How to Get Cast on a Nickelodeon Series

Since its launch in 1979, the network has produced some of the most iconic children’s TV programming in history, coming to prominence in the early ’90s. Nick is known for creating foundational animated series (aka Nicktoons), such as “Doug” (1991–1994), “The Ren & Stimpy Show” (1991–1996), “SpongeBob SquarePants” (1999–present), and “Avatar: The Last Airbender” (2005–2008).

But the network has also produced an array of live-action shows, the earliest of which will surely bring back memories for millennials and Gen-Zers. Here are a few of the classics:

• “Hey Dude” (1989–1991)
• “Clarissa Explains It All” (1991–1994)
• “Salute Your Shorts” (1991–1992)
• “Are You Afraid of the Dark?” (1990–2000)
• “The Adventures of Pete & Pete” (1994–1996)
• “All That” (1994–2020)
• “The Secret World of Alex Mack” (1994–1998)
• “The Mystery Files of Shelby Woo” (1996–1999)
• “Kenan & Kel” (1996–2023)
• “The Amanda Show” (1999–2002)
• “Drake & Josh” (2004–2007)
• “Ned’s Declassified School Survival Guide” (2004–2007)
• “Zoey 101” (2005–2008)
• “iCarly” (2007–2012)
• “True Jackson, VP” (2008–2011)
• “Big Time Rush” (2009–2013)
• “Victorious” (2010–2013)
• “Sam & Cat” (2013–2014)
• “The Haunted Hathaways” (2013–2015)
• “The Thundermans” (2013–2018)
• “Henry Danger” (2014–2020)
• “Nicky, Ricky, Dicky & Dawn” (2014–2018)
• “Knight Squad” (2018–2019)
• “Danger Force” (2020–2024)
• “Side Hustle” (2020–2022)
• “Young Dylan” (2020–present)

While each series has its own team, Krisha Bullock has served as the primary CD on many of the network’s biggest hits, including “All That,” “Kenan & Kel,” “The Amanda Show,” “Drake & Josh,” “Zoey 101,” “True Jackson, VP,” “iCarly,” “Victorious,” “Sam & Cat,” and “Henry Danger.”

For Bullock, auditions are all about allowing child actors to be creative. “Really, what we want to encourage young people to do is not only bring interesting, bold choices, but the most interesting, bold things that come out of them,” she told Denise Simon. “It comes from inside of who they are, and bringing that out. They are always going to be interesting if they reach the truth inside of them, because every person is interesting in their own way. 

“I like to remind young people that we are looking for you,” she continued. “We are not looking for a thing or something that’s outside of you—we’re always looking for you…for truth. Which brings us back to [the fact] that truth is where the funny is. I always just want people to bring themselves to the role and accentuate different parts of [themselves].”

Bullock added that learning how to perform on the fly is key. “I think it’s good for young actors to practice their improv skills,” she said. “It gets them thinking outside the box; it helps them think of all of the different ways a scene can be played. I think it’s also important for young actors to understand that there are a lot of different ways for actors to come at the role; and if they are training in improv and scene study, they can use both of those skills as they figure out what is funny in the scene—and how they can make it funny.”

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Bullock told Simon that CDs on Nickelodeon projects typically work closely with writers and producers to bring their vision to life. They engage in “cooperative, creative conversation…where we ask what they [had] in mind as they were writing [and] what they have in mind as they are producing. And when I say that, I mean we break down what it is that we would be looking for in the actor to fulfill that role. We search for an actor who brings that role to life in a very organic way…that is the best fit for the role.

“Once we have held the auditions, we present who we think are the best choices to the creative team. There is always a conversation,” she continued. “It’s not one person; it is always multiple people who weigh in—not only the creative writers and producers, but also the network…. Then the last part of my role is to fight for people I think are right if other people are overlooking them. And then once a decision [has] finally [been] made, we make an offer and deal with the agents and managers in the negotiation of that offer, and generate the contacts and cast lists and share [them] with the rest of production.” 

Amarr, who played Warwick on “Knight Squad,” told us that the casting process was quite an experience. “It was a lot to go through. At my first audition, I went in with a girl auditioning to be Ciara. No one was laughing at all; we just didn’t vibe. I was one of the first people released after that—usually, if you’re released in the first group, you’re never getting called back—and I felt so bad for myself.

