Interview: Seth David Mitchell And Adam Roberts of COMPANY at Roustabout Theatre Company

In an in-depth interview, Roustabout Theatre Company co-founders Seth David Mitchell and Adam Roberts discuss their vision for the company, their appreciation for Austin's artistic talent, and their upcoming debut production of Stephen Sondheim’s Company. Born from a shared passion for Austin’s artistic talent, Roustabout aims to elevate local theater and connect it to the national scene, eventually touring work to cities like New York. 

(Transcript was edited for conciseness and clarity)

Sabrina: It's great to be here with the two of you. Thank you for taking the time to talk to me. Let's start with some insight into your new venture, Roustabout Theatre Company. What inspired you to launch this venture, and what do you hope to achieve?

Seth: The main inspiration behind Roustabout comes from our shared passion for the talent in Austin. Adam and I have been working together for years. We first worked on a cabaret we put together here in Austin at Parker's Club and then took it to 54 Below in New York. That experience made us realize that there's so much potential here—so much raw talent—and we wanted to create a platform to showcase it. We're trying to push the boundaries of Austin theater, elevate it, and take it beyond where it is right now. The idea is that RoustAbout isn't just about Austin; we want to bring shows and talent from here and showcase them in other cities, like New York and beyond. It's about making a statement: Austin is more than just the Live Music Capital of the World; it's a thriving arts zone and a theatre zone.

Sabrina: That's inspiring! Seth, can you tell me more about your background and how you ended up in Austin?

Seth: Sure! I started studying classical music in college but didn't pursue it after that. I ended up in LA, where I worked in film—acting, producing feature films, and working on other projects. Then, in 2016, I worked with Impro Theater in LA, where we studied playwrights like Chekhov and performed improvised plays in their style. That inspired me to get back into acting and step back into the world of musical theater, trying to navigate my career in LA and considering becoming bi-coastal between LA and New York. Just as I was ready to fully commit, COVID hit. In 2020, I found myself in Austin, trying to make sense of where the film, TV, and theater industries were headed. Fortunately, I met Adam, and it was in 2021 when we put our first cabaret together. Performing in that cabaret was something I had never envisioned for myself, but it turned out to be a great opportunity at the Soho House. From there, my involvement in theater has only continued to grow. While developing my theater projects, I've also co-founded an arts collective in town called Take Vienna, along with my good friends Matthew and Michelle Taylor. Our goal with this collective is to encourage local artists to create their own work and advocate for themselves. We focus a lot on film projects and have collaborated with dancers. My journey has been quite varied, and I'm one of those artists who self-produces my work.

Sabrina: And that is the way to do this!

Adam: Building on what was said about the concept, this initiative will eventually take productions and events to other cities, connecting Austin further into the national conversation. This is the genesis of the company's name, "Roustabout," which was a term or concept that referred to individuals who would go to cities in advance of productions, shows, and circuses to do the necessary setups, such as theaters and tents, etc., and then bring the shows to those locations.

Sabrina: I was wondering where the name came from! Now, tell me a little about the productions Roustabout Company plans to produce. Are you considering doing select shows or building up to an entire season?

Seth: We've had a lot of conversations about where we want to go next, and we're still figuring it out. Our primary focus is on making this first production a success. I'm a "one step at a time" person, so we're not jumping ahead too much. Once we get through the first show, we'll evaluate what worked and what didn't and then decide what's next. But down the road, I think we want to explore a mix of different kinds of shows, including musicals, plays, and possibly even cabarets. The idea is to keep the energy fresh and see how we can grow.

Adam: And Company is a good show to do that. When you're talking about New York, other cities, and the realities of city life, that would also be a nice jumping-off point for a first production.

Adam: Seth, would you like to discuss the optimism in our mission and how we chose our show?

Seth: Sure! You know, Company tackles some deep themes. It dives into issues of maturity, loneliness, and even depression. It's fascinating how the show ends on an open note. Some might argue that it leaves things unresolved, but I see it as an invitation for the audience to reflect on their own lives and relationships. It encourages audiences to be honest and vulnerable, which is so important. We want to do shows that bring laughter and artistic excellence and nourish the soul, allowing it to grow. Here in Austin, the sense of community is something truly special, especially coming from LA - not to knock LA, of course. There's a warmth and connectedness here in Austin that feels refreshing. That's why Roustabout is committed to producing shows that inspire personal growth and encourage viewers to engage with their own journeys.

Sabrina: Are you primarily interested in published works, or do you hope to eventually produce new works as well?

Seth: In the long term, it would be great to do both. It would be great to find some of those classics that don't get done as often. But I also would like to do new work that fits our mission, as far as lifting the soul and bringing joy and hope to the audience. I think art should always grow, so new works would definitely be exciting.

Sabrina: Company is a powerful production to kick off your journey with. What do you want the audience to know about the show before they walk into the theater?

Seth: For me, it's all about the characters and the human connections. Even though Bobby is at the center of the story, every character has their moment. I hope the audience leaves thinking about their relationships—how they connect with others and sometimes use distractions to avoid their own issues. It's a show about loneliness, growth, and the possibility of change. And I think it's especially relevant today, given how many people are struggling with isolation, even in a more connected world than ever.

Adam: I hope the audience feels pride in the talent we have here in Austin. This is a big production, and it's all local talent—from the actors to the designers to the musicians. I want people to leave saying, "Wow, I didn't realize the level of artistry that exists in Austin." Company is an ambitious show, and it's an opportunity for us to showcase what Austin can do.

