So I finally saw the Company revival (Matt Doyle very much deserving of that Tony). And while I don’t disagree that there were a lot of missed opportunities where an explicitly bi or pan Bobbie would have added layers of meaning (particularly in the Kathy/Theo scene, as identified by Christian Lewis of American Theatre Magazine) - I did, actually, read this production’s Bobbie as queer. Just not necessarily in the way a lot of people might have hoped / expected.
Because while the original Bobby’s commitment and connection issues are often put down to his closeted queerness (and/or being kind of hung up on the very-much-not-available Amy -- if you’re taking into account what Sondheim says about early drafts of the show in Finishing the Hat) I very much read this Bobbie as Aromantic. Allosexual and Aromantic.
Bobbie, who “could drive a person crazy” because there’s clearly a sexual connection but she shies away from the romantic entanglements that ‘logically’ should follow. Bobbie who wants to tick off the life milestone marked “get married” but doesn’t seem to have any real desire for marriage itself.
Bobbie who, I think quite genuinely, proposes to Jamie as a solution to both their problems -- being afraid to get married and afraid not to. Who, unlike Jamie, actually very much would like to marry her best friend for tax purposes and to get everyone else off her back but probably mostly for the promise of not being alone.
Bobbie whose most rewarding relationships are and always will be her friendships. Who would probably want a Queerplatonic partnership if she knew how to name one. Bobbie who sees herself perpetually third wheeling (especially as her best friend Jamie now gets ready to tie the knot) and wants what her friends have but also doesn’t. Who wants that surety of companionship but separate from her sex life.
Maybe I’m just seeing what I want to. (And it’s not that I don’t think female Bobbie dealing with internalized bi- and/or homophobia wouldn’t be an equally or even simultaneously textually supported choice.) But what my scarily-close-to-thirty-now a-spec self saw was a Bobbie for whom “Marry Me a Little” isn’t a failure to grasp Jamie and Paul’s version of marriage, but a struggle to re-define the idea for herself (to queer it, if you will). For whom “Being Alive” is about opening herself up in general - not simply to romance but to “Only Connect” (borrowing from Forster) in the ways that work for her.
So here’s to Aromantic Bobbie. Because that’s queer too. (I’ll drink to that.)