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COMPANY KEY DATES
REHEARSALS
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​Mondays, Thursdays & some Sundays
30th June - 9th Nov
BOOKS DOWN
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15th Sep
REHEARSALS
​TECH - TBC
DRESS - 6th Nov
Dress - 9th Nov
SHOW WEEK
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Monday 10th - Saturday 15th November
Notes on Casting
We will aim to cast Bobby initially, as this will have an impact on how other characters are cast. We will ask auditionees for all roles to be flexible around timings on audition day and will aim to let people go as quickly as we can.
We are actively seeking to create a diverse ensemble and welcome auditionees from all cultures and backgrounds. Parts are open to consideration from actors not identifying as or not assigned at birth to characters’ written genders; however, we are somewhat limited in having to work with backing tracks and are unlikely to have the facility to re-score or change the keys of the accompaniment.
We would ask auditionees to identify their TWO first choice roles to audition for; and to indicate on their audition form any roles they do NOT wish to be offered (we will take you at your word on both counts so please be sure you indicate clearly what you want). On this basis, once we have cast Bobby, we will put the cast together based on what we are able to see at auditions.
What are we looking for?
It’s a bit of a cliche to say we won’t know what we are looking for until you show us - but a few thoughts:
Musicianship - it has been joked that Sondheim hates singers - he certainly makes them work for their parts. The harmonies and rhythms in this show can be fiendish. You will need to be prepared to put the work in on your songs outside the rehearsal room. You are unlikely to be able to rock up to rehearsal once a week and learn it by osmosis.
Naturalism and theatricality - "Company" demands a blend of naturalistic and theatrical acting styles, with a focus on conveying the characters' internal struggles and emotions. Actors need to deliver their lines as if having a real conversation whilst being aware of subtext (hidden meaning).
Despite the naturalistic approach to dialogue, the show's characters often experience heightened emotional states. Actors need to explore these emotions and find ways to play them sincerely through their vocal and physical choices.
The show's dark comedy relies on precise comic timing and the ability to play the characters' awkward and vulnerable moments lightly. Actors need to be generous at sharing the stage - whether delivering punchlines or playing the "straight man".
The show's characters often convey their emotional states through their physical movements and gestures. Actors should consider how their physicality can help them convey inner turmoil and quirks in their relationships with other characters.
SYNOPSIS
Setting
Company is set in New York City, primarily in Bobby’s apartment. The show explores Bobby’s relationships with his married friends and love interests at a ‘crisis’ point in his life, brought about by his internal conflict over commitment and love.
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ACT ONE
Act 1 Sc 1
The show opens with Bobby, a 35-year-old single man, receiving birthday wishes from his friends (the ensemble). He’s the only single one in his social circle, and they express their concern about him not being settled down. Bobby is well-liked but has a hard time committing to a serious relationship. His friends try to set him up with women, but he avoids serious connections. Despite the attention and affection he receives, Bobby enjoys his solitary life.
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Act 1 Sc 2 SARAH & HARRY (Couple 1)
We meet Sarah and Harry, a long-married couple after Bobby has had dinner with them at their house. Sarah is competitive, obsessed with dieting and food, and practices karate as a way to deal with her anxieties. Harry is an alcoholic in recovery, and while the couple seems outwardly stable, they struggle with emotional intimacy and their own unspoken tensions.
Song: “ The Little Things”
As Sarah and Harry act out their own marital quirks under Bobby’s watchful gaze, the caustic Joanne sings about how marriages ‘work’, supported by the ensemble.
Song: "Sorry-Grateful"
Harry and Bobby’s other married friends express the duality of marriage – the conflicting emotions of being both sorry and grateful for their partners.
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Act 1 Sc 3 PETER & SUSAN (Couple 2)
We see Bobby on Peter’s and Susan’s balcony enjoying a drink together. Peter and Susan are a seemingly happy couple. Susan is sweet but unaware of the tension in her marriage. Peter, on the other hand, is trying to keep things light and noncommittal, but he feels trapped by the pressure to be in a “perfect” relationship. The couple has recently separated but remains friendly.
