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Lily Collins The Natural-Born Storyteller
“There’s such a magic to those worlds that we create onscreen” “This Is Us” star
Susan Kelechi Watson
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Contents
vol. 61, no. 27 | 11.19.20
Cover Story
Earning Her Spot
Thanks to two ultra-buzzy Netflix projects, we’ve been seeing a ton of Lily Collins lately—and if she has any say in it, that won’t be stopping anytime soon page 16
The Green Room 6 COVID Film Certification aims to guide production safety compliance
8 This week’s roundup of who’s casting what starring whom
10 Susan Kelechi Watson talks “This Is Us” and getting into producing
Advice 13 NOTE FROM THE CD
What college isn’t teaching you
14 #IGOTCAST
Regina Valmadrid
14 SECRET AGENT MAN
Does your degree matter?
Features 4 BACKSTAGE 5 WITH... Kristin Chenoweth
12 REACHING HIGHER
University of Cincinnati CollegeConservatory of Music
13 THE ESSENTIALISTS
Daniel Robert Sullivan, virtual college audition coach
15 IN THE ROOM WITH
Danyon Davis and Lisa Anne Porter
21 COLLEGE GOES DIGITAL
5 college students on what virtual learning is really like
32 ASK AN EXPERT
Jeff Kaplan on whether acting students should take a gap year
Casting 22 New York Tristate 24 California 28 National/Regional Lily Collins photographed by Gari Askew II on Oct. 8 in Beverly Hills, California. Styling by Rob Zangardi and Mariel Haenn. Makeup by Fiona Stiles. Hair by Gregory Russell. All clothing by Saint Laurent. Cover designed by Ian Robinson.
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Kristin Chenoweth By Casey Mink
For a notoriously small person, Kristin Chenoweth has a big heart. It’s why the Tony and Emmy Award winner has teamed with her alma mater, Oklahoma City University, to launch a two-year MFA program focused specifically on screen acting. “Like many of us, I have been sitting around thinking: What do I want to do to change the world when we’re back?” she says of her inspiration for the program. Nurturing tomorrow’s talent is a good answer!
What performance should every actor see and why? I’d watch anything Wanda Sykes has done. If you want to laugh and forget about COVID-19 and forget about the state of the union and everything that’s going on, take a look—and laugh your ass off. You’re welcome.
coffee?” I feel bad that he’s upset, so I go in, and don’t you know, we had a cup of coffee. He wasn’t a creep. I got so lucky. I’m telling these stories in hopes that kids will say, “I’m never gonna do that.” How did you become Equity? It was 5:30 p.m., and I’d been [waiting to do an audition] since 9:30 a.m. I walked in, and I auditioned. It doesn’t happen like this very often, and I do know that I’m blessed and thankful and lucky. They were auditioning for a show at Paper Mill Playhouse, which gets reviewed by the New York Times, [so it’s] kind of a big deal when you get a part. I got the part. I was supposed to be going to the Opera Conservatory. I didn’t go; I stayed in New York and I got my Equity card doing “Animal Crackers,” a Marx Brothers musical, at Paper Mill Playhouse.
What is the wildest thing you ever did to get a job? I needed a job so bad at OCU because I was a poor college student. I was the singing telegram girl. I’m being told to dress as Little Bo-Peep and knock on this guy’s door and sing “You’ve Lost That Lovin’ Feelin’.” I’m confused, but I do it because I need that $150, which, back then, lasted me a month. So, knock, knock, knock; he opens the door. I sing, and he starts to get really sad. I say, “Are you OK?” and he goes, “Well, I had a vasectomy.” It gets worse. He says, “Would you like to come in for a cup of
What advice would you give your younger self? When someone hurts your feelings, it’s probably not even about you. Don’t sweat it. If someone is unkind or says something nasty about you, it’s usually about their fear. Some people call this narcissism. I couldn’t get that when I was young. In fact, I’m still learning that lesson. So, good news, kids: You’ve still got to learn.
“When someone hurts your feelings, it’s probably not even about you. Don’t sweat it.”
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ILLUSTRATION: NATHAN ARIZONA/PHOTO: KATHY HUTCHINS/SHUTTERSTOCK.COM
Do you have an audition horror story you can share? I should tell this story because it has to do with some things going on in our world right now that need to go on. I grew up in Oklahoma, and we were doing shows like “The King and I.” I didn’t know it was wrong, but I played Tuptim—and there is video, unfortunately. It’s online, and people do like to give me hell for it. I don’t mind because it is completely just. When I went to New York, I thought, Well, [it’ll be like] they’re doing “The King and I” in Kalamazoo or wherever. I’ll go to the audition. I show up, and I’m the only Caucasian. And it was then I thought, Kristin, you’re not in Oklahoma anymore.