Sabrina: As a Latina, I personally find diversity in the arts to be very important. How do you plan to approach that with Roustabout?

Seth: I believe that when we were assembling this cast, it was crucial to reflect the essence of New York itself. I mean, New York is incredible; it doesn’t matter where you live or your background—when you get into the subway and look around, you’re surrounded by people who look different from you. So, it was important for us to mirror New York in that context. Looking ahead to other shows, I find it encouraging to think that we’ve achieved a meaningful level of diversity within our cast. It was a straightforward process for us; we selected individuals based on their talent and ability, and while we kept diversity in mind, it naturally fell into place because there’s so much talent in Austin.

We definitely want to continue to include as many voices as possible because, ultimately, our art is only as powerful as its diversity. This encompasses cultural backgrounds as well as philosophical perspectives. There’s a richness in thought diversity as well as cultural diversity, and we want to embrace all of that because the conversation in art should always be big.

Sabrina: That's wonderful to hear. What about making theater more accessible to the public? As we've seen in cities like New York, ticket prices are skyrocketing. How do you plan to address this in Austin?

Seth: We want to ensure the show is accessible to everyone, which means we can't charge Broadway prices. Honestly, it's often shocking to see the ticket prices in New York, but luckily, they are not the same in Austin. As we look ahead, we will need to navigate the balance between nonprofit and for-profit models, but as of right now, we are a for-profit entity, although we are purposely running this production at a loss as a proof of concept with great partners and investors that allowed us to do that.

If we plan to produce traveling shows in the future, we need to prioritize light and nimble productions, which will allow us to control costs effectively. This is always part of our thought process: how to keep expenses low while still achieving artistic excellence. It's crucial that we provide an enjoyable experience that people can afford.

Adam: In addition, we're considering ticket prices in the range of $30 to $40. This aligns with the idea that these prices are about half of what most regional theater productions charge. Our goal is to attract a diverse audience and promote a variety of perspectives while also establishing a proof of concept for future productions.

Sabrina: Finally, what is the main takeaway that you want for the audience?

Adam: I hope the audience sees the incredible talent involved in this production. This includes not just the actors but also the designers, musicians, Production Team, creative team, and everyone handling logistical tasks. I estimate that around 50 to 60 people have contributed to this production in some capacity at various points along the way.

I would love for the audience to recognize the scale of this musical, which isn’t often attempted in Austin, and that all the talent involved is local. This is something I'd be thrilled for people to appreciate. As you know, tackling a Sondheim piece is no small feat, and Company is particularly challenging. The ability to cast this show and bring together a team of designers and creative members who are not only highly skilled but also excellent interpreters of the material is essential. They bring fresh perspectives and new ideas to the production.

We are presenting a version of Company that no one has seen before, set in the Columbus Circle subway station. It’s centered on the theme of passing time—those moments when you’re on the subway in New York with your AirPods in, reflecting on life. This immersive experience allows you to feel as though you are right there on the subway platform.

All of this requires immense creativity behind the scenes. I hope audiences leave with an appreciation for the quality of the art, and I believe Seth has some thematic insights to share as well.

Seth: I would emphasize the talent aspect of the production. One thing I really loved when we discussed being part of Company is that while I’m thrilled to play a dream role, this musical features a cast where every single member has a deep and layered character to explore. Each actor has their moment, so it’s not just Bobby’s show; it’s everyone’s show. That’s really exciting to me because everyone gets the chance to shine and to play.

For me, Company has always been significant; I think every musical theatre actor dreams of working with Sondheim at some point in their career, but specifically for me, it’s always been Company. I recently had a conversation about the theme of male loneliness, especially in 2020, where we discussed how loneliness affects many people. I love the theme of learning to be vulnerable with oneself and with friends. You can feel lonely even when surrounded by others, and sometimes we use our friends as a way to ignore our problems.

I appreciate that by the end of the musical, in order for Bobby to be honest, he has to step away from everyone for a moment. He says, "You guys have my birthday party; I'm going to be by myself. I’ll call you when I’m ready.” I like that the audience is given a chance to reflect on their own lives afterward. They might ask themselves: What areas am I avoiding in my life like Bobby? What do I need to quiet down, even the noise from people who love me, to figure out what I really want and how to get there?

The play leaves audiences wondering: What will Bobby do? Where will he be in a year? Will he go to therapy? Will he make an effort to connect with people? We don’t have those answers, which invites the audience to consider how they can apply what Bobby learned to their own lives. This open-ended conclusion encourages discussions that we often don’t have in society.

Sabrina: Anything else you want to add?

Adam: This show has something for everyone. Whether you're a longtime theater fan or a first-timer, Company is accessible. It deals with universal themes of relationships, loneliness, and personal growth. You don't need to have been to New York or even seen a musical before to appreciate the story. It's a show that speaks to the heart.

Seth: I totally agree. There's humor, depth, and something for every kind of audience member. Plus, it's an immersive experience that brings you into the heart of New York's Columbus Circle subway station, which is unique for Austin. It's a chance to experience a world-class production in our own city.

Sabrina: Well, I'm excited to see it! I wish you the best of luck with the show, and I can't wait to see it on opening night.

Seth and Adam: Thank you so much! We're excited to have you there.

Company

Book by George Furth 

Music and Lyrics by Stephen Sondheim

Roustabout Theatre Company

St. Andrew's Dell Fine Arts Center

5901 Southwest Pkwy, Austin, TX 78735, USA

Opening Night: March 27th, 2025 @ 7:30 PM

March 27th thru March 29th at 7:30 PM

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