333 W. 39th Street – Suite #800, New York, NY 10018 // (212) 564-6700 //

PAW Patrol Live! The Great Pirate Adventure! – open auditions/2017


PAW Patrol Live! The Great Pirate Adventure!

We are holding an OPEN audition day for non-Equity performers for PAW Patrol Live! The Great Pirate Adventure.  Scroll down for further instructions and a full breakdown of all characters, etc.

Our Open Audition Day is set for Friday, July 7th, 2017.

Electronic registration via our online sign-up system is now OPEN!


To attend, please CAREFULLY follow these three steps:

Step 1.) Register for our Electronic Audition Registration System (or retrieve your login information if you have previously used our system.)  

Step 2.) Visit http://audition.michaelcassara.net and select the PAW Patrol Live! audition option – appointments are subject to availability and first come, first served.  

Step 3.) Upon successful registration, you will be e-mailed a confirmation and instructions.  It will also appear on the website; we encourage you to print or save these instructions, in case your e-mail is somehow lost in the shuffle.


If timeslots are full, we WILL see same-day alternates as time permits. Come to Pearl Studios, 500 8th Avenue, 12th Floor – Room #1215, between 10 AM and 3 PM on Friday, July 7th.


A few notes:

  • Please come prepared to sing, even if you consider yourself more of a dancer. Bring sheet music (a brief, light pop/rock selection is ideal) and PLEASE BRING a headshot/resume.
  • All performers MUST be over 18 and Non-Union.


A full breakdown follows below.

If you’re unable to attend the Open Audition Day, feel free to submit via ActorsAccess or via e-mail to: submissions@michaelcassara.net

or Mail/Messenger submissions ASAP to:

Michael Cassara Casting
333 W. 39th Street – Suite #800
New York, NY 10018


Nick Jr.’s action-adventure preschool series will be racing nationwide starting this fall. Tour will usually play 2 cities per week, occasionally 1 or 3 cities. Average 6-9 performances per week – each show is about 75 minutes long. Cast and crew typically travel in charter buses from city to city. Professional crew, merchandise, and management teams travel with each show; cast members do not double as crew or company management. Additional compensation is also provided for specific situations, such as performing in three shows on one day, performing in ten or more shows per week, or early morning publicity calls.

SALARY: $500/week, Per diem $346/week (minus a maximum of $192.50/week per person for a hotel room, double occupancy). Health insurance, 401k, and other benefits are offered. Understudies receive additional compensation. Minimum 6-month tour contract (plus rehearsals)

PAW Patrol Live! sets sail with a new pirate adventure!
X barks the spot in the new tour PAW Patrol Live! The Great Pirate Adventure! It’s Pirate Day in Adventure Bay, and Mayor Goodway is getting ready for a big celebration! But first, Ryder and his team of pirate pups must rescue Cap’n Turbot from a mysterious cavern. When they do, they also discover a secret pirate treasure map! The PAW Patrol set out over land and sea to find the treasure for Mayor Goodway’s celebration before Mayor Humdinger finds it first! The pups will need all paws on deck for this pirate adventure, including some help from the newest pup … Tracker!



[ACTOR #1] male, 18+, any ethnicity, 5’5” – 5’9”, slim to athletic build. To play RYDER, the leader of the Paw Patrol, an active/heroic 10 year-old-boy. RYDER adopted each of the pups and trained them to be part of the PAW Patrol. When he receives a distress call, he summons the pups to action. He functions as the team commander picking the right pup for the job, organizing the pack, and making sure they all get a healthy reward. Must be a strong singer, mover, and actor. NON-EQUITY PERFORMERS ONLY.

[ACTOR #2] male, 18+, any ethnicity, 5’8” – 5’10”, slim build. To play MARSHALL, THE FIRE PUP: a funny, sometimes clumsy Dalmatian, who is an excitable, all-action, 6-year-old. He’s always ready to roll. MARSHALL drives much of the show’s physical comedy. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #3] male, 18+, any ethnicity, 5’8” – 5’10”, athletic build. To play CHASE, THE POLICE PUP: an athletic 7-year-old German Shepherd who is a smart, ‘by the book’, natural leader. He can lead traffic down the right detour, block off dangerous roads, and solve any mystery. He can sniff out anything but is allergic to cats. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #4] female, 18+, any ethnicity, 5’0” – 5’2”, athletic build. To play SKYE, HELICOPTER PILOT PUP: a daredevil Cockapoo. SKYE is cute, smart 7-year-old. She is a fearless daredevil who will try anything with grace and a smile. She’s smart, loyal and quick with a quip. She sometimes gently teases the bigger pups who can’t seem to keep up! Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #5] male, 18+, any ethnicity, 5’4” – 5’6”. To play RUBBLE, CONSTRUCTION WORKER PUP: a tough little Bulldog. RUBBLE is a tough, gruff 5-year-old with a heart of gold and a soft spot for Elvis. Not only is he strong and eager to help, he’s funny and unexpectedly sweet! Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #6] female, 18+, any ethnicity, 5’5” – 5’7”, athletic build. To play ROCKY, RECYCLING PUP: a mix breed who can fix things. ROCKY is a 6-year-old who is a creative canine with a thousand ideas. Oftentimes, someone else’s trash is his treasure. He can get a little scruffy. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #7] female, 18+, African-American, 5’2” – 5’4”, athletic build. To play ZUMA, WATER RESCUE PUP: a playful Labrador who is the youngest pup. ZUMA is a water-loving 5-year-old. A happy, energetic beach puppy who loves to laugh and surf. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. Also understudies MAYOR GOODWAY. NON-EQUITY PERFORMERS ONLY.