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Industry
COVID Film Certification Launches The training program will create a “one-stop shop” for productions’ COVID-19 compliance By Diep Tran
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a series of safety protocols, until now, producers have been tasked with logistics for health and safety measures, and for finding qualified health experts on their own. “Many producers are facing significant hurdles in light of all the complications and challenges posed by COVID19,” said the program’s creator, executive producer Franco Porporino Jr., in a statement. “Production companies need to get back to work, but must
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do so in a way that prioritizes health and safety for all personnel. And with this program, production companies and studios can welcome their employees back with peace of mind, knowing that each person is fully informed on how to safely navigate production during this pandemic.” COVID Film Certification will offer two programs: one for production personnel, crew, and talent, and one for the coronavirus-era role known as
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SKREIDZELEU/SHUTTERSTOCK.COM
A TEAM OF HOLLYWOOD professionals has launched COVID Film Certification, a training program for production crews focused on how to make film and television sets safe, as well as providing nurses and PPE for production companies. The goal of the program is to streamline the COVID-19 compliance process for production companies and producers by creating a “one-stop shop” of sorts. While the Producers Guild of America has released
the compliance officer. (Every set now requires someone who specifically oversees COVID-19 health and safety protocols.) The program will educate attendees on COVID-19 protocols and best practices for pre-production, post-production, and, of course, for filming. Exams cost $99 each, and the certificate will be valid for one year. There will also be opportunities for continuing education as guidelines change. COVID Film Certification has also partnered with a private health care company to provide on-set nurses if a production company needs them. It will also provide EPAapproved PPE for purchase. The program has an advisory board of industry experts, including Lori Rothschild Ansaldi, CEO of Big City TV; Ra Kumar, an agent at United Talent Agency; Lucilla D’Agostino, chief creative officer of Big Fish Entertainment; Hans Schiff, a former agent at Creative Artists Agency; Darin Frank, a partner at the law firm of Sloane, Offer, Weber, and Dern; and Peter Rajsingh, a professor at New York University. “As we all navigate this pandemic, safety for our crews and talent must remain our highest priority, and Big City TV, along with my partners at the Content Group, were not satisfied with simply ‘meeting protocols’ for our shows,” said Ansaldi in a statement. “Our goal is to always go above and beyond for our clients and talent to ensure that we create and maintain safe and healthy work environments, so every crew member and talent across Big City’s entire portfolio of projects will be trained and certified by COVID Film Certification.”
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ambulance only to discover that it already has two passengers inside—a paramedic and a patient in critical condition. Though details of the film are being kept under wraps, the original is a highspeed chase set in real time. Jake Gyllenhaal is in talks to star, with Denise Chamian Casting assembling actors for the project. The thriller is set to film in January 2021 in a yet-tobe-named location.
What’s Casting
(“The Big Sick”). Bialy/Thomas has selected Will Ferrell, Paul Rudd, and Kathryn Hahn to headline the series, with Rudd playing the doctor, Ferrell his patient, and Hahn his sister. No other names are currently circling the project, which has already begun production. Casting will continue, as shooting is expected to last until early spring 2021 in Los Angeles.
Will Ferrell and Paul Rudd Head to the Small Screen The two will lead a podcast adaptation on Apple TV+
“Ambulance” Michael Bay is set to begin shooting on his next film, an action thriller called “Ambulance.” The movie is an adaptation of the 2005 Danish film “Ambulancen,” in which two brothers steal an
By Rebecca Welch
STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles! Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.
For more upcoming productions and casting news, visit backstage.com/news/casting
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FILM
‘Oslo’ Gets Ready for TV By Casey Mink
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For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
“OSLO” IS HEADING TO HBO, AND A-list stars are coming along with it. The film adaptation of J.T. Rogers’ Tony Award– winning play has confirmed that Ruth Wilson and Andrew Scott will lead the feature, which Rogers himself has penned for the screen. Depicting the true story of the negotiations behind the 1993 Oslo Peace Accords, the movie will be directed by Bartlett Sher, who also helmed the stage version. Produced by Marc Platt and Steven Spielberg, among others, shooting on the film is currently underway in Prague.
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MARGAUX QUAYLE CANNON
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“The Shrink Next Door” Apple TV+ will explore a fascinating doctor-patient relationship in “The Shrink Next Door.” Based on Wondery’s true crime podcast of the same name, the limited series will follow the relationship between psychiatrist Dr. Isaac “Ike” Herschkopf and his patient, Marty Markowitz. The charming doctor begins to insinuate himself into his client’s life, manipulating Markowitz into naming him president of the family business and moving into his house in the Hamptons. The series will be written by Georgia Pritchett (“Veep”) and directed by Michael Showalter
“Rebel” Though Julia Roberts made Erin Brockovich a household name when she portrayed her on the big screen in an Oscarwinning performance, Katey Sagal is bringing a version of the activist to the small screen. She’ll be playing the Brockovich-inspired role of Annie “Rebel” Bello, a fearless legal advocate (despite her lack of a law degree) who dedicates herself to fighting for causes she believes in. The ABC series will be executive produced by Brockovich herself, with Krista Vernoff showrunning. Joining Sagal in the pilot, cast by Atomic Honey, are Tamala Jones, Andy Garcia, John Corbett, James Lesure, Kevin Zegers, Sam Palladio, Lex Scott Davis, and Ariela Barer. Production is set to begin in early December in Los Angeles.
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particularly after Ahmaud Arbery and after Breonna Taylor and then George Floyd, it just felt like we had to answer a call. And the thought was reimagining this project for streaming so that everybody could be involved, everybody could watch, everybody could experience, we could all grieve and have joy, pain—whatever it was, we could do it together. And Ta-Nehisi’s book really eloquently and exquisitely expresses so much of what we were feeling. So the goal was to reimagine it as a narrative doc and as a special event. We wanted it to be a special moment where people come together and take this all in together.”
Susan Kelechi Watson in “Between the World and Me” The Slate
Finding the Right Time Susan Kelechi Watson reflects on “This Is Us” and what brought her to producing By Gillian Russo
The following interview for Backstage’s on-camera series The Slate was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.
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in hand and offered words of hope for actors looking to do similar work—or any work— during the pandemic. Production on Season 5 of “This Is Us” is still underway. “It’s been pretty smooth sailing for us, considering everything that’s going on. There’s definitely a lot of new things happening in the makeup trailer [and] new things happening on set. I call it my Barbie box; when we sit backstage on set, we have to sit inside a box that has
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The exploration of the Black American experience in “Between the World and Me” is even more relevant in 2020. “I was a part of the stage production that happened at the Apollo in 2019. And with all the events that were happening this year,
TELEVISION
Your New ‘Love Life’ Star Is… By Casey Mink
Want to hear more from Watson? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
WILLIAM JACKSON HARPER! BEST known for his role on beloved sitcom “The Good Place,” Harper will lead the second season of Sam Boyd’s HBO Max anthology series. Taking the reins from Season 1 star and producer Anna Kendrick, Harper will depict a New Yorker fresh out of a yearslong relationship who’s looking for new romantic prospects. Kendrick’s character, Darby, will also make appearances. Additional casting and a production timeline are not yet known.