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Act 1 Sc 4 JENNY & DAVID (Couple 3)
We see Bobby visiting Jenny and David and sharing some marajuana with them. Jenny is sweet and reserved but possibly overwhelmed by David’s dominating personality. They are still in love, but David’s possessiveness and lack of communication create strain. Bobby defends himself against accusations of fearing commitment by telling the friends about the women he is seeing, who then materialise and sing.
Song: "You Could Drive a Person Crazy"
The three women Bobby is seeing – Marta, April, and Kathy – sing this song as they express their frustrations with Bobby’s lack of commitment and emotional engagement. It’s a playful, fast-paced number about the frustration of dating Bobby. The harmonies are fiendish.
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Act 1 Sc 4a
Song: Have I got a Girl for You
Bobby’s (usually male) friends sing about their envy of his playboy lifestyle
Song: Someone is waiting
Bobby sings tenderly about the features of his friends he would like to find in a ‘perfect’ match.
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Act 1 Sc 5 - Bobby’s Girlfriends (Marta, Kathy, April)
Song: "Another Hundred People"
As Bobby’s relationships with his girlfriends unfold, we see his confusion about his feelings. Marta is a free-spirited woman who loves New York’s chaos. Kathy is sweet but eventually leaves Bobby because she wants a more traditional life. April is an air stewardess who’s charming but not particularly bright.
Marta sings this lively number about the constant movement and bustling nature of New York, reflecting her own transient lifestyle. It’s about the people she meets and the complexity of city life.
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Act 1 Sc 6 AMY & PAUL (Couple 4)
We see Bobby at Amy and Paul’s apartment just before their wedding is due to take place. Amy is an anxious, neurotic woman who is engaged to Paul. Amy is paralyzed by fear of commitment and constantly doubts her decision to marry Paul. She’s overwhelmed by her feelings of inadequacy and tries to back out of the wedding.
Song: "Getting Married Today"
Amy’s frantic, patter-heavy song expresses her terror about getting married. It’s both comic and emotional, as she desperately tries to find a reason not to go through with it.
Song: “Marry me a little”
Bobby sings about the version of Marriage he thinks he would like.
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ACT TWO
Act 2 Sc 1 Back at the Birthday Party
The second act shifts focus to Bobby’s increasing internal conflict as he reflects on his relationships. He’s growing more aware of how his friends’ marriages are both challenging and rewarding. The act opens with Bobby spending time with his married friends and seeing how each of their relationships has its own unique set of problems, but all of them have a deep connection despite the struggles.
Song: "Side by Side by Side / What Would We Do Without You?"
The couples sing together in a celebratory yet ironic number about their relationships. It’s a joyful moment, but also pointed in its commentary on the complexities of marriage.
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Act 2 Sc 2 Bobby & April
We see Bobby and April’s mutual seduction, interspersed with the ‘wives’ expressing their sublimated fantasies about Bobby’s life
Song: “Poor Baby”
April gets up to leave Bobby after a night of love making and they sing the comedic ‘Barcelona’ together.
Song: “Barcelona”
Act 2 Sc 3 Bobby/Marta and Peter/Susan
Bobby takes Marta to visit Peter and Susan, to find they are still living together but divorced. Peter implies that he and Bobby could have a ‘thing’, to Bobby’s discomfort.
Act 2 Sc 4 Joanne / Larry (Couple 5)
Joanne and Larry have taken Bobby to a nightclub. As Joanne has an intense conversation with Bobby about commitment and aging, she sings "The Ladies Who Lunch," reflecting on the loneliness she feels even within her marriage.
