Set in 1970s Manhattan, Barrie’s Talk is Free Theatre’s (TIFT) production follows Bobby (Aidan deSalaiz) as he approaches his 35th birthday, celebrated among his group of ‘good and crazy people’—his married friends. Faced with an existential crisis about monogamous relationships, Bobby grapples with deeper questions regarding love and commitment. Through a series of vignettes that do not follow a linear timeline, he observes his friends’ marriages unravelling, leaving him perplexed and questioning whether he should commit to marriage himself.
While life in the 1970s meant that if one wasn’t married by thirty-five, the looming question of “What’s wrong and why aren’t you married?” hung hauntingly in the air.
This Voice Choice’s standing-ovation-worthy opening night, directed with sensitive and compassionate care by Dylan Trowbridge, shows exactly what might be wrong with so-called happily wedded bliss from Bobby’s perspective. Musical Director Stephan Ermel heartfully captures the complex joys and raw angst deeply embedded in Sondheim’s music and lyrics by paring down the orchestral sound to piano and violin. Rohan Dhupar’s choreography fittingly visualizes the emotional impact of the songs, most notably in the full-cast opening numbers of Acts 1 (‘Company’) and 2 (‘Side by Side by Side’ and ‘What Would We Do Without You’).
The creative team makes strong staging choices that maintain and evoke that 70s vibe without ever appearing kitschy. The production’s pacing is smooth. Varvara Evchuk’s set design, featuring a movable sofa, chairs, and a bar cart, remains fluid as the cast moves these pieces around. The elongated upstage ramp, with party balloons, used by the cast for entrances, exits, and visual staging in ensemble music numbers, never becomes distracting. Evchuk’s costume designs evoke strong character responses, from April’s flight attendant outfit to Marta’s proud, lived-in clothing choices.
Jeff Pybus’s lighting design captures a passionately charged encounter between deSalaiz’s Bobby and Maggie Walters’ April in Act 2. There are a couple of moments when the actors are in shadow and not visible as they begin to sing – a minor quibble, I’m sure, that will be rectified. Erik Richards’s importance as sound designer remains tremendous, ensuring the audience can hear and appreciate the rhythmic poetry of the lyrics. For the most part, the lyrics are clear; however, there were a few moments when I couldn’t hear all the delicious-sounding words of the falling-to-pieces bride Amy in her dazzling ‘Not Getting Married’. Gabi Epstein delivers a knock-it-out-of-the-park ‘Ladies Who Lunch’ with sass, remorse, and passion fuelled by an alcoholic gaze. But again, there were a couple of lines I couldn’t hear clearly. A slight quibble, but it’s one I know will be dealt with promptly.
The cast remains outstanding. That’s another reason why I gave them a standing ovation. Each of them nails the nuanced contradictions in the highs and lows of having someone by their side for the rest of their lives.
The affluent, trusting, nice guy Larry (Michael Torontow) and his quintessential narcissistic grab ass rich bitch wife, Joanne (Gabi Epstein), radically reveal how too much of anything in a marriage is not always a good thing. Krystin Pellerin is a hoot as Sarah, a dieting food-porn voyeur whose on-the-wagon husband, Harry (Shane Carty), hilariously gets his comeuppance at his wife’s karate demonstration. Southern belle Susan (Jamie McRoberts) and her Ivy League graduate husband, Peter (Jeff Irving), appear to be the most together of all the married couples. Their realistic discussion with Bobby one evening shows that perfection in a marriage is not always attainable.
An evening toke of marijuana with Bobby, uptight Jenny (Kirstyn Russelle), and her ‘with it’ husband, David (Richard Lam), leads to a candid conversation about why Bobby isn’t married. Bobby then discusses with the couple the women he is seeing at the time. There’s flight attendant April (a delightfully bubbleheaded performance by Maggie Walters, notably in ‘Barcelona’ in Act 2), babbler Marta (whose ‘Another Hundred People’ is a show-stopper), and Kathy (Madelyn Kriese), who, it appears, truly has a connection with Bobby, and vice versa. Kriese and deSalaiz’s moment in the park cuts to the emotional heart of the show and explains why it doesn’t pan out. It stings, and Kriese and deSalaiz handle it poignantly with an emotional tug at the heart.
Happily, soon-to-be-married Paul (Noah Beemer), of the Jewish faith, and his mentally unstable, non-practising Catholic bride, Amy (Sydney Cochrane), comically reveal that while couples need not blow the smallest issues out of proportion, words spoken in the heat of the moment can and often change the dynamics going forward.
Aidan deSalaiz genuinely captures the misgivings and unease of a man on the precipice of his life, as Bobby, wondering where he needs to go or be. There are some sharply staged moments in which deSalaiz’s Bobby physically teeters on the edge of a precipice. His ‘Being Alive’ at the end of Act 2 becomes truly heartfelt, suggesting he might be ready to accept whatever life throws at him, including the possibility of marriage.
George Furth’s book about modern relationships from the 70s feels more timely than ever. Meaningful human relationships, meetings, connections, and encounters have not changed in fifty-five years since the original show opened on Broadway. Stephen Sondheim’s soaring music and clever lyrics make this terrific Talk is Free Theatre production a Do-Not-Miss.
I even suspect there might be some 2026 Dora nominations, too.
Running time: approximately two hours and 10 minutes with one interval/intermission.
Company runs to February 8 in the Franco Boni Theatre at The Theatre Centre, 1115 Queen Street West, Toronto. For tickets: www.tift.ca, theatrecentre.org, or call the Box Office (416)538-0988 or email boxoffice@theatrecentre.org.
TALK IS FREE THEATRE presents
COMPANY Music and Lyrics by Stephen Sondheim
Book by George Furth
Originally produced and directed on Broadway by Hal Prince
Orchestrations by Jonathan Tunick
Director: Dylan Trowbridge
Associate Director: Dean Deffett
Musical Director: Stephan Ermel
Choreographer: Rohan Dhupar
Set and Costumes: Varvara Evchuk
Lighting Design: Jeff Pybus
Sound Design: Erik Richards
Prop Design: Monica Dottor
Fight Direction: Joe Bostick
Stage Manager: Heather Bellingham
Performers: Aidan deSalaiz, Noah Beemer, Shane Carty, Sydney Cochrane, Gabi Epstein, Sierra Holder, Jeff Irving, Madelyn Kriese, Richard Lam, Jamie McRoberts, Krystin Pellerin, Kirstyn Russelle, Michael Torontow, Maggie Walters
