How to Get Cast on ‘Abbott Elementary’

Filmed mockumentary style in the vein of “The Office” and “Parks and Recreation,” “Abbott Elementary” follows Janine Teagues (Brunson) and her fellow teachers at the titular West Philly school. The group perseveres past roadblocks ranging from a tone-deaf principal to severe underfunding, making it their mission to better their students’ lives. Although the odds are stacked against them, “Abbott Elementary” isn’t afraid to shine a harsh fluorescent light on the struggles real-life teachers face every day, tackling these issues with the care (and comedy) they deserve. 

While Season 1 focused solely on the teachers’ lives within the confines of the school walls, Season 2 of “Abbott Elementary” offered viewers a deeper look into the personal lives of these dedicated educators—because even the meanest of teachers still has a personal life! For Season 3, Brunson promised that the show would “take some big swings” to ensure “people [don’t] get too comfortable,” she told Entertainment Tonight—and thanks to Janine and fellow educator Gregory Eddie’s (Tyler James Williams) growing attraction, she delivered (but we won’t spoil the details). Season 4 sees the construction of a nearby golf club, which ultimately upends the status quo, as the teachers (thanks to a bit of blackmail) try to ensure the school profits from the build.

“Abbott Elementary” features an array of comedic talents, including:

• Quinta Brunson as Janine Teagues
• Tyler James Williams as Gregory Eddie
• Janelle James as Ava Coleman
• Lisa Ann Walter as Melissa Schemmenti
• Chris Perfetti as Jacob Hill
• Sheryl Lee Ralph as Barbara Howard
• William Stanford Davis as Mr. Johnson

The show has also welcomed some stellar guest stars, including Lana Condor, Kevin Hart, Tatyana Ali, Keegan-Michael Key, Questlove, Taraji P. Henson, Ayo Edebiri, and Leslie Odom Jr.

Wendy O’Brien and Chris Gehrt of Wendy O’Brien Casting are the primary CDs for “Abbott Elementary.” Their previous credits include “Sons of Anarchy,” “It’s Always Sunny in Philadelphia,” and “Teen Wolf.”

Like most casting directors, O’Brien doesn’t want the audition process to be intimidating. Instead, when you’re in her audition room, she hopes you’ll feel comfortable and free. “I hope that [actors see] that it’s a very safe space. It’s a very safe space to try something, to explore, to be yourself. That’s our No. 1 goal of what we try and provide. I think it’s important to help them come in, be comfortable, and do the best work they can. It’s also self-serving. The better they do, the sooner we’re going to find [the person for] the role.”

When it came to casting the series, Brunson didn’t seek out big-name stars. “I believe it’s part of the fabric of a sitcom to introduce you to new people,” the creator and star explained to Vulture. “What helps make a show successful is when you have people you can fall in love with—actors people have never seen before.” So she and O’Brien focused on finding performers who would bring a true Philadelphia feel to the project—“not prettified or too Hollywood,” the CD told us.

Because of the show’s mockumentary style, O’Brien sought people who could handle a subtle brand of comedy. “It’s a muscle that you don’t know you have until you really try it. I think it was surprising to a lot of actors, too,” she said. “Some people didn’t end up taping because they were like, ‘I just can’t figure out those beats.’ It didn’t mean you weren’t a good actor; you just couldn’t find that piece. There was no ingredient that we knew to look for. We just had to try.”

“Quinta had a very strong but flexible vision,” O’Brien continued. “When she sent me her shortlist of who she imagined, Sheryl [Lee Ralph] was on there for Barbara, and Tyler [James Williams] was on there [for Gregory]. That was who she had in mind, and then the rest we found.” She noted, “I think she knew what the ingredients needed to be, but how the cake looked was very flexible. Janelle [James, who plays Ava,] is a perfect example. She was effortless. We looked at so many actors and she just had it as soon as the scene started. She was the role, and then the role became her. She expanded it. It just went hand-in-hand, writing for her and her voice.”

In January, ABC confirmed that “Abbott Elementary” Season 5 will be part of its 2025–2026 roster—and it’s already filming! As PhillyVoice reported in February, the comedy was slated to film in Philadelphia from Feb. 27 to March 1—and the show sought child actors who were more than eager to answer the (casting) call. “We had over 3,000 kids sign up in one day,” Brunson told Entertainment Tonight. There are no additional details about the show’s future filming schedule at this time.

