AUDITION MATERIAL: 

• DROPBOX:

  • Sides, Sheet Music and Accompaniment are available now  

  • https://www.dropbox.com/scl/fo/mslg0qqudnk2vqqk97qgn/ALwnY8kakJSgf925eYlSGvk?rlkey=9lmnui5efx3xc2h9534y03e75&st=wrapll4i&dl=0

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AUDITION TIMELINE/AGENDA (2/26):

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• MR. DUVALL, MS. NORBURY/MOMS, JANIS, AARON and KEVIN G: Sing and read

• REGINA and CADY: Sing and read first. If/when all goes well, you will be invited to stay to dance at 2:15pm (SEXY combo). Dance call will be no more than 30-40 minutes.

• DAMIAN, GRETCHEN, KAREN: Sing and read first. If/when all goes well, you will be invited to stay to dance at 5pm (SEXY, possibly IT ROARS and possibly STOP combo). Dance call will be no more than 90 minutes.

• ENSEMBLE/COVERS, ENSEMBLE and SWING: 5pm dance call (no more than 90 minutes). ​ If/when all goes well, next steps after Dance would be:

  • Step 1- Invited to stay for a group sing with new Ensemble vocal cut (we will post new vocal material here asap) 

  • Step 2- If/when needed, and/or all goes well, an individual audition to sing requested material and possibly read

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​AUDITION DATES/LOCATIONS/WHO WILL BE THERE: ​​​​​

• ​All live auditions are by invitation only ​​​​​

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PRODUCER CALLBACKS: February 26th

Location: 15519 Phoebe Avenue in La Mirada. Street Parking or you can park in the lot as long as you do not block anyone in.

 

Who Will Be There: 

Tom McCoy  (Producers), BT McNicholl (LMT Producer), Dana Solimando (Director/Choreographer), Anthony Zediker (Music Director), Julia Flores (Casting Director), Rodrigo Varanadas (Associate Director/Associate Choreographer) and Tayler Mettra (Casting Assistant/Reader)​

 

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CHARACTER NOTES:​​​

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AARON:

• Aaron genuinely has no idea that he’s attractive and he doesn’t care about being “cool.” He’s just himself, all the time. Let there be moments of real, unpolished awkwardness. He’s easygoing, warm and good-natured, not trying to impress anyone.  

• Stay present, connected and curious. He listens and responds genuinely. Cady amuses him because she’s different—not a Plastic (at least at first). Not everything needs to feel “important”; sometimes it’s just simple, honest interaction.

• “Stupid With Love”: Lean into the frustration and mess of dating more.

• Scene 2: We should clearly see that he’s interested in Cady. He can flirt a bit more, but in his way—awkward, unpolished, sincere. Keep the top of the scene light and easy so there’s a stronger contrast when things go south at the end. That shift should land emotionally: he’s genuinely disappointed by who she’s becoming.

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CADY:

• Scene 1 (with Aaron in class): Lean into more of Cady’s awkwardness. At this point she isn’t a social person yet—she’s completely out of her element, and we should see that more clearly. Let the discomfort and unfamiliarity live a bit more. Moments should still feel real and organic, not played or pushed.

• Once Cady embraces her role as a Plastic, she’s fully committed. The Pusher scene and “Blowing Up” should clearly reflect her transition into that world. The real Cady hasn’t disappeared—we still see her in moments like going away with her mom, the conversation with her mom, and her concern about the size of the party—but she is definitely morphing more into a Plastic. We would like to see this both mentally and physically.

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DAMIAN:

• Damian is a performer and loves the spotlight, but he doesn’t need to be “on” and performing all the time. Give yourself permission to simply be. Find moments where we see his confidence, wit and sarcasm too. He is 100% comfortable in his own skin and with who he is; zero apologies.

• Second scene: Dana would love to see his fierce loyalty to Janis. He is in Protector Mode and wants to set the record straight. 

• Song: It might be a challenge with this cut, but we would like to see if you can shape it more so there’s growth to it. In addition to the actual vocals, discover the nuances and moments within the lyrics.