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COURTESY HBO
“THE LEAST OPPORTUNE time became the most opportune time for me,” said Susan Kelechi Watson, optimistically reflecting on the last year. While continuing on Season 5 of “This Is Us” as fan favorite Beth, she has gotten to make a long-awaited move into executive producing with the adaptation of Ta-Nehisi Coates’ bestselling memoir “Between the World and Me,” premiering Nov. 21 on HBO and HBO Max. Watson sat down with Backstage to talk about how acting and producing go hand
Plexiglas windows and a shower curtain in the front, and you can let people in or out. And [we walk] around with a shield and a mask all the time and get tested three days a week. We’re doing everything we can to make sure we can get it done.”
Producing is new to her, but it’s been a long time coming. “I was always seeking to create a way, at some point, to create my own material, to work for myself, to cast myself, to not be waiting for the casting call. I know I got the part. That’s something I always wanted to do, so now it became the time; and in an odd way, the least opportune time became the most opportune time for me. So you can never judge what season you’re in, because you just don’t know. Sometimes what you’ve been waiting to do is just [a matter of]: The right timing hasn’t occurred yet.”
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Reaching Higher
University of Cincinnati CollegeConservatory of Music By Benjamin Lindsay
their desired program without expensive travel costs. Audition requirements may be revised annually, so it is important to check the Admissions & Aid section of the ccm.uc.edu website for the latest information. What are some of the main qualities you look for in your incoming class? Both programs are looking for students who understand who they are [and] have a healthy work ethic and a passion for the art form. The acting and musical theater programs are rigorous; students must be dedicated and focused in order to thrive and succeed in school and after graduation.
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This is thanks to not only the sharing of resources among all the programs housed within our Theatre Arts, Production, and Arts Administration division, but also through interaction with other divisions at CCM, including Electronic Media and the college’s internationally renowned music programs. What does your audition process typically look like, what do prospective students need to prepare, and what advice do you have for the audition room? Recently, CCM’s acting and musical theater [programs] both moved to a video prescreen audition, which students must complete before being granted an in-person audition. This levels the playing field so students from all over the world are able to audition for
What’s one thing that high schoolers thinking about studying the performing arts should know before pursuing a degree? A career in the performing arts is not easy—it takes a lot of work, passion, and commitment to navigate the highs and lows of the industry. Pursuing an education and a career in the performing arts is not for the faint [of] heart. You must also be able to adapt to challenges and rise from failures.
For the full interview, visit backstage.com/magazine.
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ILLUSTRATION: MARGAUX QUAYLE CANNON; SULLIVAN: RASHIDAH DE VORE
What makes your program different from other top
performing arts programs in the country? Few schools offer more comprehensive training programs for actors, singers, dancers, directors, designers, technicians, and arts managers than the University of Cincinnati CollegeConservatory of Music. Students enrolled in CCM’s BFA programs in acting and musical theater receive a wealth of learning opportunities focused on performing onstage as well as some behind-the-scenes work. Performances throughout the school year are fully supported by CCM’s department of theater design and production, one of the finest BFA/MFA programs of its kind. Impressive scenery, lighting, projections, lavish costumes, properties, wigs, and makeup offer Broadway-caliber physical production quality.
JAY YOCIS/UNIVERSITY OF CINCINNATI
IF THE BONA FIDES OF card-carrying Broadway stars like Shoshana Bean and Karen Olivo are any indication, the performing arts program at University of Cincinnati College-Conservatory of Music (known simply as CCM) gives its students all the tools they need— and then some—to succeed on the stage and screen. Denton Yockey, the division head of Theatre Arts, Production, and Arts Administration (TAPAA) at CCM, sat with Backstage to break down exactly what makes the offerings there so singular, and what prospective students need to keep in mind when applying and auditioning for a coveted slot in the freshman class.
What advice do you have for students to narrow down their search? Students should seek a school that is the right fit for them. They should ask themselves [if] they see themselves excelling in that program’s system and with that program’s faculty and fellow students. They should investigate their top choices, talk to faculty and current students, and schedule an in-person or virtual visit. Due to the pandemic, CCM is currently hosting virtual visits only, which can be scheduled online.
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Spotlighting the people and projects you need to know
THE ESSENTIALISTS
DANIEL ROBERT SULLIVAN virtual college audition coach DANIEL ROBERT SULLIVAN has been virtually coaching students through college auditions for years. The only difference in this coronavirus age is that he’s now virtually coaching them for virtual auditions. You can’t hide in a virtual audition. “From a distance, we can hide some truthfulness; onstage, we can hide some. On camera, where all the auditors will be seeing these students now, [actors] need truthfulness in their eyes, in their jaw, in their brow—small physical things that reveal themselves when their acting is truthful. My goal
Note From the CD
What College Isn’t Teaching You
JAY YOCIS/UNIVERSITY OF CINCINNATI
ILLUSTRATION: MARGAUX QUAYLE CANNON; SULLIVAN: RASHIDAH DE VORE
By Marci Liroff
MANY ACTORS GO THROUGH years of education at colleges and universities to receive some of the best training that money can buy. But—and I say this with respect for these institutions— your B.A. or M.A. in theater and film isn’t going to teach you everything you need to know. I recently spoke to my friend and fellow casting director Susan Shopmaker about her experience as a guest lecturer for seniors at SUNY Purchase’s Conservatory of Theatre Arts, and how I often see graduates coming to Hollywood without a solid post-graduation plan. “Students should not assume that the world is waiting for them,” Shopmaker says. “They have the training, and now they have to learn how to get a job. Just because you have an agent doesn’t mean you’ll get
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a job. And the opposite is also true: If you don’t get an agent out of school, [that] doesn’t mean you won’t work. All actors have to be proactive. Go anywhere you’re invited so you can meet people—not people who can do something for you, but people who will become allies and friends.” Even with a degree, you need to learn the etiquette of taking a meeting and being approachable in a professional setting. When I meet actors on a general interview, I want to get a sense of who they are as a person. So when I ask, “What’s going on with you?” they need to answer more than, “Nothing,” unless they want the conversation to come to a screeching halt. Shopmaker says that some students “do not seem to learn how to be themselves in a
now is to convey the idea that the auditors are seeing them up close and personal more than ever before. How do you make your work more truthful? It’s the same thing actors have been discovering for generations: objectives and actions.” Invest in a microphone and a backdrop. “Technology will never be the deciding factor on getting students into a good school. But especially now, we need to embrace the technology to level the playing field. [Students] are very much helped by a good condenser microphone to the side of the screen; it sounds clearer.