Song: “Here’s To The Ladies Who Lunch”
The show builds to a climactic moment where Bobby contemplates his fears about commitment. The show’s emotional turning point occurs as Bobby finally breaks down and sings “Being Alive,” the iconic number that highlights his desire to be truly connected to others, despite the fear and the pain that comes with it.
Song: "Being Alive"
This is Bobby’s emotional climax, where he admits that, while relationships are difficult, they are worth pursuing. It’s a powerful, soul-searching number that reveals Bobby’s shift in perspective. It’s a raw expression of vulnerability and longing.
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Act 2 Sc 5 Finale
The show concludes with Bobby gaining insight into his own desires and fears. He doesn’t entirely resolve his issues but realizes the value of connection, even with all its difficulties. His friends realise he is moving to a new phase of his life and agree to give him space to do so.
CASTING BREAKDOWN
‘Company’ contains scenes requiring simulated physical intimacy from some members of the cast and portrays drinking, smoking and (sometimes) drug taking. It will be expected that actors undertaking these roles will be prepared to portray them realistically as directed. Actors will need to be aged 18y or older to participate.
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BOBBY (Baritone/Tenor, G2–G4)
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Age: 30s–40s
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Vocal Type: Strong baritone or light tenor
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Traits: Charismatic, commitment-phobic, observant, emotionally complex, both charming and detached. He is at the center of the show, constantly reflecting on love, marriage, and his own fears of connection.
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Best Fit: A strong actor with excellent comedic timing and the ability to handle deep emotional moments. Needs a dynamic voice capable of light charm and introspective depth.
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The actor playing Bobby may be asked to smoke or fake-smoke on stage in one scene
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N.b. Bobby and April have a bed scene which, while not gratuitous, will need to be played with some realism - the actors playing Bobby and April will need to be comfortable with this and to be guided by what the other actor is comfortable with, demonstrating respect and mutual care at all times.
Audition pieces:
Scene(s)
Act 1 Sc 4 p23 (e-script) Jenny and David from ‘Now, Bobby’ to ‘Right!’
Act 2 Sc 2 p 51 (e-script) monologue with April (we may also ask you to read against April auditionees so please familiarise yourself with the rest of the scene)
Act 2 Sc 4 from Larry leaves to ‘What do you get?’
Song(s)
“Being Alive” (last section)
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Range: G2 – G4 (can go higher for climax)
If you can also be familiar with Barcelona, we might ask you to sing that against possible Aprils
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Due to the fact that Bobby spends the entire show onstage, we ask that Bobby auditionees be completely frank about their expected availability between July and November and will expect this largely to be adhered to once cast.
Also, these will be the focus scenes for your Bobby audition; the more familiar you are with the rest of the show, the more we can work you against other auditionees - which will be a tremendous help!
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Couples
The couples perform the role of a kind of Greek Chorus. This collective of friends, representing various stages of marriage, observe and comment on the protagonist, Bobby, and his relationship struggles, offering commentary and sometimes urging him towards a specific path.
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COUPLE 1
SARAH (Alto/Mezzo, A3–E5) / (Noah)
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Age: 30s–50s
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Vocal Type: Warm mezzo with comedic timing
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Traits: Wry, controlling, competitive (especially with her husband Harry), struggles with dieting but is obsessed with food, practices karate as an outlet.
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Best Fit: A natural comedian who plays physical and verbal comedy well.
HARRY (Baritone, B2–E4) / (Harriet shortened to Harry)
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Age: 30s–50s
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Vocal Type: Baritone with warmth
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Traits: Sarcastic but affectionate, struggling with sobriety, loves Sarah but locked in their competitive marriage dynamic.
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Best Fit: Strong comedic actor with an earnest, affable quality.
Audition pieces:
Scene(s)
Act 1 Sc 2 (Harry and Sarah’s apartment - e-script p 9-10 SARAH
‘Goodness, Robert, all the questions!’ to ROBERT ‘I’m terrified!’
