But even better, the show is a delight. Originally assembled in 1980 by aspiring chorus-member Craig Lucas (who also played the male lead) and director Norman Rene (both later to collaborate on a series of plays including "Reckless" and "Prelude to a Kiss", plus the film "Longtime Companion") from Stephen Sondheim songs that hadn't made it into a musical yet (songs written for a TV plays, cut from their respective shows or from shows that didn't get produced- - including two that have made it back to their respective shows in revival (in particular the title song, which has been the act one closer for "Company" since the revivals in the 1990s). A small scale off-broadway revue assembled, without dialogue, into a story of two lonely people yearning for connection but never quite getting one, it's been a popular candidate for revival ever since due to its small scale, the ever-appealing desire of actors to sing a lot of Sondheim, and its mix of the old and new. Being written in 1980 meant that it largely focuses on the first three Sondheim-Prince shows (Company, Follies, and A Little Night Music) with their emphasis on the challenges of interpersonal relationships (Pacific Overtures was presumably overlooked due to Lucas writing for himself and not being Asian, and Sweeney was skipped because the only cut songs from that show involve flagellation and tooth pulling).
It's cast to perfection. Hannah Lance and Alexander Unikowski blend together beautifully when harmonising together from the opening number onwards. And both have powerhouse solos too - Lance's first solo, "Can that Boy Foxtrot" is an official "watch out for this actress" announcement, hilarious throughout when performing with a few fruits and vegetables, and her later "Marry Me A Little" is a straight-down-successful audition for playing the female Bobbie when that version of "Company" has the rights available (noting that, yes, there are at least half-a-dozen Canberra actresses in their thirties I want to see in that role already, but Hannah just made it seven). Alexander Unikowski's already been a multiple-threat in the pit as music-directror, playing six different instruments and as a composer, but he adds singer, actor, and even sorta-dancer to his bow, giving emotion and fun to his performance as the other frustrated single, yearning beautifully.
Director Jarrad West does assured work, directing briskly and efficiently, with innovative approaches bringing the show out of 1980 and right into 2023. I'm not entirely in love with the device of using mobile phone-texts to the audience as part of the show (I never want to be required to look away from the actors during a show, but it's a nice set of permanent easter-eggs in my pocket after the show), but I also accept that I'm 49 and a younger audience is probably able to multitask better than me.
Music director Elizabeth Alford has got the cast vocalising beautifully and plays piano accompaniment throughout, playing Sondheim's shifty rhythms with drive and purpose. Sound Designer Nathan Patrech gives a startlingly New York soundscape at the top of the show, Set designer Michael Sparks manages to create a cramped apartment that also has plenty of room for the performers to dance, sing and maneuver, Fiona Leach gives both cast members a fetching set of work-wear and pyjamas, and Craig Mueller's lighting picks out spots of focus to keep the show moving.
If you want to see great performers performing great songs in a great production, you should absolutely see this. It's a delight, it's a discovery, it's like musical chocolate mousse, rich, smooth, and oh so delicious.
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