room. They don’t quite understand that CDs and producers often just want a glimpse of who you are. That 30-second talk-about-yourself speech can be helpful. In other words: Know yourself. What do you like to do that isn’t acting?” Additionally, your education doesn’t just stop because you’ve graduated. I always encourage my coaching clients and acting students to become a walking, talking film library. They need to watch at least a couple of episodes of every TV show out there. Buy deeply discounted theater tickets the day of the performance (when the world allows it again). Another gaping hole in most college programs is teaching the skill of auditioning. Shopmaker agrees. “They need an audition class that is for theater and film and TV, from sign-in sheets to [how to] slate
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By Casey Mink
When you have a bunch of actors on camera, the one with a great microphone is coming off a little bit better. Having a non-virtual backdrop in a solid color is a great leveler of the playing field, too. They used to talk about standing in front of a blank wall, which is great, but a wall with some color or some texture is even better.”
to what to wear. In this new world, they need to learn about self-lighting and where to put their camera and who their reader is if it’s a self-tape.” None of this, of course, is to belittle the higher education experience. The college courses you take build the strong foundation you need as a performer. Practitioners like Stanislavsky, Strasberg, and Meisner have shown us the varied techniques to be a well-rounded actor. Movement and voice are also vital parts of the curriculum. So kudos to you if you’ve gone through a college program! Now get ready for the next part of your learning journey.
Want more?
Read our full Note From the CD Want more? at backstage.com/ Allarchives our Backstage Experts can be magazine found at backstage.com/magazine
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Does Your Degree Matter?
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These are amazing institutions with stellar reputations. Their names open doors. But take it from me: It doesn’t mean your career prospects are doomed if you choose a lesser-known school or if you decide to skip higher learning altogether. Here are a few considerations to make along the way: Ivy League schools like Yale and Columbia don’t come cheap. Can you afford this kind of education? Are you eligible for financial assistance and student loans? Will you get enough bang for your buck? You’re not studying to be a doctor or a lawyer, so there’s no reason to drown yourself (or your parents) in back-breaking debt unless you’re privileged enough that money isn’t a concern. These schools also have a higher bar for admission. Being one of the top schools
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Regina Valmadrid By Jalen Michael For REGINA VALMADRID, every car ride is an opportunity to be submitting on Backstage— which is also how she keeps booking gigs. Only you can define yourself. “I currently live in Hollywood but go back and forth between Los Angeles and New York City. My biggest piece of advice, especially for POC and women in this industry, is to trust your gut. You know your boundaries and yourself better than anyone else!”
Backstage is bicoastal (and everywhere in between). “I love how easy Backstage is to navigate. It is a great site for both NYC and L.A., and has been a staple for so many years. I go on the site to submit every day.” A little action goes a long way. “Be responsive to people who are reaching out to you. Quick and clear responses are better for everyone. Stay informed, and keep yourself updated! Use your downtime in an Uber or the 10 minutes before you go to sleep to submit. Even the smallest actions can make the biggest differences.”
TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.
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ILLUSTRATION: SPENCER ALEXANDER; VALMADRID: MARC CARTWRIGHT
SOME PEOPLE BELIEVE STAtus is everything. While many of us are perfectly happy owning a Honda Accord because it’s one of the most reliable cars on the market, there are always going to be others who prefer high-end choices from companies like Jaguar or Aston Martin. Which line of thinking is better? Unless you have the driving needs of someone like James Bond, they’re all solid cars that will get you where you’re going, so the decision about what to buy comes down to your budget and what’s right for you. The same is true about acting schools. Does the name on your degree matter? Will it impress people? Is your career going to get a boost if you attend a famous conservatory like the Juilliard School or a respected university like Harvard? In short, the obvious answer is yes.
#IGOTCAST.
RAQUEL APARICIO
Secret Agent Man
in the country allows Juilliard the luxury of attracting the best students in the country. Getting in might not be that easy. So you have to be honest: Are you ready to work at that level of education? Can you handle the pressure if you get in, or would your talent flourish in a different environment? When you graduate from one of these schools, you get a oneyear pass. That means you’re the belle of the ball for 12 months. Finding representation will be easy, opportunities will come your way, and casting directors will definitely want to meet you. But here’s the catch: That pass comes with an expiration date, because a year after you leave school, another round of students will be graduating and hitting the job market. Now it’s their turn to enjoy the one-year pass and your time to assess if you’ve made the most of yours. The bottom line is that studying at a prestigious school will make your life easier, but that ease is relative. I would argue that it makes your life less hard. But never forget that tons of actors achieve success with nothing more than a high school diploma. Consider this little homework assignment: Make a list of 20 actors you admire. Include all types and ages and levels of success. Then look up where they studied. I guarantee no two journeys will look the same. (Jessica Chastain, for instance, went to Juilliard on a scholarship; Jennifer Lawrence dropped out of school at age 14.) Now, let’s go back to my car analogy. You bring your skills to the vehicle, not the other way around. That means a good driver will do well in any kind of car. It also means a bad driver will come to a terrible end driving a Ferrari on the autobahn at 200 miles an hour. Which one are you?
