if least seen) musicals.

Q. “Company” has always been something of a critic’s darling since its Broadway debut, but most theatergoers aren’t that familiar with the show. Could you tell us a little about the story line?

A. In a nutshell, “Company” is about a thirtysomething bon vivant named Bobby and his circle of married friends and girlfriends. The show revolves around Bobby’s indecisiveness about whether to get married or not. He learns a little something from everyone, but is ultimately left to make the decision on his own. It’s a wonderful musical comedy with catchy songs and themes still relevant today.

Q. In the 2006 “Company” revival, the director had the actors provide their own musical accompaniment. Are you doing anything like that at the Playhouse?

A. Nope. To be completely honest, I’m not a big fan of that sort of thing. The show instantly takes on a different look and feel from what I believe were Sondheim’s original intentions. Plus, the audience gets so distracted watching the actors play instruments that the story gets fuzzy and blurred in the process.

Q. Many directors seem intimidated by “Company”’s period setting: New York City at the dawn of the 1970s. Have you done anything to contemporize the show, or is it still very much a product of its era?

A. I really haven’t thought much about the time line. The beauty of the show is its ability to speak to any generation. We’re giving the set and costumes a modern look, as opposed to the original ’70s concept of the show. You could spend hundreds of hours trying to mimic the ’70s look and still not pull it off. If we get it, I’m cool with that. If we don’t, nothing will be lost.

Q. “Company” was among the first musicals in which songs commented on the characters rather than advanced the plot. Does it still feel innovative that way, or have audiences gotten increasingly sophisticated about nonlinear narratives over the last few decades?

A. While most theatergoers have grown accustomed to unconventional stage techniques, this show remains unique unto itself and still has the ability to surprise an audience. I think it’s a nice change of pace for everyone.

Q. Having recently directed “Titanic,” another concept musical composed of short vignettes rather than a traditional book, was tackling a show with a similar structure — albeit one on a more intimate scale — easier or harder? And what was it about “Company” that made you say, “I need to direct this show!”?

A. “Company” is a true actor’s piece. It’s all about the talent onstage and very little about the director. Some aspects may be more challenging, but that’s mostly a mind-set thing — going from a huge production to a more intimate setting. The cast will sell this show, not anything I do. I see myself as more of a manager than a director.

Q. Who’s in the show?

A. Bobby will be played by Matt White, who starred in “The Secret Garden” two years ago. We needed an actor who could handle Sondheim’s challenging vocals, and Matt is all that and more. I’m very excited about this cast. We have some seasoned performers and some very promising young talent as well. Connie Cassidy, Alan McCreary, Tommy O’Donnell, Stephanie Holt, Aaron Franek, Kristen Puccetti, Cherie Stebner, Susan Prosser, Denny Villa, Rachel Rossi, Courtney Auman and Stephanie Ottey round out Bobby’s circle of friends.

Q. Sondheim once described the characters in “Company” as “middle-class people with middle-class problems.” Do you think a contemporary audience will have difficulty relating to Bobby and his friends because of their ’70s sensibilities and values? Or is the show timeless and universal enough that anyone can relate?

A. You can put any time frame on “Company” and it wouldn’t lose its value or impact. I truly believe that our audience will be able to relate to many aspects of the show and its characters. Some things never change: sex, drugs, rock ’n’ roll, love and marriage.

Q. “Company” has always been perceived as more “adult” than the average — or at least non-Sondheim — musical. Does it still feel like a show written specifically for a grown-up audience?

A. It definitely has “grown-up” themes, but there’s nothing overtly sexual. While it’s not a show for my [school-age] daughters, I have no problem with them being around during rehearsals. It’s not a show for them just yet because they haven’t lived enough to relate to the story or characters.

Q. You directed “Sweeney Todd” two seasons back, “Company” now and “West Side Story” closes the Playhouse season in May. Is it a deliberate attempt to work your way through the entire Sondheim canon, or is it purely coincidental?

A. I suppose it’s deliberately coincidental [laughs]. After “West Side Story,” I’m done with Sondheim for awhile, though — at least as far as me personally taking the director’s chair. I love his stuff, period. It’s very challenging for everyone, and I adore Sondheim’s writing style.