Jim Glaub sat down with Casting Director Peter Van Dam to talk about his journey from actor to casting, his philosophy on discovering talent, and how he’s reimagining classics like Chez Joey for a new generation.
Q: What first inspired you to pursue casting as a career?
Peter Van Dam: Growing up, I didn’t really know what a casting director did. I thought directors just picked the actors. But I was fascinated by theatre, listening to cast recordings, comparing different versions, and noticing how a single role could be transformed by different performers.
At 15, I went to Walnut Hill, a performing arts boarding school, and tried acting. I studied at NYU and then Boston Conservatory. But during senior year, when industry professionals came to speak, I realized I was more excited giving feedback to classmates than performing myself.
That’s when it clicked.
I interned with Roundabout Theatre Company’s casting office, and being in that culture confirmed this was the right path. Later, I even worked as Lonny Price’s assistant — years later, I ended up casting his shows, which felt full-circle.
Q: Did your acting background make you a better casting director?
Van Dam: Absolutely. Having studied acting, voice, and dance gives me empathy for what actors go through and vocabulary to assess stamina and technique. Add to that my time with directors and talent agencies, and it’s made me understand the collaborative nature of the theatre industry of musicals from all angles.
Q: What do people misunderstand most about casting?
Van Dam: Everyone asks, “So what do you do?” Some assume we pick the people, but we don’t. We build lists, organize auditions, and advise the team. Directors, choreographers, music supervisors, and producers all have different priorities — we’re the connective tissue helping balance them.
Q: Have you had moments where your instinct was proven right?
Van Dam: Casting Peppermint in Head Over Heels was one. The role was written as non-binary, and we reached out to the trans community. She sent in tapes, came into the room, and it was undeniable. It was groundbreaking — the first openly trans woman cast in a principal Broadway role — and the production’s celebration of diversity was something I’ll always be proud of.
Q: You also recently worked on Dead Outlaw. How did that process evolve?
Van Dam: That began as a workshop for what was then the “untitled Yazbek/Moses/Della Penna musical.” Because it was The Band’s Visit team, it was easy to get people in the room. But the material wasn’t traditional musical theatre — it was rock-folk. We needed versatile actors who could play multiple roles convincingly. Watching it grow from workshop to Broadway was incredibly rewarding.
Q: With Pal Joey (now Chez Joey) being reimagined, how do you approach casting a classic?
Van Dam: It starts with the re-imagined book — Joey as a Black jazz singer in Chicago, and the interracial relationship with Vera. Working with Savion Glover and Tony Goldwyn, auditions feel more like rehearsals. We have a jazz band in the room, and actors are encouraged to play, not just perform perfectly. That creative freedom makes the process thrilling.
Q: How has technology changed casting?
Van Dam: Self-tapes have always been around, but after the pandemic, virtual auditions and Zoom callbacks became common. It means we can work with actors in LA or abroad without flying them in. Virtual open calls also expand the net — like when we recast Phantom of the Opera’s Christine, we saw 4,000 submissions and discovered someone in Texas we never would’ve found otherwise.
But nothing replaces the energy of being in a room. Live theatre is about presence, and that’s something you only feel in person.
Q: Do you find talent on social media?
Van Dam: Constantly. I’m on YouTube and TikTok, and people send me links all the time. For Six, we found performers that way. If we only relied on agents’ submissions, we’d miss out. Discovery is part of the job.
Q: What advice do you give young actors?
Van Dam: Don’t walk in asking, “How am I doing?” Instead, ask, “What am I doing?” Be bold in your preparation and show what makes you unique. Forget “type” — focus on what makes you stand out.
Q: If you could go back and cast any show in history, which would it be?
Van Dam: The original A Chorus Line. The auditions for that must have been fascinating — casting a show about casting.
Q: Last fun one: what’s the audition song you never want to hear again?
Van Dam: Songs about the business. Unless it’s A Chorus Line or Smash, I want to see a human being, not just someone singing about showbiz. Otherwise, I don’t mind “overdone” songs — it’s about the take. Ultimately, what I’m looking for is the same as any audience member: to be moved.