culture +
Spotlighting the people and projects you need to know
In the Room With
Danyon Davis + Lisa Anne Porter
At the American Conservatory Theater, an MFA gives you a peek into life as an actor By Elyse Roth
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; VALMADRID: MARC CARTWRIGHT
WHILE NOT EVERY PERFORMER WANTS OR NEEDS AN MFA, GETting one may be essential to the career you’re looking to have. So what do you need to know? There are dozens of programs across the U.S., but San Francisco’s American Conservatory Theater offers one of the very best. As its name implies, the MFA program is attached to a professional theater, so students get to see and interact with working professionals during their three years of study. Danyon Davis, the head of movement at ACT, and Lisa Anne Porter, the head of voice and dialects, explain what they look for in a graduate class, as well as what you should know about pursuing an MFA no matter where you decide to go. What can a student gain from the MFA program at ACT? Danyon Davis: We’re looking to really elevate the artists that join us; we want to elevate their artistry. We want to help them to be proficient in any mode
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of acting, make them better collaborators, and make them better contributors to their community. Lisa Anne Porter: We are in a unique position because we are a working theater; it’s a permeable cell wall between us
and the main stage so that our students really get firsthand exposure to what it means to create theater. They work on the main stage, they understudy the main stage at times, and they’re in the building and in the world of a working theater, so they’re constantly seeing what they’re training to do. Especially in these times, they’re seeing how we can pivot and turn with them and what it means to be an artist. What makes ACT stand out from other programs? DD: Actors learn by acting. Acting is a lot like any other mode
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of expertise; you have to put in your 10,000 hours, and the conservatory is the best context to do that in. We feel that actors learn the best by doing plays. There are all kinds of conservatories you can go to around the country, but we’re really unique in that you’re always doing plays in an overall context that is right next to professionals doing plays. We’re a linchpin in the West Coast corridor of professional theaters—certainly here in the Bay Area—along with Berkeley Rep. We really bring the best theater artists from around the area under the auspices of our organization. You’re going to be able to come to ACT, [and] you’re going to be able to work on your artistry and continue to develop yourself as an actor by working alongside other professional artists. What are some indicators that a person is ready for this type of training? LAP: They need to think about what it is that they want to do; and if they want to teach, it could be helpful. If they feel that they as an artist need more training, they should really look at the program and go, “What is it that I feel I need to learn, and how do I need to grow? Does this particular program seem to offer that?” It’s somebody who is very interested in any medium but is also very interested in being in live theater, because that’s what’s going to set us apart from most of the other programs. More generally, they really should think about where they feel they need to grow. What is it that they want to do? And then look for a program that’s going to give them that opportunity.
Want more?
Read the full interview at backstage.com/magazine
11.19.20 BACKSTAGE
Earning Her Spot Thanks to two ultra-buzzy Netflix projects, we’ve been seeing a ton of Lily Collins lately—and if she has any say in it, that won’t be stopping anytime soon By Elyse Roth Photographed by Gari Askew II
LILY COLLINS WANTS TO TELL A STORY. NO, really—that’s why she’s Zooming from her Los Angeles home on a mid-October day, talking about why she became an actor. “I have always loved telling stories, since I was a kid,” she reflects. And as the child of Phil Collins and Jill Tavelman, it’s only natural that she got bit by the performance bug. “I knew that, as an adult, I wanted to take people on that journey with me. It’s a form of escapism. There’s such a magic to those worlds that we create onscreen.” She’s been creating that magic for the last 11 years, from her feature film debut in “The Blind Side” to worlds horrific, thrilling, fantastical, comedic, dramatic, and beyond. She’s escaped typecasting, instead disappearing into stories near and far, past and present, each one different from the last. Her two most recent projects are both for Netflix, BACKSTAGE 11.19.20
but they continue the trend of falling on opposite ends of the genre spectrum. Just before the industry took a pandemic-induced pause in 2020, Collins was jumping between France and Hollywood— first to lead Darren Star’s “Emily in Paris,” on which she plays a millennial marketing executive who becomes a fish out of water after she’s transferred to the City of Lights for work, and then opposite Gary Oldman in David Fincher’s “Mank,” which charts the Oscar-winning screenwriter Herman J. Mankiewicz’s co-writing of “Citizen Kane.” “I love every genre, in a sense. I don’t want to ever say I’ll never do one, because an incredible filmmaker may put a bizarre, interesting twist on a genre that you never thought you’d associate with, and all of a sudden you’re going, ‘I couldn’t imagine not being a part of this,’ ” Collins says. “I want to
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feel like there’s something I’m going to learn about [myself] through a character, and then there’s something that people will be able to learn about themselves.” Collins’ bold beginnings in acting make it clear why she uses each role as a chance to learn. In fact, her whole career in acting has been self-taught. “I was part of plays and musicals when I was a kid, and I think I was 16 years old when I thought, OK, I actually do want to do this. Not just at school—I really want to pursue this professionally. I started auditioning for jobs to get more experience, but I was told no,” she remembers. “I mean, I was still so green. I was auditioning, and I didn’t really understand what ‘green’ meant. I would ask for feedback, and they would say things like, ‘You just need to keep doing it. Just train, in whatever way that means, practice, and do more research. You’re new, and that’s fine.’ ” And while rejection is something most teenagers will go out of their way to avoid, a burgeoning modeling career and aspirations to become a broadcast journalist gave Collins some experience with the feeling. When she developed her acting convictions, she knew she’d be faced with more of the same. “I waited until I was at an age where I felt I was strong enough to continue to be told no. If I had felt that it would discourage me too much, I would have known to not pursue it, I think, but I really felt strongly about it.” So what did she do to get a yes? She kept backstage.com
