Company (Broadway) NYC Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsShow-Score Member Reviews (1,083)
See it if you want to see a great cast in a great production. Marianne Elliott is the best director working in the world. This show is flawless.
Don't see it if you don't like Stephen Sondheim's work, or if you have young kids. Otherwise see it. This is one of the best revivals in Broadway history.
See it if Love how they swapped the genders for the lead role. The creative team did a great job updating the material. Best revival I have seen ever
Don't see it if you are expecting a male Bobby.
See it if You like Sondheim, lyrics you have to listen to and laughing, then crying. It's a play with great songs.
Don't see it if You are looking for Disney type theatrics.
See it if See the play previously, seeing the 8pm show this evening, 2/5/22. What could I say that I liked it the first time and will like it again.
Don't see it if No bad words, have fun and just relax and enjoy. Read more
See it if you want to hear that great Sondheim score again and in a clever reimagining of the original.
Don't see it if you are not open to new interpretations of classic musicals. Read more
See it if You enjoy Sondheim and want to see a classic show reimagined both for the current times and from the viewpoint of a different gender.
Don't see it if You do not like to see a classic show reinvented in a different way. It is definitely not a purist approach, but that's what makes it great
See it if I have not been moved by a show in so long. This is absolute Perfection.
Don't see it if There’s no reason not to.
See it if you can.
Don't see it if you prefer your Broadway musicals insipid. Read more
Critic Reviews (18)
"Finally, a smart, funny, human revival about the highs and lows of being alive that actually feels alive. It helps that the show by Stephen Sondheim, who died last month, is the best musical about New York City ever written...No other show understands the callused skin that hardened, cynical New Yorkers develop to make it through another miserable day quite like “Company” does.
Sondheim’s musical, splendidly directed by Marianne Elliott, is a paean to NYC about the pains of living in NYC."
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"The production (which is a bit overlong, at just under three hours) contains superb staging, visual design (including oversized party balloons, an “Alice in Wonderland” motif, and even a rainfall effect), music direction, and casting – with one notable exception in its leading lady, Tony winner Katrina Lenk (“The Band’s Visit”), who is plainly miscast as Bobbie, lacking both the vocal chops and emotional vulnerability for the role.
Relying upon sex smirks and curious glances, Lenk gives a passive, barely passable performance in which a great production seems to operate around her instead of with her."
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This is a daringly conceived, freshly imagined look at a musical that many of us thought we knew all too well. A report from an era when answering services were de rigueur, all of Manhattan was in analysis, and pot parties and the sexual revolution were racy novelties, is remade into a surprisingly relevant comment on the way we live and love right now. Of course, the songs still capture the restless pulse of a city where self-invention is a way of life. And, thanks to Elliott and her collaborators, Company is reinvented, too.
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"After that, you might expect “Being Alive” as a four-alarm fiery power ballad, which is often how you hear it. But that’s not Lenk’s style. Hers is a prayer—she’s on her knees for at least one verse—and a song of surrender. You can hear the vulnerability and fear in her voice, and see the triumph. Sometimes, being alone is exactly where you need to be."
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"The revelations in this Company more often arrive in the less fussy moments, and Lenk is prominent in them. A lissome beauty who, as anyone who caught her in The Band’s Visit or Indecent could attest, can project both sleek elegance and stark fragility, the actress sings Sondheim’s songs as they might be performed in an astute cabaret homage, taking occasional liberties with rhythm and phrasing not often heard on Broadway. While her lovely, piquant voice isn’t as technically virtuosic as that of some other cast members...her readings of “Someone Is Waiting,” “Marry Me A Little” and “Being Alive” shiver and gleam, caressing the nuances in these accounts of trepidation and yearning."
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"This is not a run-of-the-mill revival, or merely a superb Sondheim production, of which there have been many in the past couple of decades. It infuses new life into a classic show with such intelligence, wit and care that it could, and should, become a template for future productions. Remarkably, we now have two different and equally viable versions of this landmark musical."
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One of the reasons that Stephen Sondheim musicals do so well in revival is that they are sturdy enough to work in various formats. Marianne Elliott’s brilliant update of Company makes this look and sound a brand new show. It is intended as a musical comedy but offers serious questions about relationships, friendship and marriage. When theater magic occurs it is undeniable, and this is a production that has a great deal to offer. Don’t plan on missing it.
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"Directed by Marianne Elliott, the revival of Company on Broadway showcases Elliott’s stylistically clean and sparse aesthetic. Scenic designer Bunny Christie uses the stage to epitomize the large chasm of Bobbie’s mind where various episodes float into audience view, then back out to the foggy darkness of Bobbie’s consciousness. Supported by the expert lighting design of Neil Austin, these scenes pop to life as recalled and fade away throughout the course of the piece – utilizing both emptiness and fullness to showcase the loneliness and busied chaos that compete for Bobby’s internal attention."
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