Review: COMPANY at Roustabout Theatre Company

When Company premiered on Broadway in 1970, it shattered expectations of what a musical could be. With a groundbreaking, non-linear structure and a book by George Furth, the show eschewed traditional plot in favor of a series of vignettes orbiting around a single character—Bobby, the perennial bachelor—who watches his married friends with a mix of longing, confusion, and fear. It was a bold meditation on commitment, connection, and the emotional complexity of adulthood, and it marked the beginning of a long and storied career for its composer-lyricist, the now-legendary Stephen Sondheim.

Now, more than 50 years later, Company still feels piercingly relevant. In director Adam Roberts’ cleverly reimagined Austin revival, the musical gets a bold new setting that’s as surprising as it is inspired. Gone is the swanky Manhattan apartment; instead, we are plunged into the underground heartbeat of New York—the Columbus Circle subway station. And somehow, it works—brilliantly.

The entire black box space is transformed into a subterranean world, complete with platform signs, handrails, and ambient train noise. Theada Haining’s set design is minimal but evocative, capturing the gritty transience of urban life. It’s a perfect metaphor for Bobby’s emotional limbo—constantly in motion, always surrounded by people, yet utterly alone. The tight, sometimes claustrophobic staging mirrors the experience of navigating life’s relationships in close quarters, echoing the show’s central question: Is connection worth the mess?

At the center is Seth David Mitchell’s Bobby, a quiet revelation. Gone is the smug bachelor archetype; Mitchell offers a more haunted, introspective take—a man who doesn’t have the answers but is finally asking the right questions. Do I want love, or do I just fear being alone? Am I ready to get married, or do I just not want to be left behind? His performance is magnetic in its restraint, and when he reaches the climactic “Being Alive,” it doesn’t soar—it aches. And it lands.

The ensemble around him is uniformly excellent, each actor crafting vivid, specific portraits of love in all its messy, hilarious, and tender forms. Sarah and Harry (Evie Jack and Stephen Jack) bring comic physicality to their domestic tug-of-war, all karate and kitchen appliances. Susan and Peter (Amy Minor and Tyler Jones) are breezy, dysfunctional, and casually headed for divorce. Jenny and David (Leslie Mollingsworth and Jeff Guilfoyle) offer up suburban calm with a side of weed, delivering one of the funniest scenes of the night.

Some dynamics feel dated—particularly in gender roles—but this production leans into the satire with a knowing wink: We get it. We’re in on the joke. That self-awareness keeps the material fresh and often hilarious.

Laura Huffman Powel is a powerhouse as Joann, the sardonic socialite whose iconic “The Ladies Who Lunch” becomes a scathing yet vulnerable moment of truth. She’s glamorous, fierce, and entirely original—a worthy heir to the LuPone legacy. Mariel Ardila is another standout as Amy, igniting “Getting Married Today” with electric, anxiety-ridden precision. Her comedic timing is razor-sharp, and her vocal prowess is captivating. It was a thrill to see Ardila—who’s impressed in multiple productions around town—take center stage in a role that seems tailor-made for her talent. When she finally rejects her sweet, steady fiancé (JP Lopez), it’s with stunning clarity: Love is terrifying—but it’s real, and it’s worth it.

Musical highlights abound. “You Could Drive a Person Crazy” is a delicious Andrews Sisters-style romp from Bobby’s trio of girlfriends (Sarah-Marie Curry as April, Aline Forastieri as Kathy, and Libby Detling as Marta). The title number, “Company,” showcases the ensemble’s cohesion and the crispness of Roberts’ music direction. We all know that Sondheim is notorious for his difficult scores, but under Robert's direction, this case makes it feel effortless. 

The cast also includes Quincy Kuykendall as Larry, Joann’s newest husband; Jessica Wolkman and Will Mallick as versatile and reliable swings.

Though Company was born in the 1970s Manhattanites' ennui, this revival reminds us of how timeless its questions are: What does it mean to grow up? To be indeed known? To feel alone in a crowd? And what's the cost of waiting too long to choose?

Adam Roberts proves again why he is one of Austin's favorite sons. He created a modern, moving, and masterfully executed production of a classic. This production of Company is more than a revival—it’s a reinvention. And it pulses with the ache of loneliness, the courage to connect, and the fragile, fierce beauty of being human.

We may not have a subway in Austin, but RUN—don’t walk—to the Dell Performing Arts Center. This Company is introspective, tender, fun, and thoroughly alive.

Company

Book by George Furth

Music and Lyrics by Stephen Sondheim

Directed, Music Directed, and Choreographed by Adam Roberts 

Roustabout Theatre Company

@ Dell Performing Arts Center

5901 Southwest Pkwy, Austin, TX 78735

Upcoming Performances:

FRI Mar 28th at 7:30 PM

SAT Mar 29th at 7:30 PM

THU Apr 3rd, at 7:30 PM

FRI Apr 4th, at 7:30 PM

SAT Apr 5th, at 7:30 PM

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