[ACTOR #8] male, 18+, Caucasian 5’6”-5’8”, slim build. To play CAPTAIN TURBOT, Adventure Bay’s quirky fisherman/marine biologist. Must be a strong singer, mover, and physical comedian. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #9 (MAYOR GOODWAY, ETC.)] female, 18 – 35+, African-American. To play MAYOR GOODWAY, the beloved, oddball Mayor of Adventure Bay who tends to be overdramatic. Her best friend is Chickaletta, a small chicken she carries in her purse. Must be a strong comedian. Puppeteer skills are a plus. Does NOT need to be a strong singer – performers who can “carry a tune” are fine for this role, only ensemble singing. NON-EQUITY PERFORMERS ONLY.

[ACTOR #10 (MAYOR HUMDINGER, ETC.)] male, 18 – 35+, Caucasian. To play MAYOR HUMDINGER, our ridiculous antagonist, mayor of Foggy Bottom, rival to Mayor Goodway. He travels with his Kitty Catastrophe Crew, the nemesis of the Paw Patrol. He’s sometimes grumpy and always conceited. He has a win-at-all-costs personality and even cheats in order to win. Must be a strong character actor and singer. Puppeteer skills are a plus. NON-EQUITY PERFORMERS ONLY.

[ACTOR #11] male, 18+, Latino. 5’6″ to 5’9″. To play TRACKER, a jeep-driving pup with super hearing. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. Should be able to speak a few words in Spanish but does not have to be completely fluent. NON-EQUITY PERFORMERS ONLY.

[FEMALE UNDERSTUDY] female, 18+, any ethnicity, 5’2”-5’4”. Covers female characters and plays some small roles in every show. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.

[MALE UNDERSTUDY] male, 18+, Caucasian. Covers all male characters and plays some small roles in every show. Must be a strong singer, mover, and actor. Puppeteer and costume skills are a plus. NON-EQUITY PERFORMERS ONLY.



Off-Broadway Alliance Panel – Recording Online

Michael participated in an informative panel discussion back in June, 2014, with fellow casting director Cindi Rush, general manager Scott Newsome and moderator Hugh Hysell.  The Off-Broadway Alliance has released a recording/podcast on its website, give it a listen to learn more about the casting process behind off-Broadway plays and musicals.

Michael has written the foreword for The Business of Show

Are you an aspiring performer?  Or perhaps you or someone you know is considering or pursuing a life in the performing arts?

I recently wrote the foreword to The Business of Show, a brand new book by friend and collaborator, Adam Cates. I have read this book from cover to cover and think it is the *most* useful and relevant volume an aspiring actor, singer (and/or!) dancer can read – and it’s particularly helpful for current college students, recent grads, etc. I can’t recommend it enough (please be sure: I have no financial stake in this) I just think it answers SO many of the questions facing today’s performers and belongs on every bookshelf. And, with the Amazon Kindle edition under $10, and the published edition under $20, it’s a steal. (Additionally, copies purchased via this link will support The Lambs, Inc., America’s first professional theatrical club!) 

Michael on the “hurryupandwait” Podcast

Had an awesome time as this week’s guest on the hurryupandwait podcast, chatting with hosts KC Wright and Ethan Saks. This podcast is for actors, by actors – and we spent an hour discussing many topics and industry-related issues. Give a listen online – or download to iTunes for free!  





The morning after the hills were (a)live.

The Sound of Music - Season 2013Last night NBC brought us a live, theatrical event – by their own description, the first of its kind in over 50 years – a broadcast of (more or less) the stage version of The Sound of Music.  

This morning, my Facebook and Twitter feeds closely resemble a warzone – a warzone full of opinions, many of which are opinions about opinions.  Plenty of strains of “how dare you criticize this, it provided work for hundreds of people and exposed millions to our artform” have been greeted with passionate chants of “how dare you criticize me for speaking my mind” – and, you know, everything in between.  As with anything on the internet, a bit of rational objectivity can go a long, long way.

Should artists Tweet about other artists?  Should anyone Tweet while watching a piece of art?  Is our culture moving to a place where the majority of its denizens will no longer take risks – they will merely comment on the few who actually do put themselves on the proverbial line?  These are the big questions that many people are pondering this morning – and I think it’s an exciting discussion to have.

