COMPANY -- A Gilbert & Sullivan production A few years ago the talk in the City of London was all about "the big bang''.

Well, there's been another one -- this time in the City of Hamilton.

From the moment the curtain went up on Company, the Gilbert & Sullivan Society's newest production, on opening night it was obvious that here was a hit.

Nothing that followed over the next few hours disproved the impression. In fact, to quote Bermuda's First Lady of Theatre, Elsbeth Gibson, "It was the best thing I've seen here in 30 years'' -- and accolades don't come much higher than that.

In the lead-up to opening night, there was talk of Stephen Sondheim's musicals having limited appeal and a selective following, and genuine trepidation that this would be translated into "iffy'' audiences and shaky box office returns in Bermuda.

Oh ye of little faith! It is no secret that the Gilbert & Sullivan Society enjoys an enviable reputation for its high standards of excellence, to which is added more lustre each year. With Company, however, their reputation has gone stratospheric.

One could expend a bucket of printer's ink on this review, or a cupful, and the conclusion would be the same: This is a "must see'' production for which anyone who loves good theatre should run, not walk, to the box office.

Unlike most musicals, which use vapid storylines as a cheap bridge to songs, Company is rich in dialogue. Not only is there plenty of it, but it is witty, clever, and cogent -- but not, at times, for the pure in heart, or children.

The songs and music may not sear themselves into the memory, as do, say those from My Fair Lady or The Sound of Music, but they do make an impact, and are delightful in context. In fact, it was the title song which led to the show being done here in the first place.

Bermudian director, actor and singer Keith Madeiros happened to hear it for the first time at a New York fashion show, bought the CD, and knew instinctively that Company was something he wanted to direct for G & S.

Fortunately, the Society gave this extremely talented young man the green light, and with the assistance of a small army of actors, singers, dancers and musicians, technicians, stage hands, backstage crew, set and costume designers and more, Mr. Madeiros has pulled off a brilliant production.

Billed as a comedy, the storyline revolves around the central character, Robert the bachelor, and five married couples who ply him with advice about the virtues of marriage, loneliness and independence, and the wisdom of settling down with one partner.

As the plot progresses, his male friends give him their advice, while the wives criticise, mother, and inspire him to find a mate. In the process, Robert gets to observe, up close and personal, the disparate lifestyles and philosophies of the couples, as well as what time does to relationships, and he reserves judgment.

Meanwhile, the would-be suitor makes the occasional foray into the paddocks of passion in search of a filly who weighs up to his expectations. Whether or not he becomes a winner in this high-stakes game of life is a question that keeps the viewer guessing until the end. Just don't bet on the outcome! There is no doubt that each and every person connected with this production contributed enormously to the success of the whole, and the word "company'' is, after all, a collective noun for (among other things) a partnership, so I am reluctant to single out individuals for praise.

Nevertheless, certain performances do stand out, among them Barbara Frith's, who captured the witty cynicism of a jaded New Yorker so well; Nancy Thompson's, whose non-stop, twittering tidal wave was coupled with an ability to move as if floating on air; the hilariously crafted pratfalls of the bountiful Deborah Raat and her pint-sized "spouse,'' Dr. Phillip Jones; and Carolyn Finch, whose innate sense of comic timing transformed what might otherwise have been a torrent of mindless trivia into a priceless tour de force.

In fulfilling the lead role of Robert, Paul Woolgar was strong and assured, and maintained his character precisely throughout.

Rebecca Faulkenberry and Fiona Lee impressed with the professionalism of performances, which were those of mature young women, rather than the 16 year-olds they really are.

Overall, Mr. Madeiros' uncanny eye for assessing the strengths of individuals meant that his casting was spot-on throughout -- something that doesn't always happen in amateur productions.

In fact, evidence of the meticulous Madeiros hand is everywhere, and in arriving at his overall vision for this production, the attention to detail is amazing.

Michael Mello's sets are beautifully conceived, with clean lines and delightful colour schemes, which also serve to keep the five couples straight in the viewer's mind, and Debbie Mackenzie's set dressing shows her professionalism through and through.

In arriving at her costume designs, Liz Campbell combines the trendy with the understated. Her extensive use of black works well for both sexes, while the nod to Regis Philbin's monochrome look is very "in'' -- as is the choice of a Vera Wang-type wedding dress over the usual meringue of lace and sequins.

Anne Mello's choreography is not only a pleasure to watch, but also executed with deftness and precision.

Sondheim's music is acknowledged to be difficult, but under the baton of Mark Dorrell and his group of first-class musicians, it makes potent listening. In fact, it is hard to remember when last was heard such cohesion and professionalism from "the pit.'' The sound and lighting designs by Colin Pink and Annette Hallett respectively add immeasurably to the show's success, and the set changes are exceptional.

In summation, Company is arguably the slickest local production ever, for which the words "the ultimate ticket'' on the back of the admission tickets is perhaps not amiss.

Company continues at City Hall theatre through October 14. Tickets are available at the Visitors Service Bureau box office (next to the ferry terminal) from 10 a.m. to 2 p.m. until Friday. For further information telephone: 295-1727.

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