“And then, four weeks later, I got another call saying they wanted to see me again,” he continued. “In my very last audition, I met Owen [Patrick Joyner, who played Arc] at the network “mix-and-match”—there are different groups of [actors reading with each other]—and the audition room [felt] kind of ominous. When I was done, I didn’t feel anything. I usually feel: Oh, I killed it, or, Oh, I didn’t feel that. But they called me 15 minutes later to tell me I got it.”

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There aren’t currently any public audition notices for the network. In the meantime, we recommend bookmarking our Nickelodeon casting page for updates. 

If your child doesn’t already have an agent, we suggest seeking one out. Reps often have the inside scoop on auditions that aren’t made available to the general public. Here are a few guides that can help you find your way:

• How to Get an Acting Agent
• How to Become a Child Actor
• How to Get an Agent for Your Child Actor
• 5 Tips on Finding an Agent for Your Child
• The 5 Best Acting Agencies for Kids
• Do Child Actors Even Need an Agent?
• What You Need to Know About Submitting Your Child Actor to Agents
• One Agent on How Much Experience Child Actors Need to Have Before Getting Signed

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Bring the right energy. Jackie Reid, the owner and operator of L’il Angels Unlimited, a talent management company that specifically works with child actors, believes it’s essential “to bring life and energy to roles in network sitcoms, particularly Disney and Nickelodeon…. One of the biggest problems that casting encounters when working with kids is that they just can’t seem to draw the appropriate energy level out of themselves. They keep trying, over and over, and still, the lines fall flat.

“It’s better to start bigger (while always being grounded in reality, of course) and be pulled back than to never reach the level they need at all,” she wrote. “But always remember that energy is wasted without intent. Many times, the instinct is just: More energy, because that’s what everybody tells your child to do. They can be as big and broad as they want, but unless they’re playing the truth of the character and the intent properly, then it’s all for nothing.” 

Create your own content. While your child is searching for work, they can also create content on social platforms to show off their talent. CD Sheryl Levine (“Zoey 101,” “Drake & Josh”) told us that leveraging these mediums can give kids a competitive edge.

“You don’t have to wait to be hired for a part; you could do this every day instead of just waiting around for an audition,” she said. “Pick something that people would think: That isn’t what everyone else is doing, that’s going to be individualized to you, and just pick a day of the week and do it! I mean, it can’t hurt anyone. Actors can take control of their careers by putting up content. Hopefully, talent will always win out, and of course there are always exceptions. But right now, to get hired, everyone’s looking at those numbers.” 

Never give up on your dreams. Curtis Harris, who played Miles Preston on “The Haunted Hathaways,” wants his fellow child actors to know that they should never lose hope. “It may seem clichéd, but I think the best advice is to work hard and to not quit,” he told us. “No matter what you’re doing, even though it may seem slow for a month or two, you just [have to] keep going. People will see that you’re not gonna stop working and that you’re not gonna quit, and that drive will definitely get you far in your acting career.”

Trust your abilities. “Since [‘The Haunted Hathaways’ is] a sitcom, I [learned that] improv is probably one of your best friends,” Harris added. “You have to trust your instincts when it comes to a certain line. You know—if you’ve been doing it the same way, just try it a different way next time. See what happens, and you may impress the producers and directors. They may just love it and have you do another one.”

Read the script thoroughly. For Joyner, it’s all about the details. “The first thing I do is go through the script if I’m given the entire script,” he told us. “Sometimes we’re given sides, and some things will be Xed out; always read those if you want a backstory on a character. It’s the best way. Sometimes they’ll do it on purpose—[make the X really thin] so you can see [the words]; that’s definitely for backstory. So I go through the entire thing, and I take notes on the first emotions that pop into my head. It’s funny—during an audition, you [think], These people want me to do good. Casting is trying to find someone just as much as you want it.”

As in any working environment, it’s important for parents to stay informed to ensure that their child’s interests, needs, and safety are a priority on set. From contracts to precautions, here are some helpful resources to bookmark if your child is interested in pursuing acting:

• How to Protect Your Child Actor
• Keeping Your Child Actor Safe, From Contracts to Filming
• How to Keep Your Child Actor Psychologically Healthy in The Business
• How to Protect Your Child Actor From Industry Predators