Producing Org: TBD. Notice: Audition Call Type: EPA.
Friday, February 20, 2026
Pearl Studios (500), 500 8th Ave, New York, NY 10018-6504
10:00 AM - 6:00 PM (E)
Break: 1:30 PM – 2:30 PM
Studio #315 (Audition Room) / Studio #306 (Holding Room)
Off-Broadway: $1,583 weekly minimum (Off-Broadway cat. E).
Producer: Hendel Productions
Director: Sheryl Kaller
Choreographer: Josh Prince
Book & Additional Lyrics: Pamela Gray
Co-Composer & Additional Lyrics: Ann Marie Milazzo
Music Supervisor: Andy Einhorn
Music Director: Jillian Zack
Commercial General Management: Roy Gabay
Casting Director: The TRC Company / Merri Sugarman, CSA
Note: Due to a scheduled system upgrade, signups for this audition will begin earlier than usual. You will not be able to cancel appointments via Casting Call while the upgrade is in process. Should you need to cancel, please make sure to return to Casting Call to complete your cancellation when the upgrades are complete.
Merri Sugarman (Casting Director) and an Accompanist.
All stage managerial positions are currently filled.
Preparation / 1st Rehearsal: on or about May 11, 2026
1st Performance: June 15, 2026
Closing: August 30, 2026
Please prepare a short song or cut of either a 1960s/1970s pop/rock song, or a contemporary musical theater song. Please bring your headshot and resume stapled together.
EPA procedures are in effect for this audition. An Equity Monitor will be provided. Always bring your Equity Membership card to auditions.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
A Walk On The Moon, set in a Borscht Belt bungalow colony the summer of 1969, tells the story of Pearl Kantrowitz (early 30s), a Brooklyn housewife and mother who starts to question her life in the face of her teenage daughter’s judgments of her, the upcoming historic moon landing, and the rapidly changing times. An affair with a “hippie” blouse salesman helps Pearl evolve, leads her to the Woodstock Music Festival, and threatens to destroy her family. The musical is an adaptation of the critically acclaimed 1999 film of the same name.
Female-presenting; 50s; Marty’s mother. Lives in Brooklyn with Marty, Pearl, and the kids. Humorous and wise with a great heart. Not a typical Jewish grandmother. Uses a little Yiddish but is first-generation American. Treasures her two grandchildren and is especially close to Alison. Reads tea leaves and tarot cards, and has a sixth sense which makes her always right — “a curse,” as she calls it. Acerbic and overbearing at times, she gives advice indirectly; it’s more effective to get what she wants by telling a story rather than just telling someone what to do. Like Pearl, she got married and had a child at a young age; abandoned by her husband, she became a fiercely protective single mother. She cares about Pearl — even understands her, but insists that Pearl repair the damage she’s done to the family. Able to sing in a 1960s folk/pop style. Alto.
Male-presenting; 10+ to play 6-years-old; character is Jewish. A delightful little boy who thinks the Catskills bungalow colony is paradise. Loves frogs, salamanders, and his cowboy guns. He laughs at dirty words and all the silly things that 6-year-old boys laugh at. His dad is his hero. He likes to fight with his big sister Alison, but secretly wishes she’d pay more attention to him. Able to sing pop/rock style well enough to carry a tune.
Female-presenting; 20s-30s; character is Jewish. Rhoda is one of Pearl’s group of friends at the bungalow colony where they all spend their summers in the Catskills. These are working-class women — mothers, wives, daughters. They play mah-jongg, they flirt with the staff, they’re smart and strong, funny and fiercely protective. Their 1960s is not the hippie, Woodstock, moon landing, civil rights world. They are pretty sheltered from all that — until they’re NOT. Pop vocals (with style sensibility from the 50s–70s, as well as contemporary musical theater). Mezzo with a high belt.
Female-presenting; 20s-30s. A beautiful, intelligent, nice Jewish girl from Flatbush, who got pregnant at 16 on her first date and became a wife and mother overnight. When her daughter Alison suddenly transforms into a fiery teenager bringing the voice of 1969 into the family, Pearl feels trapped in the 1950s and yearns for the adolescence she’s never experienced. Stuck in a rut with her husband, feeling lonely and misunderstood, when Pearl meets Walker, the chemistry between them awakens in her all that’s been untried and unexpressed, and their passionate affair ensues. Though she knows she’s doing the wrong thing, she’s intoxicated by Walker and her chance to come of age in the summer of Woodstock. Extremely strong singer fluent in folk/pop/rock styles. Vocal range: G3–E5.
20s-30s; with comedic ability; to cover the Jewish husbands (three roles) at the bungalow colony, friends of Marty — working-class men who are good providers, good husbands and fathers, and embrace life with a sense of humor. They bust their balls all week and live for those weekends “in the country” where they get to relax, have sex with their wives, play pinochle and softball with the guys, and have quality time with their families. Pop vocals (with style sensibility from the 50s–70s, as well as contemporary musical theater). Tenor with a high belt up to a B. Guitar playing a plus.
20s-30s; with comedic ability; to cover the Jewish wives (three roles), friends of Pearl, at the bungalow colony, where they all spend their summers in the Catskills. These are working-class women — mothers, wives, daughters. They play mah-jongg, they flirt with the staff, they’re smart and strong, funny and fiercely protective. Their 1960s is not the hippie, Woodstock, moon landing, civil rights world. They are pretty sheltered from all that — until they’re NOT. Pop vocals (with style sensibility from the 50s–70s, as well as contemporary musical theater). Mezzo or soprano with a high belt.
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