Casting
Working Draft - Refined Version
Active Roles
The following roles are most active in this phase. Each role’s specific tasks live in their own doc’s By Phase section, and the orientation paragraph for each role × phase lives in Phase Overviews.
Director · Music Director · Choreographer · Stage Manager · Production Manager · Producer
Introduction
Create a cast based on the needs of the show and where the production fits in the Encore programming (Jr. Series, Emerging Artist, and Show with a Pro). It is important that the Director, Choreographer, and Music Directors have a thorough understanding of Encore’s mission and how the given production serves that mission before going into casting.
“Character is plot, and casting is character.”
Scheduling
Dates for auditions should be scheduled in collaboration with the Producers, Production Manager, Stage Manager, Director, Choreographer, and Music Director. Coordinate with marketing to be sure the audition dates are well-advertised and that young artists have plenty of time to prepare.
Pre-Audition Planning
Before auditions begin, the creative team should discuss:
- Ideal cast size based on conversation with producers, available resources, and educational goals
- Whether young artists will be cut or if all will be included
- If roles will be double cast
- Any particularly challenging roles that may require creative solutions
- Accommodations that might be needed for young artists with disabilities or special needs
Audition and Callback Dates
The audition dates should ideally be at least 3 weeks before the first rehearsal, with callbacks about 2 weeks before first rehearsal. This allows time to plan around conflicts and recast anyone who may not accept a role.
Important: The entire production schedule (rehearsal, tech, and run) should be communicated before auditions commence. All young artists and parents should acknowledge and express any conflicts before they audition.
The Audition Form
Young Artists auditioning for an Encore production should be instructed to arrive with a headshot and resume stapled together back to back (when flipped over, you see the headshot on one side, and the resume on the other).
At the audition, they should be provided with an audition form that has:
- Their audition number and name clearly written at the top (by someone from the audition team so that it is legible and uniform)
- Fields for height, age, vocal type, any conflicts
- A section for casting preferences*
- About half the form left blank for the creative team to make notes
- A signature area for both the young artist and parent to confirm they have reviewed the rehearsal and performance calendar and all conflicts have been disclosed
This form should be stapled over the young artist’s resume on the top left corner (so that lifting it reveals the resume, and turning it over shows the headshot). This packet should be handed to the creative team as the young artists enter the audition room.
The young artists should have the opportunity to disclose if they are willing to accept any role in a production, or if there are only certain roles they will entertain. The creative team can use this information as they wish.
Post-Audition Process
The creative team should plan a session immediately or soon after the initial auditions to confer on who should be called back for what role. While young artists may be called back for more than one role, ensure that:
- If they are given material to learn, plan enough time during the callback for all to get through most of the requested material.
- Young artists are notified of which role(s) they are being called back for.
- They are given a link to a Google Drive (or similar) folder with their callback information.
Be mindful of how many kids are being called back, how much material they’ve been given, and if they will be dancing at a callback. A callback schedule should be created based on the information gathered during the initial audition.
Callback Folders
The Director, Music Director, Stage Manager, and other creative team members should create folders with character names that include:
- Any callback material
- Guide tracks (“plunk tracks” — pre-recorded piano tracks that play the melody to aid singers in learning)
- Other materials needed for preparation
Young artists should be given access to the material 3-5 days before the callback to give them time to prepare. This should include short cuttings of songs the character sings, sides (a few pages from the script), or both depending on the creative team’s discretion.
Tip: Try to find cuttings of songs and scenes that include multiple characters. This gives young artists an opportunity to do scene work and allows the creative team to get through material quicker as well as evaluate potential chemistry between actors.
Callbacks
Callbacks should be treated as a learning opportunity:
- For the creative team (young artists might surprise you, especially if they have done their homework).
- For the young artists themselves.
Challenge them to make new choices and lean into the opportunity to have an acting partner at the callback. Stay open-minded and encouraging.
Ensure that enough people are staffed for the callback. While you may have many members of the creative team present, they should not be worrying about timelines, managing groups of young artists, which rooms are being used, or monitoring behavior outside the audition room. The Stage Manager should handle the executive function with the help of several other staff and leave the Creative team to do just that — create.
Role Offers
While the thrill of receiving news that you’ve been cast in your dream role is exhilarating for a young artist, the news of rejection can be equally impactful. Always handle this information with the utmost care and delicacy.
Recommended Process
- Start with offers of bigger roles.
- Move to smaller roles.
- Then ensemble.
- Lastly, share the news that a young artist will not have a spot (if cuts are being made).
As offers are being made, ask the young artists to be discreet until the entire cast list has been announced. This allows flexibility if someone is unable to accept a role and another young artist may be promoted without emotional distress. For example, it can be hard on a young person’s psyche to be told they don’t have a role only to be called a few days later and told they now do.
Communication Method: All offers should be made via email to ensure clarity and documentation.
Launch Day (parent meeting)
Launch Day should be held before or on the first day of rehearsal — the official community welcome event that combines design reveals, team introductions, and parent orientation in one gathering. The parent-meeting portion should include:
- Review of expectations on attendance
- Emphasis on punctuality
- Discussion of work ethic requirements
- Signing of contracts by both guardians and young artists
Conclusion
The casting process — from auditions through callbacks and formulating the cast — is often the most challenging part of the production. It should be planned carefully and executed with grace, encouragement, and kindness.
The key to success is managing expectations while being as supportive as possible to all young artists, whether they receive their dream role, a smaller part, or are not cast in this particular production.
Related
Status: Working · Portal: Team · Last reviewed: 2026-05-11 · Owner: Rhett