At the helm is Nick Angus, a director and musical-theatre enthusiast whose affection for the genre is evident in every detail. Fresh from his success as Best Musical Director for 9 to 5 at Heywood, Angus now brings his considerable creative energy to PADOS — and Company proves a particularly rewarding vehicle for it. Originally premiered in 1970, Company could easily feel rooted in its period, but Angus has successfully brought the piece into the present day. His modernisation feels organic rather than forced, retaining Sondheim’s wit and sophistication while making Bobby’s world feel recognisably contemporary, complete with onstage selfies at the start and end.
The PADOS studio theatre proves an inspired setting. Intimate and bijoux, it allows the audience to feel almost part of Bobby’s social circle, while the beautifully conceived set provides an elegant and versatile backdrop to the action. It is a production that understands that, with Company, less can often be more.
At its heart, the musical is a collection of sharply observed vignettes from the life of Bobby — a man surrounded by married friends while remaining stubbornly, and increasingly anxiously, single. Through these encounters, Sondheim explores friendship, relationships, commitment and the uncomfortable business of looking inwards. There is plenty of humour, but beneath it lies a poignant examination of loneliness, the fear of making the wrong choices and, ultimately, the search for company.
PADOS has curated a stellar cast, and what is particularly striking is how completely the ensemble works together: less a collection of individual performers than a convincing family of people who know one another intimately. That sense of connection gives the production an authenticity that is difficult to manufacture.
In the lead, Sam Reid’s Bobby is a wonderfully assured characterisation, with the polish and confidence of someone who could have stepped straight off a Broadway stage. He carries the considerable demands of the central role with charm and a beautifully judged sense of Bobby’s mixture of confidence, uncertainty and vulnerability.
Around him, the married couples are all sharply drawn. Suzi Cleary and Alexander Cohen make an engaging Sarah and Harry, while Katie Zobenica and Jack Martin bring warmth and character to Susan and Peter. Daniela Raquel and David Livesey give Jenny and David plenty of personality; their pot-smoking scene is a hoot. Philippa Shellard Ross and Martin White, as Amy and Paul, add another distinctive dimension to Bobby’s increasingly complicated social circle.
There is a particular joy in seeing how these performers inhabit their relationships rather than simply delivering their lines. Each couple has its own rhythm and dynamic, making Bobby’s observations of their marriages feel like encounters with real people rather than convenient plot devices.
A special mention must go to Sarah Thewlis as Joanne, whose performance of the iconic “The Ladies Who Lunch” is an absolute knockout. It is one of those numbers that can dominate a production, and Thewlis has the presence, vocal authority and sheer theatrical command to make it count.
Her husband Larry is played by Phil Harrison, who stepped into the role at the very last minute. There is absolutely no hint from the performance that he had anything other than the luxury of a full rehearsal period. He is confident, assured and completely at home within the ensemble.
The three cameos — April, Kathy and Marta, played by Sophie Lord, Amy Levine and Scarlett Dickinson — are also handled with relish. Each brings a distinctive little characterisation to what might otherwise be fleeting appearances, making these brief encounters memorable. Their “Drive a Person Crazy” is a particular production highlight.
And then there is Amy’s “Not Getting Married Today”, one of the evening’s great vocal and comic challenges. The sheer speed of the patter — an almost million-words-a-minute scatter of panic, indecision and neurosis — is extraordinary. It is a standout moment, requiring impeccable diction, breath control, timing and comic precision, and it lands beautifully.
And vocally, this company is quite extraordinary. For anyone who loves Sondheim, this is honey poured directly into the ears. The precision is remarkable. Every word, every syllable is delivered with clarity and purpose, while the ensemble singing has a richness and cohesion that makes the score an absolute pleasure to hear.
Musical Director Sarah Osmond should be extremely proud of what she has achieved with these performers. Sondheim’s writing is famously demanding, requiring not simply vocal ability but exceptional attention to rhythm, diction, phrasing and character. Here, those demands are met with apparent ease.
The musical’s most challenging number, “Company,” is a particular triumph. It is also one of the production’s most important musical threads: a recurring motif that weaves its way through the scenes and repeatedly brings us back to the central character. It is a formidable piece of writing, and this performance of it is simply stunning.
Choreographer Jess McEvoy also deserves considerable credit. The movement is deftly judged, never overwhelming the drama but frequently adding another layer of wit. The opening number of Act Two, “Side by Side,” is a particular delight: knowingly Broadway, gloriously tongue-in-cheek and culminating in a wonderfully executed kick line. It is the sort of sequence that sends a production fizzing with energy into its second half — and it produced some of the biggest laughs of the evening.
What is most striking, however, is the sheer affection behind the production. Angus clearly understands and enjoys the musical-theatre form, and that enthusiasm proves infectious. His Company is stylish without becoming precious, contemporary without losing Sondheim’s voice, and ambitious while remaining perfectly suited to the intimacy of the PADOS space.
The show is sold out — and it is not difficult to understand why. This is a production with a superb ensemble, outstanding musical direction and a clear directorial vision. Above all, it feels like a company of performers genuinely enjoying the privilege of putting Sondheim’s work in front of an audience.
A confident, intelligent and hugely enjoyable opening to the PADOS season — and a production that proves Company still has plenty to say about the complicated, funny and sometimes bewildering business of being human.
Company is at PADOS House this week.
Reviewer: Kathryn Gorton
On: 29th September 2026
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