Song(s)
Sorry Grateful V1 (Harry) Poor Baby (see markup) (Sarah) - Actors may also
be invited to audition for soprano solo in ‘Not Getting Married’ either at audition or at a later date.
COUPLE 2
SUSAN (Soprano, A3–G5) / (Steven)
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Age: 30s–40s
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Vocal Type: Light, lyrical soprano
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Traits: Sweet, southern, seemingly naïve but actually quite self-aware. Separates amicably from her husband Peter but remains friendly.
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Best Fit: A performer who can play both gentle and unexpectedly shrewd.
PETER (Tenor, B2–G4) / (Peta)
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Age: 30s–40s
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Vocal Type: Light tenor
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Traits: Ivy League, affable, easygoing, plays the peacekeeper, possibly closeted. Enjoys teasing Bobby about his lack of commitment.
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Best Fit: Actor with natural charm and warmth, strong chemistry with Susan.
Audition pieces:
Scene(s)
Act 2 sc 3 (e-script p 56 - 57) (with Marta and Bobby)
Song(s)
Have I got a girl V2 (have I got a chick etc) (Peter) Poor Baby (see markup)
(Susan) - Actors may also be invited to audition for soprano solo in ‘Not Getting Married’ either at audition or at a later date.
COUPLE 3
JENNY (Soprano/Mezzo, A3–G5) / (Jeremy)
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Age: 30s–40s
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Vocal Type: Light soprano, initially uptight, becomes more outgoing when inebriated, loves her husband but sometimes feels overpowered by him.
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Best Fit: A performer who can play straight-laced but with an underlying spark.
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N.b. the actors playing Jenny and David may be required to smoke / fake smoke on stage.
DAVID (Baritone, B2–E4) / (TBC)
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Age: 30s–40s
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Vocal Type: Classic baritone
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Traits: Laid-back, seemingly relaxed but subtly controlling. Loves Jenny but enjoys his independence.
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Best Fit: Actor who can play cool and subtly domineering.
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N.b. the actors playing Jenny and David will be required to smoke on stage.
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Audition pieces:
Scene(s)
All of Act 1 Sc 3 e-script p 21-27 but focus on JENNY ‘It’s too small’ - JENNY
‘Let’s laugh to ourselves’ and the end of ‘You could drive a person crazy’ p26 up to end of scene. We might ask you to read the section from p23 - 24 against potential Bobbies so please familiarise yourself with it.
Song(s)
Sorry Grateful V2 (David) Poor Baby (see markup) (Jenny) - Actors may also
be invited to audition for soprano solo in ‘Not Getting Married’ either at audition or at a later date.
COUPLE 4
AMY (Alto/Mezzo, G3–G5) / (Jamie)
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Age: 30s–40s
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Vocal Type: Mezzo with ability to patter-sing (“Getting Married Today”)
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Traits: Neurotic, self-deprecating, hilariously anxious, deeply in love with Paul but terrified of marriage.
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Best Fit: A high-energy comedic performer who can deliver rapid-fire lyrics with precision and then spin on a penny and break our hearts.
PAUL (Tenor, B2–A4) / (Belle)
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Age: 30s–40s
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Vocal Type: Warm, steady tenor
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Traits: Deeply patient, devoted to Amy, the calm in her storm, understanding but firm.
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Best Fit: Strong actor with an earnest, supportive presence.
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Audition pieces:
Scene(s)
Act 1 Sc 6 (E-script p 35 - 41) please familiarise yourself with scene and song
- particular focus on P37 PAUL Amy? To AMY What did I just do?
Song(s)
Not Getting Married (Today is for Amy (Paul) / Pardon me is everybody there etc (Amy))
COUPLE 5
JOANNE (Alto, G3–G5) / (Joe)
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Age: 50s–60s
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Vocal Type: Low, smoky alto with belt
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Traits: Acerbic, sophisticated, cynical but deeply perceptive. Loves Bobby in a maternal yet flirtatious way. Delivers the show-stopping ‘Ladies who lunch’ - Best Fit: A powerhouse actress with sharp comedic timing and strong belt. Needs gravitas and presence.