auditioning—for years. “I knew that there were lots of things I needed to improve on and get more comfortable with, within myself, in order to be more free within a scene and a moment,” she admits. “I got close on things, but I didn’t quite get there.” She graduated from high school and went to the University of Southern California, where she began studying broadcast journalism. Then her investment in acting began paying off, first in an appearance on the 2008 “90210” reboot and then in “The Blind Side.” Four years after she started auditioning for practice, she decided to dive into the craft full time. It’s hard to imagine four years of being told you’re not good enough, but it only fed Collins’ drive to do it right. “I tried to take ‘No’ as, ‘No, not right now,’ not, ‘No, this isn’t for you.’ In a nutshell, it was like a comma, not a period,” she explains. “I know that sounds far easier than it is, but I knew that what I wanted to do was what I wanted to do. Being told you’re green is something that you can improve on. It means there’s more work to be done. I’m not someone who’s ever shied away from more work. I truly believed that I was going to be doing this one day, and I just kept powering through the nos. To be honest, it made my first yes so much better, because I felt like I’d earned it.” Ten years and more than two dozen acting credits later, Collins is still earning her roles. She auditioned for both “Emily in Paris” and “Mank,” even with a number of leading turns already to her name. (“If there’s a project like ‘Mank’ with a creator like David Fincher and he needs to see it on tape or in a room, you do it,” she says. “He’s a genius for a reason.”) Reflecting on what makes an ace audition, she says the secret to nailing it is knowing that “it’s not just in what you say—it’s in how you listen to the other person. It’s a conversation between two people. If you’re just viewing [the sides] as dialogue, it’s never going to connect for you.” Plus, by now, she’s learned to prepare in a way that allows her to be agile in the room. “As long as you feel like you understand the person that you’re going in to play, you can react to the other person reading in a genuine way. If we go off-book, if we improv, as long as you know who the person is that you are in the scene, you can have those more freeing moments,” she explains. And every casting process is different. “Sometimes that casting process lasts weeks. Sometimes it lasts days. Sometimes it’s instantaneous. Sometimes you don’t hear.” That might sound casual for a business in which not hearing back means not getting the job, but Collins has made her peace with it. When she was preparing to fly to France to begin work on “Emily in Paris,” a job she landed on her 30th birthday after a monthslong period of meetings and auditions, she had the chance to put herself on tape for “Mank.” She sent it off with barely a second thought beyond: Why wouldn’t I put myself up for a David Fincher project? She BACKSTAGE 11.19.20
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threw herself into a busy shoot, playing the bubbly, optimistic, slightly oblivious Emily Cooper in virtually every scene of the freshman series. Then, she got the “Mank” call mid-“Emily” shoot. In a move that seems routine today but was new to Collins in summer 2019, she Zoomed with the legendary director and learned that she’d booked the role of Rita Alexander, an assistant of sorts to the titular Mankiewicz who typed his pages each night and generally kept the writer in line. From a sunny depiction of fictional present-day Paris, Collins went back in time to tell a true story that did not hide its blemishes. “I had to step into a completely different time period, and there wasn’t much information on Rita Alexander that I could find. There’s not that much information that we know about Herman Mankiewicz, let alone Rita. I had to research women of that period and rely on conversations with hair and makeup and our incredible costumer to feel the part,” she
With Ashley Park on “Emily In Paris “
remembers. “You walk differently; you handle yourself differently in a role from a different period. I love disappearing into whatever character I play in a physical sense just as much as an emotional sense.” Collins says she used her time between takes on the set of “Mank” to delve into the dynamic between the onscreen personae of herself and Oldman. She spoke with other cast members about getting into the time period and how women behaved in the Golden Age of Hollywood. But that dedication wasn’t unique to this project. “I really love teamwork. I collaborate with everyone I can who has a hand in creating the character, and it all ends up piecing together. I do as much research as I can, but if you’re playing someone who is real and there’s not much to be found on them, you kind of have to step outside of that person and pull from different aspects of other women of the time period and people you think she would maybe have been inspired by,” Collins says. backstage.com
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11.19.20 BACKSTAGE
That collaborative aspect of storytelling is partly why Collins added a new title to her lengthy résumé this year with her first foray into producing on “Emily in Paris,” which was just picked up for a second season. “I just love all facets of storytelling, so producing was a no-brainer. My friends who produce tell me all the pieces that they’re putting together in a puzzle, and I love being a part of that,” she says. “I think it was something that I was always going to do. I would love to direct one day. I’ve written a book [“Unfiltered: No Shame, No Regrets, Just Me.”], but maybe I’d write a screenplay one day. There’s no part of this industry that I don’t find fascinating. I’m constantly talking to all the heads of departments and wanting
I really love teamwork. I collaborate with everyone I can who has a hand in creating the character, and it all ends up piecing together.
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PREVIOUS PAGE: “EMILY IN PARIS”: CAROLE BETHUEL/NETFLIX
to learn and understand, because we all collectively make the end result happen. I’m excited to kind of take what I’ve learned and move forward to other projects one day.” But until she’s back on set, she’s embracing time at home with a renewed appreciation for acting exercises and auditions between outdoor adventures with her fiance, filmmaker Charlie McDowell. “Having been in quarantine or having not been on a set for a while and not being creative in the way that we’re used to, any audition or anything that you get to read or even have a conversation about going out for I use as a fun, experimental 25 minutes, or however long it takes. “The beautiful thing about what we get to do within this industry is heal in some way,” she adds. “Whether that’s healing through a laugh [or] healing through a cry, if it’s something you can physically relate to or it’s something that you know someone else has gone through, art heals and art inspires. That’s what I want to find within the characters that I play, no matter what genre it is. That’s the real gift of filmmaking, movie-making, [and] making TV. Just art in general.” In Collins’ case, it’s clear that hers is a gift that will keep on giving.
College Goes Digital with spending money on a new play, only to find out we could never play a character we intended on playing.”
Ayibatari Owei, Senior @
Smith College MAJOR: THEATER “I think the school could be a little more communicative about how upcoming virtual shows are going to run. As of right now, I’m participating in a virtual piece, but I have absolutely no idea what the script is, how I should shoot video, etc. I understand that we’re all trying to figure things out, but I feel pretty in the dark…. It would be nice to be on campus, but there’s a world outside your college. Everything will work out. And who knows—maybe you’ll be able to stage virtual productions of your own [works in progress] or your favorite plays with your classmates.”