 

MR. DUVALL:

• Heightened comedic choices based in reality.

• He holds the power position of principal, but he’s exhausted by it. He doesn’t want the responsibility anymore—he’s overworked, under-resourced, and deeply done with these kids. The comedy comes from how hard he’s trying to maintain control while clearly losing it.

• You can lean into the dry sarcasm and frayed patience. Like the principal in Ferris Bueller, he’s sincere in his authority but constantly outmatched, which makes him human and funny. He’s not incompetent—just worn down, reactive, and hanging on by a thread.

• Scene 3: Duvall is definitely passing the buck when he asks Norbury to deal with the girls. He wants no part of this drama and uses Norbury’s situation as an excuse to have her deal with this instead. 

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GRETCHEN:

• She is an insecure people-pleaser—a rule follower and a follower in general. Have more fun with the dish and the secrets; there’s excitement in being included. Knowledge gives her security and power. She’s deeply co-dependent with a needy, Type-A personality, and that need for validation should be alive in every moment.

• “What’s Wrong with Me?”
  Let us clearly see the push-and-pull of her insecurities and self-doubt—it should feel like a constant tennis match in her head. On the lyric “Could It Be You,” she’s actively grasping for answers to a burning question, trying to convince herself just as much as she’s searching for the truth.

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JANIS:

Janis is so much more than anger and bitterness. Yes, she acts like she doesn’t care and hides behind anger and humor (e.g., “Why? Aren’t you having an amazing time…”), but underneath there’s still hope (“You could have invited whoever you wanted. You could have changed the way the world works.”). There are also real moments of vulnerability and disappointment (“It’s not my fault that you’re in love with me or something…”). Let these moments land—take them in before responding (you don’t need to pause, but listen and respond. Stay connected). You’re seeing who Cady has become, and you truly believed she was better than that. That realization is what this scene is really about.

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KAREN:

She is 100% comfortable in her own skin and with who she is. No apologies or excuses; she is who she is and is fine with this. The more honest Karen is, the funnier and more human she becomes. We are not looking for a caricature performance in any way. 

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MS. NORBURY/MRS. GEORGE/MRS. HERON:

• Mrs. George: Stereotypical Orange County “Cool Mom”. Always wants to be one of the girls. Comedy comes from truth, not effort; don’t push the jokes. Let the behavior and need do the work.

• Ms. Norbury: Her life outside of school may be a hot mess, but in the classroom she’s competent and effective. She has a dry wit and speaks in a language the kids understand—but she’s always honest and holds them accountable. She doesn’t indulge their BS, and that clarity is her authority.

• Mrs. Heron: She’s truly at a loss with this new version of her daughter; genuinely trying to understand what’s happening, not reacting out of fear or control. She’s a good mom, and their relationship has always been clear, honest, and built on trust…until now. Her mantra is boundaries and accountability, but always wrapped in a whole lot of love.​

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LIVE AUDITION CHECKLIST:

• Please clear ANY AND ALL conflicts and/or contract issues with Julia Flores BEFORE you audition Julia@Florescasting.com

• Please check WHAT TO PREP and SIDES/VOCALS list in Dropbox before auditioning 

  • Choreo will only be asked for on Dance Call days ​

• Please see CHARACTER NOTES above

• Please bring a stapled copy of your Headshot and Resume

• Please be sure that your name is on your headshot (we write them in if they are not). So helpful to see your name on the front too! 

• Please bring a copy of your Actor Contact Sheet 

• Please bring ALL audition material for the role(s) you have been asked to read (and material for any other roles you feel drawn to!)

• Always bring your music book just in case. Thank you!​

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Note: 

• Cady, Regina, Norbury/Moms and Duvall will only dance if Dana asks and they are open to this. No pressure!

• Some actors will be invited to sing first, then if/when all goes well, they will be invited to stay for the movement/dance call.

• Some actors will move/dance first, then if/when all goes well, they will be invited to stay to sing and possibly read.​​​

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