COMPANY ROSE BOWL REVIEW

ROSE BOWL ADJUDICATION

Name of Company: Exmouth Musical Theatre Company

Name of Production: Company

Venue: Blackmore Theatre, Exmouth

Date: Tuesday 11th November 2025

Adjudicator: Caroline Whitehead

I am a huge fan of Stephen Sondheim, so as I was driving through a horrible storm to get to Exmouth, I lifted my spirits with the knowledge that the trip would be worth the effort. And I am happy to say that it was. I have sung this show twice - once as Amy and once as Joanne – so I know how challenging some of these songs can be, especially to get all the words out clearly. And the lyrics are so clever and so vital to the story as it unfolds. So I was delighted to see how well everyone in the cast rose to that challenge.

Company is a story of friendship and love, and the mysteries of the state of marriage. It relies on some important couple relationships, plus a strong lead playing Robert. I remember seeing it a few years ago in London when Robert was played by a woman (Mel Giedroyc) but the development of that character is central to the story. Your Robert was strong and believable, which centred the entire production and you had the benefit of some talented partnerships.

In this small theare, I wasn’t surprised by the use of clic-trac for the backing function and, of all the Sondheim musicals, I think this orchestration is pretty supportive of the vocal lines. Your small cast sounded confident in their vocal entries and their ease of singing with the backing track eased my mind considerably. If that connection gooes astray, it is very tricky to get control back.

Overall, this was a polished production by some clearly experienced players who were well rehearsed and at ease in their characters.

Staging

Like many of Sondheim’s musicals, the setting isn’t particularly relevant. And that was lucky for you all, as this theatre has it’s limitations for staging. The back set in the centre worked on the whole and it was nice to have the centre piece change into various ‘photos’ as the scenes changed. Some of those worked better than others…

And the fold out tables enabled some changes to be made, along with the moving trucks that doubled as sofas, tables and the all important bed. On reflection, I understood why your director opted for these versatile pieces to alter the staging, but in the moment I did get a bit tired of them and yearned for something new to appear.

Lighting

I am always very tuned in to the lighting design and, for the most part, it was supportive of the action on stage. I would have liked some greater definition of each scene – perhaps the balcony scene with Peter and Susan for example – and perhaps you might have introduced some lower lighting (with lamps) for the bedroom scene and the nightclub scene with Joanne. And the station backdrop for Another 100 People could have been stronger and a better contrast to other scenes. I am aware of the restrictions you had in the venue, but without lots of set changes, sometimes the lighting can do an excellent job of re-establishing a setting.

Sound

The sound balance was really good and, for the solo singers the quality of sound was excellent. Of course, you had the benefit of some exceptional singers and that’s half the battle. Once or twice the spoken word was a little lost; I think you were using the mics only for the singing? But it’s a small venue so I imagine that most of the audience heard well enough. It’s just that the transition from off to on mic sounded a bit abrupt at times.

Choreography

The challenge in this show is making sure that your blocking is effective and the ensemble scenes don’t get too static. Sometimes, of course, the tableaux settings are deliberate as each of the couples stand together surrounding poor ‘Bobby Baby’ but at other times, the movement around the stage is important and there were moment when this looked a little uncomfortable. That said, the martial art scene with Harry and Sarah worked well and the scene with Joanne in the club was well designed.

Costumes

This is a contemporary story and so clothes just needed to look natural and comfortable for each of the characters. I liked April’s air hostess costume and Amy’s wedding outfit. And Joanne looked like the classy older woman that I’m sure Sondhiem had intended. My favourite scene for costumes was the one with everyone in their night clothes – so revealing of the various personalities in the story.

With five married couples in this show all centred around their friend Bobby, plus a trio of hopeful single ladies, I have split my review into these groups.

Robert/Bobby

You certainly looked the part of the successful single man who was now asking himself whether the time had come for marriage. That dilemma of having the freedom and yet yearning for some more intimate is the central theme of the show and we felt your frustration. Robert has to show a whole gamut of emotions – affection for his friends, loneliness in the face of bachelorhood, delight in the freedom he has, yer yearning for someone to ‘love me too much’. And he needs to take the audience along that journey and elicit empathy from them. It’s a big role and you rose to the challenge with skill and a natural talent to engage with those on stage and your audience. I was more convinced with the discomfort you showed when with your friends than I was with the desire you needed to show for your various girlfriends, so perhaps there was something holding you back there. But your diction was good and your vocal range was rich. Just take care with your top range that you maintain that richness in tone – once or twice it flipped into a harsher sound and that is just about breath control. But you definitely got into your groove with both Marry Me and Being Alive, which were delivered with a sensitivity that was touching and your voice really soared beautifully. I could tell that you were enjoying having the stage to yourself.