Jenna Giordano, Junior @
5 college students on what virtual learning is really like By Casey Mink FOR MOST OF THE COUNTRY’S universities right now, digital learning is the name of the game—which got us thinking: What’s it really like inside these virtual classrooms? We spoke with several college students who dished on the high highs and low lows of transitioning to remote curriculums.
COURTESY JAY TOWNS
Jay Towns, Junior @
Northwestern University MAJOR: THEATER “I’ve been pleasantly surprised by some classes that have adapted to Zoom in a meaningful way. One class in particular, Acting for the Screen, has created a sort of meta-experimental approach to film acting using computer webcams and smartphones. Virtual learning is not the same as in-person—don’t expect it to be! But that doesn’t mean virtual learning is worse than in-person learning. I’ve been able to work on
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more intimate levels of technique, expand my definition of and comfort with screen acting, and develop a more practical acting skill set from the comfort of my apartment. And I mean, let’s be real—it’s also kind of nice not to have to go out for classes.”
Gabriel Krut, Senior @ University of Notre Dame MAJOR: FILM, TELEVISION, + THEATER “I don’t want to say it sucks, but it kinda sucks. We’re in a global health crisis, though, so lots of things suck. If I had to give one piece of advice to students and educators, it’s to acknowledge that acting over Zoom is not live theater or film, but something else. This doesn’t mean you can’t be creative or expressive, but you have to accept that it’s different. Also, get comfy with self-taping and yelling into your phone in selfie mode.”
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Sydney Rutigliano, Senior @
Pace University MAJOR: ACTING— INTERNATIONAL PERFORMANCE ENSEMBLE “I never realized how much I was analyzing my scene partners’ physicality during scenes in person. Often, parts of my scene partners’ bodies are cut off on Zoom, or their screens are blurry. This makes it so much harder to really take in how they are delivering their lines and reacting to me. It is [also] very tough to find good material to use in class right now. I have found that trying to look up good plays online is practically useless, because everything that comes up is overdone or is bad material…. It would be helpful if the teachers in my program compiled a list of plays that contain characters near our age for us to look into. It would cut out the trouble that my classmates and I face
Boston University MAJOR: ACTING “I had a professor recently say this time of uncertainty is like a sports team during their offseason: a time to slow down and go back to the basics. I feel like the professors are really understanding of how students may be feeling during this challenging time, so we have also taken time out of class to check in with each other and make sure everyone is taking care of their mental health. BU is doing a hybrid ‘learn from anywhere’ approach this semester, so about half of my classes are in-person and the other half are online. The in-person classes have felt really safe, which is something I was initially worried about. We have taped-off squares we are assigned to move within in my movement class, and everyone is of course required to wear a mask. If I were to ever feel unsafe in person, the option to take class online is always available.” For the full feature, head to backstage.com/magazine.
11.19.20 BACKSTAGE
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Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate
SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. are available at www.musictheatreofct. com/auditions. Submissions deadline is Nov. 20. Note: Actors of all ethnicities are strongly encouraged to submit, as are Connecticut and Westchester actors.
Casting picks of the week
• Equity’s contracts prohibit discrimina-
Plays ‘It’s a Wonderful Life’
• Seeking video submissions from Equity
members for “It’s A Wonderful Life: A Live Radio Play,” which is set in a 1940’s radio station and retells the story of George Bailey made famous by the Frank Capra film, utilizing a handful of actors who become all of the characters in the story. • Company: Music Theatre of
Connecticut. Staff: Joe Landry, writer; Kevin Connors, dir.; Alex Mongillo, admin. mgr. • Rehearses Dec. 3-10, 2020; runs Dec.
11-20 (Fri. 8 p.m.; Sat. 2 p.m. & 8 p.m.; Sun. 2 p.m.) at the theatre in Norwalk, CT. NYC actors’ (who are cast) train travel via Metro North is paid by the theatre. Commute time is approx. 1hr 10 minutes one way. • Seeking—Jake Laurents: 30+, 30’s,a
good-looking, charismatic, all-American good-guy. Plays George Bailey (portrayed by James Stewart in the film version). Sally Applewhite: 30+, 30s, attractive, sweet, all-American girl next door. Plays Mary Hatch Bailey (portrayed by Donna Reed in the film version). Freddie Filmore: 30-49, 30’s/40’s, excellent character actor, able to play multiple roles. Plays Announcer, Joseph, Mr. Gower, Henry F. Potter, Uncle Billy Bailey, Ernie, Mr. Bailey, Old Man Collins, Ed, Man, Giuseppe Martini, Nick, Bridge Keeper & Binky. Harry “Jazzbo” Heywood: 40-59, 40’s/50’s, excellent character actor, able to play multiple roles. Plays Harry Bailey, Bert The Cop, Clarence Oddbody,As-2, Sam Wainwright, Lawyer, Dr. Campbell, Randall, Tom, Man 2, Charlie, Carter, Horace the Bank Teller & Mr. Welch. Lana Sherwood: 30+, 30’s, excellent character actress, able to play multiple roles. Plays Violet Bick, Matilda, Ruth Dakin Bailey, Rose Bailey, Mrs. Hatch, Passerby at Run on Bank, Mrs. Thompson, & Mrs. Davis. • Seeking submissions from CT. • For consideration, submit self-tapes to
admin@musictheatreofct.com. Sides
BACKSTAGE 11.19.20
BY MELINDA LOEWENSTEIN
tion. Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
stage
‘It’s A Wonderful Life’ Time for some Christmas classics at the Music Theatre of Connecticut
• Pays $404/wk. Equity SPT 4 Contact.