Currently, there are no known open casting calls or auditions available for “Abbott Elementary.” However, back when Season 2 was filming, production turned to Backstage for talent. According to our casting notice, production was looking for a young Black actor, aged 6–8, who uses a wheelchair. Filming took place at Warner Bros. Studios in Burbank, California. Pay was $128 for eight hours of work for nonunion talent, and $187 for eight hours of work for union talent, plus overtime (if applicable). When the series sought child actors, aged 6–14, earlier this year in Philadelphia, Heery Loftus Casting issued an open casting call on Instagram, according to PhillyVoice.

Those looking to start a career in (fictional) education should keep in mind that, for recurring and regular roles on “Abbott Elementary,” having an agent remains the best way to stay up-to-date on the latest casting calls and production schedules. Don’t have representation? Here’s how you can find an agent who will meet your needs.

Work on your craft: Both Brunson and O’Brien have emphasized that, whether you are actively working or not, you should always be honing your talents. “Pay attention to craft. There’s a lot of shit out there on TikTok, Instagram, and YouTube—quick ways to the top. But a healthy knowledge of the craft you’re pursuing is so valuable, even if you’re super talented,” Brunson advised. “You can be so talented, but knowing the history of the thing—going back and studying Buster Keaton or Charlie Chaplin and following every avenue of comedy—is so helpful in making work that will last.”

“Just because you’re not shooting a role, that doesn’t mean you shouldn’t be training. And that doesn’t mean spending money to go to a class if you don’t have those means. It can be running the scenes. It’s staying in shape,” O’Brien echoed. “An athlete can’t race without doing their training. You can’t expect your body to perform. So I think it’s the same, to be ready when you do get that call for an audition and you have that day on set. That you’re actually ready and prepared, because it’s an ongoing preparation.”

Be authentic: O’Brien encourages actors to bring “their own take” on a character into their audition. “It may not be right for that role, but you get a sense of who that person is or what’s unique about them and it sets them apart from everyone else,” she said. “And not making the choice for the sake of being different, but making a choice that feels really right for who you are, not what you think we want to see. Sometimes those are the most interesting auditions. Sometimes writers completely will change a role because they’re just so inspired by a choice. That’s the best part of our job. Why does it have to be 10 40-year-old white guys? It doesn’t. Why is this written as a man? Why is this written as an able-bodied human? Does it have to be? Maybe not. And I think that’s one of the great gifts of what we do.”

Freak out: While Perfetti admits the time following drama school graduation was “harrowing for so many reasons,” he’s grateful for all that period taught him. “I wish I could go back and tell myself to not freak out as much. But then I almost want to not say that, because freaking out is what makes you a good actor. If you dull your sensitivity to the world, then you dull your sensitivity to this art form,” he told us. “I would tell myself that the things that feel like they are not serving you immediately are going to come for you later on. The beautiful thing about this business is I have not felt a greater high and a lower low. It has the opportunity to absolutely soar or sink you. The advice I would give is to prioritize learning how to manage that feeling—because if you can do that, you can truly do anything.”

Don’t overthink your audition: While nerves are sure to build, O’Brien doesn’t want actors to come into the room with any doubts. “You might not think you’re right for the role. And this has happened so many times where an agent doesn’t think they’re right,” she said. “I’m like, I get they’re not what’s written on the page, but trust me, and just have them come in. And I would say 50% of the time, they get the role. They’re my wild card. Just come in. Don’t worry about it. You’re the wild card. It doesn’t make sense to them. Trust me. And a lot of times it works out really well. Do not overthink your invitation. Usually, there’s a very good reason. It’s our job to open the door, and it’s the actor’s to want to walk through it. So just because we provide an audition, it also doesn’t mean that they have to come in or they’re obligated to come in. They can have a sense of what’s right for them.

“On one level, if it’s because they just don’t like the roles, they should never worry about that. That’s their choice,” O’Brien continued. “But if it’s because they just don’t think they’re right for it or that they’re creatively not sure, that’s where I think they need to trust. Sometimes you’re just waiting for the right role. Sometimes it takes a really long time to find that right role. But then when it happens, it’s pretty magical.”