Sarah and Harry

So this is the first of our couples in the show, revealing very common strains – of fitness, diets, drinking and who has the most self-discipline. I imagine that in this first scene, many in the audience will recognise some of the raised eyebrows and hidden gestures that this couple display. Both of you had very strong facial expressions which really helped to set this scene and the martial arts moments looked well prepared. Poor Bobby, looking on and wondering if he would be ready for a marriage like this one! Despite all the bickering though, we have a glimmer of hope that these two love their life together.

Peter and Susan

Of course, Sondheim was going to establish a couple on the brink of divorce; I think he was fascinated by the fact that, for some couples, going through a divorce can actually bring them closer albeit in a new way. He certainly explores this topic in other pieces. Peter and Susan don’t have a very big part to play in this musical, but I enjoyed your balcony scene and particularly liked your physical movements around each other. And your contribution to the ensemble numbers was evident.

Jenny and David

Poor Jenny, the one with the husband that is demanding and demeaning, causing her low self-esteem. This subtle emotional abuse is only hinted at and I am sure Sondheim didn’t want to go down that road in this show. So I was impressed that David showed his darker side albeit briefly. David had a warm and rich vocal tone and a confidence around the stage that was delightful. Jenny and David had a very good connection on stage, with little glances and gestures indicating that these two knew each other’s strengths and weaknesses and were still certain of their love. Jenny, your performance in the ‘weed’ taking scene was really good – probably the best version of that moment that I have seen. And as the Celebrant, your lovely high voice was perfect and I really enjoyed those interludes in Amy’s song.

Amy and Paul

Amy has one of the most difficult songs (I’m not getting married today) with so many words to get through. And this was made all the more difficult because that clic-trac raced along with no allowance for you! A live band might have allowed you a few more breaths but you did so well to keep up. I liked your neurotic version of Amy and I think this was Sondheim’s favourite character. She is wired and paranoid and loving and gentle all at the same time. Paul looked totally absorbed with her, as well as confused and amazed. Paul, your facial expressions said it all.

Joanne and Larry

I think that Ladies Who Lunch is one of the triumphs of this show and you did so well to carry this off with aplomb. It’s not easy to sing as someone with too much alcohol in their system and still make it clear and polished. Joanne is a classy lady who rules the roost at home, although Larry would challenge that premise. Your posture throughout the show was perfect for this role and that song was a triumph. Well done. Larry is mostly just the counterpoint to Joanne’s character, but I did hear your lovely rich voice in the ensemble numbers and your affection towards your wife was palpable.

Marta, Kathy and April

That trio was nicely played – sharp and witty and with clear diction. This is such a fun song and that little cameo moment on stage worked so well. Your choregraphy was polished and your timing was on point, which was appreciated by the laughter and applause at that point.

Marta, your song (Another 100 People) is another of those very tricky ones to deliver. I teach this one when I am getting my pupils to extend their lung capacity as it’s a challenge for breath control. And also getting the strength in the entire range of your voice, which you achieved with ease. I loved your performance throughout the show but that song was a show highlight for me.

April, your bedroom scene with Bobby was well played and your lack of confidence was well established. I always feel a little sorry for April. She needs lots of reassurance and she’s not going to get it from Bobby. You got the facial expressions and physical gestures just right and that bedroom scene, which can be awkward especially in a small performing space, worked well.

Kathy, you get those little top notes in the trio that are so important. At first I thought they were a bit too short, but as the song developed you got stronger up there. This was a good performance and the connection between the three of you worked well.

Overall, this was a well designed show from a really talented group of experienced performers and I am sure you all had great fun putting it together. I do not underestimate what hard work you all put in to do justice to Sondheim’s genius. The Blackmore is an intimate space and its size does present some challenges for directors and performers, but this show is perfect for a smaller theatre and we got all that intimacy that is central to the story. I first saw it at the Donmar Theatre in London with no set at all, which was another massive challenge! What made this show so good was the talent and experience of the performers who were all at ease on stage and with each other.

‘Sorry Grateful’ was a really beautiful rendition of this delicate song with such tender lyrics and all your male voices were really well blended. Indeed, those ensemble numbers were the best I have witnessed in an amateur production of Company and I commend you for delivering a show of real quality.

CJW 16/11/2025