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| Note: I will be reviewing the 2011 production specifically |
The problem in my case is that I am not necessarily entertained by singing, dancing, and choreography, and thus I find them largely unecessary to the point where even good musicals are lost on me.
But Company is not lost on me, for several reasons, if not for the general emphasis being placed on the writing and theme, with great performances to back them up. Sure, Company has an obvious conclusion especially for one written in the 1960's, but I would argue it is not just an elaborate ploy to convert bachelors in to successful monogamists, especially considering the marriages exemplified.
Firstly, Neil Patrick Harris excels iconically in contemporary culture as the charming bachelor, and so his being cast in Company as Bobby sets the stage already, so to speak, about his initial character. I believe this makes it all the more intriguing and emotionally challenging/satisfying (depending on your take on the concluding statements) to watch him evolve and expose the inner sadness of his equally supportive, inclusive, and dependant social circle. Naturally, in 20 odd years his 2000's era iconic status will be more or less meaningless, but luckily his performance is still outstanding.
Though Bobby is the indisputable lead, his emotional crisis is in equal parts shown in his actions as well as reflected on throughout his encounters with his Crazy Married Friends. The musical does not shy from acknowledging the difficulties Bobby experiences in indulging the lives of these people. Where many stories would merely regard this as a charming quality to his character to be so emotionally invested in the lives of others, Company examines where it can, in many cases, be a handicap. The handicap is not in his not having time for himself, necessarily, but in the inadvertent encouragement it gives his married friends to interfere in his own life as if he were a dog they all took care of together, or a child failing a middle school math class. He is, in many ways, married to the trails of his married friends in this respect.
The recurring dial tone opening the songs which frame Company's narrative is essentially a reminder that his friends are killing him with kindness and the mundane, repetitive arguments and conventions of marital behavior he is susceptible to as the social therapist. Bobby commits to his social circle to avoid being alone, but is eventually faced with the reality of the self-absorbed trials of marriages, at least until he has a fuller idea of what he is missing from his life. As the "novelty friend" (and in one very believable fan theory, the "token gay friend") it is then not unrealistic that Bobby would be all at once disregarded and adored by his peers.
Each song, depending on its approach, refers to the many ways that marriage is a partnership with equal parts co-operation and homogenization, compromise and liberation. "Sorry Grateful", for example, exposes the Guilt Culture the characters navigate through with doubt, and though it seems like digression it does answer Bobby's initial question as to whether Harry ever regrets getting married.
The answer he receives from the other men who join the scene is that they would regret it, if they could at all separate themselves from the relationship - that they are sorry grateful, or regretful happy. Being "sorry grateful" appears to be the inclusive feeling of being dependent and disappointing but to know yourself rightly through the eyes of another. Perhaps, Bobby, too, learns about himself through the eyes of others - not that he is lonely so much, but that he isn't challenged and is without a partner even more than a romantic spouse.
When one of Bobby's friends expresses their plan to get divorced, Bobby replies with sympathy of unexpected relevance to his own psyche. When he assures them that "nobody can understand what you're going through", it is ironic because he is understanding what they went through, and is perplexed as to why they are taking it so well. He continually experiences doubt and commitment problems in contemplating the many marriages before him as think pieces. Company's marital portraits are all at once restricting and challenging as they are inspired by honest compassion and a mutual care for those involved (or it could be that the construct itself results in this).
In effect, Crazy Amy may have cold feet and not feel she loves Paul enough to marry him, but she cares enough to run after him in the rain afraid he will catch a chill. Sure, you can and will drive a person crazy because you're always there sitting in their seat and ruining their sleep, but despite the conventions and pressure of the marital contract in which "forever" is suddenly the most terrifying word of all time, more often than not people will enter, live, and leave a marriage genuinely invested in their partner's life. They will inevitably care a little too much and be naggy, smothering, disappointing, and annoying. They will be in your way, so you learn to work together, and will likely forget how along the way on several occasions.
So when Bobby's New York Enthusiast girlfriend sings about the massive network of people hustling about, the rare intimacy of a marriage is further emphasized - for all its complications, it is that little patch of greenery in the huge city which Catherine describes, and this is what makes it a kind of sacred space.
Bobby first approaches a willingness to marry with an overly picaresque vision, clearly believing he can digress from the trials of his married friends. However, through "Being Alive" we see Bobby work his way through the revelation that everything his friends have said about his making excuses, about being sorry grateful and being stolen from independence and youth all build up to something integral to a life he now wants to live. This new life involves being scared, mocked, challenged, and investing in another person - this kind of love involves be forced to care.
"Being Alive" is the stunning climax and moving conclusion to the web of conflicting ideas forced upon Bobby. No summarizing of the song can do it justice, I can only say that there was a time in my life where it terrified me and I grew deeply uncomfortable through every verse he turned, and a point in my life now where I am moved with Bobby through lyric. Bobby goes from describing the relationships he sees to asking for it in one powerful swoop, and with or without the final scene the audience is left knowing that gears have been switched, perspective richened, and leave the show either empowered or even further anxious about their social lives and the debate and journey Bobby is part of.
Company is an experience for the individual about relationships, both romantic and social. A terror for some, sad for others, uplifting still to many, Company is a multi-layered pitch through the daunting concepts of being alive.
Yes, I will end with that line.
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