Geoff Josselson, who has owned and operated Geoff Josselson Casting since 2007, is also a casting director for The Telsey Office, the Broadway agency that also selects artists for TV, film, and commercials.

Specializing in theatrical casting for Broadway, Off-Broadway, and major regional theatre companies, Josselson is currently represented Off-Broadway with Cellino v. Barnes, the legal-themed comedy that recently extended its limited engagement into 2025, and the forthcoming Paper Mill Playhouse engagement of the Mystic Pizza musical.

The Artios Award-winning casting director's Broadway credits include the recent revivals of Sweeney Todd, Into the Woods, and Spamalot as well as the Estelle Parsons and Stephen Spinella-led Velocity of Autumn. Among his many Off-Broadway credits are the revival of Kinky Boots, Dracula: A Comedy of Terrors, A Sign of the Times, Rock and Roll Man, Southern Comfort, Yank!, Pretty Filthy, Enter Laughing, and The Originalist. He has also cast several of the musicals in the Kennedy Center's Broadway Center Stage Series, including Guys and Dolls; Sunset Boulevard; tick, tick… BOOM!; Bye Bye Birdie; Nine; and The 25th Annual Putnam County Spelling Bee.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Josselson shares his journey from budding director to casting director as well as provide audition advice for actors.

Where did you train/study/attend school?
Geoff Josselson: NYU Tisch School of the Arts at the Playwrights Horizons Theatre School and the Experimental Theatre Wing.

Was there a teacher/mentor who was particularly impactful/helpful? What made this person stand out?
My high school drama teacher, Debbie Thompson, was really amazing and created a fantastic drama program in our small Philadelphia suburbs. Not only did she direct elaborate school shows and create an after-school Drama Club and Thespian Society, but just as I got into high school, she convinced the school to add drama classes to the curriculum. She really gave us theatre-obsessed kids an outlet and held us to a high standard. She impressed upon us the importance of professionalism, humility, and hard work. While I loved being onstage, she also encouraged me to explore all aspects of theatre and gave me opportunities to direct, produce, stage manage, build sets, design posters, write plays, and hold leadership positions. I wouldn't be doing what I'm doing without her early influence, encouragement, and support.

What made you decide to become a casting director?
I've always been a big fan of actors. Not just stars, actors. As a kid, I would voraciously read every Playbill to every show I saw—regardless of whether it was Broadway, a tour, a local theatre, or even a high school production—and would naturally memorize everyone's names and bios, including ensemble and understudies! Then, without realizing it was a job, whenever a new show was announced, I'd dream up my own cast lists. Later, as I was studying to be a director at NYU, I found that casting was my favorite part of the process, so I figured I should see what it was all about. In my senior year of college, I did two internships simultaneously (while also waiting tables and taking class!) and loved every minute. I took to it immediately, and here I am 20 years later!

Can you detail the duties of a casting director before the show opens and the duties while it's running?
It really changes production to production, which keeps it interesting and fun. We are typically one of the first people to start working on a show from inception. We collaborate with the producers, writers, directors, and other creative team members to support their visions and help populate the world of the show. This means lots and lots of thinking about actors and how each person impacts the storytelling in the resulting production. Depending on the time frame and scale of the production, that can take days, weeks, months, sometimes even years to come together and may include everything from scouting out new talent, to holding auditions (both open calls and invited appointments), to brainstorming dream "star" casting ideas.

Throughout the process of finding the right performer for each role, it's important to me to keep the creative explorations open to include performers of different backgrounds and identities, to ensure we are telling the richest and most interesting version of the story. It's exciting to then see the direct impact of casting, when a role is redefined or expanded due to creative or unexpected casting choices. Throughout all of this, we aim to create a positive and fun process, where both performers and creatives feel taken care of and able to do their best work—since all of this can feel stressful. Then, once the show is open, we are tasked with "maintaining" the company, always keeping an eye out for potential replacements as needed.

For actors auditioning for the stage, what is one piece of advice you would give for those auditioning in person and one for those auditioning on tape?
In my teaching, I always come back to the same piece of advice for any kind of audition, and I can't emphasize it enough: We want to see you—your authentic self and what you bring to the role. Don't try and give someone else's performance or be what you think people "want." Do your research and prepare, own your space and time in the room (or on tape), and then share your version of the role with us. Don't put yourself in a box. Make your own artistic choices, but keep yourself open to direction. And be a kind human. It's about collaboration and trust, not people-pleasing.

Tell me about a time you almost gave up but didn’t.
Like most people in the entertainment industry, I certainly dream about a more sane and stable career path when things get particularly stressful, but I have yet to find anything that excites and fulfills me more than what I get to do as a casting director. I have immense gratitude that I get to do this for a living.

What is the most memorable day job you ever had?
I've always had a love for baking and, as I was starting out in casting, I worked in a number of pastry kitchens. Speaking of almost giving up—during Covid, when it looked like the industry may not return for a while, I toyed with the idea of opening a bakery and spent most of the shutdown manically making hundreds of croissants (and cruffins) for friends and family. Thankfully, theatre came back!

Is there a person or people you most respect in your field and why?
There are so many people I could name that I look up to and respect, and I consider myself lucky to have gotten to collaborate with many of them. To name one: I have tremendous respect and admiration for Bernie Telsey. Despite all that he's achieved in his career, he still leads with such passion, excitement, positivity, humility, and generosity. He's also a huge champion for casting as a field. Getting to work alongside him on casting the Sweeney Todd revival, among other projects, was a thrill. He is truly a role model for how to be a leader and human in this business.

Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
Earlier in my career, I interviewed for a couple of different in-house casting positions at some very well-known New York theatre companies and, after rounds of interviews, I didn’t get them. I was devastated at the time, but in retrospect, I am shocked that I was even considered since I was so young. Fortunately, it forced me to start my own office, which is a path I could never have predicted for myself.

What advice would you give your younger self or anyone starting out?
It’s so hard to see the bigger picture when you are young. Not to be cliché, but I always try to remind myself (and others) that it’s a marathon, not a sprint, and to focus on where you are. Everyone's journey is their own. I'm proud that I was able to carve my own successful path, and it doesn't look like anyone else's.

What do you wish you knew starting out that you know now?
That what I have to offer and who I am is enough. In my 20s, I was itching to be "older or more established," but when I look back at all that I accomplished at that young age, I wish I hadn't been so hard on myself then.

What is your proudest achievement in your profession?
Truly, I'm just proud to be part of this business and community for as long as I have. I have wonderful colleagues and collaborators, I've gotten opportunities to cast some incredible shows, and gotten to work with so many heroes of mine. I take none of it for granted.