LARRY (Baritone, B2–E4) / (Carrie)
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Age: 50s–60s
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Vocal Type: Warm, smooth baritone
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Traits: Affectionate and patient with Joanne, understanding of her cynicism but deeply devoted. Successful, easygoing, and confident.
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Best Fit: A strong singer-actor who can balance charm with quiet strength.
Audition pieces:
Scene(s)
Act 2 Sc 4 (e-script p58 - 63) focus on p 58 - 59 and 61 - 63 up to ROBERT
‘What do you get?’ but please familiarise yourself with the whole scene as we may ask you to read against potential Bobby candidates.
Song(s)
Sorry Grateful V2 / Have I Got A Girl (Larry) Ladies who Lunch (Joanne - particularly the last section)
Bobby’s love interests
Recalls or later stage auditions may include a harmony workshop on ‘You Could Drive a Person Crazy)
MARTA (Mezzo, A3–G5)
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Age: 20s–30s
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Vocal Type: Mezzo with strong belt
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Traits: Free-spirited, opinionated, a true New Yorker who loves the city and its chaos.
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Best Fit: Performer with a vibrant presence and strong belt for “Another Hundred People.”
Audition pieces:
Scene(s)
Act 1 Sc 5 (e-script p33-34) (plus please familiarise yourself with 2.3 in case we ask you to read against Peter/Susan)
Song(s)
Another Hundred People (Verse 3 with the big belty endy bit)
You Could Drive a Person Crazy (harmony check)
KATHY (Soprano, A3–A5) / TBC
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Age: 20s–30s
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Vocal Type: Soprano with warmth
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Traits: Sweet but independent, kind-hearted, ultimately leaves New York for a more traditional life.
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Best Fit: Strong actress with a warm, engaging voice.
Audition pieces:
Scene(s)
Act 1 Sc 5 (e-script p31-32)
Song(s)
You Could Drive a Person Crazy (Tune)
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APRIL (Mezzo/Soprano, A3–G5)
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Age: 20s–30s
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Vocal Type: Mezzo/soprano, ability to sound a bit naïve
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Traits: Sweet, guileless, an airline stewardess, not the brightest but sincere and affectionate
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The actors playing Bobby and April will need to be guided by what the other actor is comfortable with and demonstrate respect and mutual care at all times.
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Audition pieces:
Scene(s)
Act 1 Sc 5 (e-script p30-31)
Act 2 Sc 2 p 51 (e-script p50 - 51) monologue with Bobby (we may also ask you to read against Bobby auditionees so please familiarise yourself with the rest of the scene)
Song(s)
Barcelona / You Could Drive a Person Crazy (harmony check)
RECOMMENDED LINKS
Suggested videos to watch for research
https://www.youtube.com/watch?v=tWsG2dEoUsA - Original Cast recording Doc
https://www.youtube.com/watch?v=1KCCOgfrrXo - interview
https://www.youtube.com/watch?v=aR80qiXgMuQ - Teaching ‘Not Getting Married
https://www.youtube.com/watch?v=PrRDrz53Q1E Not getting Married (M Kahn)
https://www.youtube.com/watch?v=9dErlxofCDE - who sang NGM best
https://www.youtube.com/watch?v=oTsuK_HGFJg Ladies who Lunch - Lupone
https://www.youtube.com/watch?v=wXLpg5vSGwc Ladies who lunch - Stritch
https://www.youtube.com/watch?v=j8kYfPoHyos Being Alive (Esparza)
https://www.youtube.com/watch?v=vMAexaCpptc - Not getting married 2018
https://www.youtube.com/watch?v=AzA97oMW2_M Marry me a little (Esparza)
https://www.youtube.com/watch?v=qDCkZCsvabY Being Alive (Craig)
PROVISIONAL SCHEDULE
