The production feels designed primarily for existing Sondheim fans
Walking into the Oxford Playhouse for Stephen Sondheim’s Company, I was conscious that this was a musical I was coming to with fresh eyes. While Sondheim’s work has never fully clicked for me, I was open to being surprised. What I found instead was a production that was clearly ambitious and carefully put together, but one that often felt inaccessible, particularly for those unfamiliar with the show.
From early on, issues with sound made it difficult to fully engage with the narrative. While the orchestra, led by musical director Tom Constantinou, sounded polished and confident, they frequently overwhelmed the performers. Lyrics and dialogue were often lost beneath the music, which is a significant problem in a show so dependent on clarity and wordplay. A handful of microphone issues only added to this, making it harder to follow character relationships and emotional beats, especially for a first-time audience member.
Visually, the production leaned heavily into bold but abstract design choices. The set, styled like a soft play area complete with a slide used repeatedly throughout the show, was striking but confusing. The symbolism behind this choice never fully revealed itself, and rather than enhancing the themes of adulthood, commitment, and emotional stagnation, it often distracted from them. Lighting design had its moments, but was inconsistent overall; at times performers were left in shadow as spotlights shifted awkwardly towards Bobby, creating moments that felt unpolished rather than intentional.
Aaron Gelkoff’s Bobby was solidly performed, with a strong vocal presence, but the character remained emotionally distant. While competent, the performance lacked the depth needed to anchor the show, making it difficult to care about Bobby’s journey or the relationships that surround him. This distance was compounded by a dream-like sequence introduced partway through the production, which, for those unfamiliar with Company, felt confusing and unnecessary. Rather than offering insight, it muddied the narrative and slowed the momentum.
Musically, there were moments where the production found its footing. ‘Getting Married Today’ stood out as a highlight, with Rosie Sutton delivering a confident and well-paced performance as Amy. The song was handled with precision and energy, offering a glimpse of what the production could have been with greater clarity and restraint elsewhere.
One notable choice was the use of real cigarettes on stage. While presumably intended to heighten realism, it felt unnecessary and distracting, adding little to the storytelling while pulling focus from the performances.
It is important to acknowledge that this is a university student production, and staging a musical of this scale is no small achievement. The commitment and ambition on display were evident throughout. However, Company ultimately felt like a production created with existing Sondheim fans in mind. For those already familiar with the musical, there may be much to admire, but for newcomers, it risks feeling confusing and emotionally distant.