At the end of the day, “there’s no wrong way to eat a Reese’s…”  Discussion is healthy, and frankly – how incredibly wonderful it is that people, young/old/near/far, were able to share a common experience, and talk about it.  As for the broadcast itself, I’m not a critic and don’t have much interest in dissecting what worked or didn’t work, but I did notice a few things worth mentioning.   

Broadway regular Bret Shuford raised a wise point:


Of course, the 1965 film did not have an audience – but it was also a film, employing authentic scenic elements, mountains, lighting, and on and on and on.  Would it have made a difference to add a studio audience to the broadcast?  It certainly would have been a different experience for us – though I’m not sure that it would have been better or worse.  Instead of semi-snarky tweets about the broadcast feeling like a soap opera (I’m guilty of one of those, for the record), we would probably have been greeted with semi-snarky tweets about it feeling like The Cosby Show – or wondering if Fonzie would be getting more entrance applause than the Mother Abbess.  

Slam dunks are rare in the arts; universal acclaim is non-existent.  The difficulty here is that its source material (or at least the original film version thereof) is as close to being universally beloved as anything I can think of (though, even it has its detractors) – so,  when you stop and reflect upon it, it’s easy to be struck by what a courageous and risky decision this entire prospect was from the outset.  But – just because something’s risky and/or employing people, doesn’t mean that we have to adore it.  What prompted me to write down these musings is the question for which I do not claim to know the answer: is it possible to be supportive and snarky at the same time?

I have been a casting director in NYC for the last 11 years.  I have worked on brilliant shows.  I have worked on lousy shows.  I have worked on brilliant shows that some people felt were lousy, and also the reverse.  I have worked with and know most of the people who were involved in last evening’s broadcast – some of them are good friends – and, as it is for me, their participation in any show/broadcast/movie/tour or other job is just that – a job (and, by its very nature, a pursuit in which I want to support them.)  Sometimes we get lucky and a job is immensely fulfilling on both artistic and financial levels – sometimes on neither.  But let us not be terrified by the notion that, if we speak critically about anything that is produced, then nothing else will be produced.  Did I have quibbles and/or massive issues with last night’s broadcast?  Yes.  Were there also things about it that I absolutely loved – things that I never would have had the creativity to think of myself – things that moved me and made me feel wonderful?  Yes.  And I would hate to think that any of the artists involved would be discouraged to continue creating because of a social media punchline. So where do we draw the line?

When I was 18, I worked as a production assistant on a Broadway-bound musical (that never quite made its way to New York.)  A much-beloved, famous actor was starring in the show and showed me enormous kindness, letting me pick his brain on all of the things about which I was curious.  One night he was speaking about a well-known writer he had worked with – saying quite negative things.  A few months later I was visiting New York City and having dinner with Peter Filichia, the mensch of all mensches and one of the smartest theatre journalists in the biz.  When the topic of the well-known writer happened to enter the conversation, I regurgitated the much-beloved actor’s negative statement word-for-word – speaking with conviction, as if I had ever even met the person in question.  Peter accepted my comment at face value and, like the wise former school teacher he is, waited until the end of the evening to ask me “so, where’d you get that?” – knowing that it couldn’t have been my own original thought.    

A few hours before The Sound of Music aired last night, the world learned that Nelson Mandela had died at age 95.  That created an interesting contrast, with many people concurrently bitching about NBC’s broadcast, while posting things along the lines of:


Now, of course, that’s not too far off from a similar sentiment once expressed by another of our elder statesmen – the one who had a bit of a hand in last night’s main event.  So I think back to how readily and easily I repeated what I was taught, back when I was starting out and wanted to seem wise and knowing – and it makes me realize that, particularly for those of us who do work in the entertainment industry – that we have an obligation to be role models – not even in what we say, but in how we say it.  Heroes may be few and far between these days (just look at the heartache of professional baseball) but we can all strive to communicate in the honest and constructive ways whenever we’re given the opportunity.  

I include myself in this proclamation, by the way.  I tend to have strong opinions (particularly when the American musical theatre is involved) but I also tend to keep a lot of those thoughts far away from the internet.  The social media pulpit is a powerful one and I write in hopes of using that power for good more than just a cheap thrill – all the while remembering that nothing is so precious or holy that it should not be discussed.

At the end of the day, I’m grateful that The Sound of Music exists.  I’m grateful that this TV broadcast was initiated and seen to fruition.  I’m grateful that Craig Zadan, Neil Meron, Bob Greenblatt and others remain forward thinking risk-takers and visionaries.  I’m grateful that my friends and colleagues are able to make a living working in the arts and I’m grateful that I’m able to make a living working in the arts.  I’m also grateful that it was a ratings smash – hopefully that means that more “mass-market” musical theatre events will come to exist in coming years.

And, as I posted last night – right after Audra McDonald sang “Climb Every Mountain”:

If last night’s broadcast is responsible for exposing a new generation to a beloved story (and it, assuredly, is) – well, then I’m exceedingly grateful.