Company Audition Tips

The room gets quiet. You hand your music to the pianist and take a breath. Company is a great choice for your audition. The writing is clean and sharp. It asks for thought, timing, and heart. Audiences hear right away if you can deliver words on the beat. Company first opened on Broadway in 1970, and its craft still holds up today (IBDB). A hit revival won major Tony Awards, keeping these songs relevant for your audition.

Why does it work now? Sondheim’s score feels like real talk set to rhythm. When your words are clear and your pulse is steady, the story shines. Casting looks for three things: clear words, steady rhythm, and clean shifts in thought. Stephen Sondheim said it best: content guides the shape; do only what’s needed, and focus on details (Finishing the Hat).

Cut Ideas for Roles

For Bobbie or Bobby singing Being Alive, the journey goes from fear to a brave yes. A solid 16–24 bar cut can start at “Someone to hold me too close…” and end on the first “Being alive.” Make sure each step of growth feels real. Build the final phrase with breath, not force. Plan a breath before “Somebody hold me…” so the climax feels free.

For Joanne singing The Ladies Who Lunch, timing and bite matter more than volume. A strong cut starts at “Here’s to the ladies who lunch…” and runs to “everybody rise.” Use a chest tone and let your consonants snap. If you hold “rise,” mark it clearly so your pianist knows when to move on.

For Amy or Jamie in Getting Married Today, the patter must sit smoothly. Enter right after the wedding chorale. Practice at 60-70% speed with a metronome, breaking down the beats. Then bring it back to full speed. If you need extra help, check out our recent article about vocal runs at (this link).

For Marta singing Another Hundred People, think city pace and sharp edges. Try “And another hundred people just got off of the train…” to “…it’s a city of strangers.” Keep your vowels clear and consonants short. Let the syncopation carry you.

For the Girlfriends singing You Could Drive a Person Crazy, pick one vocal line and stick with it if singing solo. A swing feel requires clean vowels and tight cutoffs. Smile with your sound while keeping the groove tight.

Preparing the Cut

Make your cut easy for the pianist. Add two clear bars of intro at the top and write “Count-in: 2 bars.” Circle the pickup if you start before the downbeat. If you slow down on a word, note how long you will hold it, like “hold 2 beats on rise.” If you need a loop, write “vamp until nod” and plan your cue. Small markings save time and keep you prepared.

Sondheim sometimes switches meters, like from 3/4 to 4/4. Count the smallest beat for practice. Tap eighth notes with your foot or finger while singing, then zoom out to the bigger beat. Use a metronome at 65%, then 80%, and then 100%. Record yourself to check for unclear consonants at the ends of phrases. A simple method helps too: speak the cut in tempo like a monologue. Add pitches once the tactics are clear.

Acting Choices

Your acting choices should be clear and specific. The 2022 revival switched Bobbie to a woman and updated some lines, changing how scenes land. You don’t need to copy the revival, but know what lane you're in and why (The Tony Awards). Keep your behavior simple. One clear turn at a key line is better than big gestures that confuse the story.

Before your performance, clear your mind. Use box breathing: in for 4, hold for 4, out for 4, and hold for 4. Think of a simple goal for your cut. For Being Alive, you might say, “Show I am ready to risk love.” In the room, pick one small task to focus on, like landing every t, k, and p at the ends of words. This keeps your mind on the work, not worrying about what the panel thinks.

Common Mistakes

Watch out for common traps. Don’t scoop into notes like in pop styles. It hides the rhymes and snap of the text. Don’t add slowdowns that you haven't marked. Your pianist can’t read your mind. And don’t shout the last “alive.” Shape the vowel to AH, with tall space, and let your breath lift you.

Alternate Repertoire

If the panel asks for “Sondheim, not Company,” reach for pieces that challenge similar skills. For lyric-driven storytelling with rhythm, try Into the Woods with songs like “Giants in the Sky” or “Moments in the Woods.” You can rehearse with these (Into the Woods tracks). For fast-paced humor, check out Godspell’s “We Beseech Thee” or pick a witty groove from How to Succeed…

One-Week Practice Plan

A one-week tune-up can help keep you calm. Seven days before, lock your key, mark your cut, and speak then sing in time. Five days before, go for full tempo, record yourself, and fix any unclear words. Three days out, add small staging beats where needed. The day before, do two clean run-throughs with your track. If you make a mistake, fix it quickly, then do one full pass with no stops. Get plenty of sleep.

Use tools to track your time and breath. Work with steady accompaniment to learn vamps, pickups, and holds. Our Company album can help with this process, featuring guide vocals and clean piano cuts (here). When the room is quiet and the panel leans in, you'll know your plan: clear words, a true beat, and honest thought. That is Company.

Content dictates form; less is more; God is in the details.