‘Pericles’ and ‘Antigone’
• Seeking Equity video submissions for
the Connecticut Repertory Theatre’s Spring 2021 Season to include “Pericles” (William Shakespeare, writer; Raphael Massie, dir. Rehearsals begin Jan. 19, 2021; runs Feb. 25-Mar. 7 virtually) and “Antigone” (Gary M. English, adaptation-dir. Rehearsals begin Feb. 22, 2021; runs Apr. 1-11 virtually).
film
Untitled Christmas Movie Bundle up for some holiday shopping this Christmas feature
same people that have brought you countless Hallmark Movie Channel favorites.”
• Company: HBG Casting. Staff: Hilary
Greer, casting.
• Shoots Dec. 1-21 in Norwich, CT. • Seeking—Christmas Shoppers: all gen-
ders, 18+, all ethnicities, all types of holiday shoppers. Parents & Kids: all genders, 9-35, all ethnicities, family types and children for holiday shopping scenes. Santa Types: male, 34-86, actors to play Santas. • Seeking submissions from CT. • Apply on Backstage.com. • For consideration, include a cover let-
ter with your city and state and also indicate if you have a car to self-report. Must be local to the Norwich, CA area and be have a car to self-report. • Meals provided. Featured background
will receive IMDb credit.
multimedia
• Company: University of Connecticut.
Seventeen Magazine, High School Sweethearts Seeking grandparents who are with their high school sweetheart
Staff: Tom Kosis, artistic dir.; McCorkle Casting, casting; Pat McCorkle, casting dir. • Rehearsals, tech, and performances of
“Pericles” and “Antigone” will be conducted entirely online in a digital format. No one will be participating in the same physical space.
commercials & promos
• Seeking—Equity Actors: all genders,
Eyewear Brand Photo & Video Shoot Models, dust off your glasses for this promo
18+, all ethnicities.
• Seeking submissions from CT. • For consideration, submit video link
and separate attachments of your headshot and resume to epa.submission@mccorklecasting.com with the subject line “Full Actor Name/CRT Spring 2021 EPA Submission” Submission deadline is Nov. 30.
animation
‘Junk’ It’s never to late for spring cleaning in this animated student film
• Video Submission Requirements: Limit
your video submission to three minutes maximum. Actors should prepare one classical monologue of their choosing. Monologue must be in verse. Monologue can be Shakespeare but this is not required. This time limit includes your slate (your name, name of play, and character you will be performing). Upload your video audition to Vimeo and include a link for viewing in your email submission. Youtube links are also acceptable, but Vimeo is strongly preferred. Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms. See Self-Tape instructions for submission preparation.
ages, as well as performers with disabilities, to submit. • Pays $688/wk. Equity URTA Tier II
Contract.
Feature Films Untitled Christmas Movie for BET Network
• Equity’s contracts prohibit discrimina-
• Casting a comedic Christmas movie for
tion. Equity encourages performers of all ethnicities, gender identities, and
BET Network and Synthetic Cinema International. Production states: “By the
22
Student Films ‘Frostbite’ 3D Animated Short Film
• Casting voice actresses for the roles of
Una and Noma in a 3D animated short film, “Frostbite” for School of Visual Arts. • Staff: Nick Christie, Brian Luong,
Stephanie MacCarthy, casting.
• Recordings begin in December in New
York City.
• Seeking—Noma: female, 16-29, ages
17-19; an overprotective young adult (also Inuit) who is responsible for her sister; trained in hunting and is more aware of the forest than her younger sister. She knows her sister isn’t ready for a big hunt just yet and saves herself and her sister from an almost deadly situation. Una: female, 15-21, between 9-12; an ambitious young Inuit girl who admires her older sister, Noma, but also hates her at the same time, like sisters do. She tries to be a hunter by herself and encounters something that is more than she bargained for. • Seeking submissions from NY. • Apply on Backstage.com. • For consideration, include a cover let-
ter with your availability and any conflicts you might have in December. The recording will most likely only take a day or a few days depending. Include a video submission with your name and the role you will be auditioning for. If you have a website or reel, that is fine backstage.com
• Pay is negotiable.
Scripted TV & Video ‘Humanized’
• Casting a virtual table read for
“Humanized,” a sci-fi coming-of-age drama mini series created for an NYU junior-level production class. The series consists of ten five-minute episodes which will be read over Zoom with the entire class as a “final presentation.” The pilot episode will be shot at a future date once conditions allow. • Company: NYU Tisch. Staff: Gabriel
all genders, 45-60, all ethnicities, stern principal of a private high school. Has a couple of lines. Interviewer: all genders, 30-60, all ethnicities, a science magazine interviewer who conducts Leticia’s first interview after being gone for so long. Computer Voice: 18+, all ethnicities, robotic voice. Party Guy: male, 16-25, all ethnicities, a party-goer at Connor’s party. Party Girl: female, 18-25, all ethnicities, a party-goer at Connor’s party. Tech Teacher: all genders, 30-60, all ethnicities. Secretary: all genders, 25-60, all ethnicities. • Seeking submissions from NY. • Apply on Backstage.com. • Include a self-tape of the sides for the
character you are auditioning for (leads only). • No pay.
Guimaraes, showrunner; Roy Einhorn, exec. prod.; India Attias, Radley Docekal, and Lily Grigsby-Brown, prods.; Ailís DeTommaso, dir.; Avi Abrams, AD.
Music Videos
a.m.-2 p.m. EST; not flexible; must be available) via Zoom. Shoot dates TBD.
Staff: D. Gelb, coord.
Indie/Alt Music Video
• Table read presentation on Dec. 11 (11
• Casting an indie/alt music video. • Company: Dreambear Productions.
• Seeking—Robbie Costa: male, 17-25,
• Shoots evening of Nov. 20 or 21 in NYC. • Seeking—Barbara: female, 24-84, all
White / European Descent, a robot, but you wouldn’t be able to tell just by looking at him. He’s scrawny, cold, and indifferent. Built primarily to replace Leticia’s biological son, but now being used to help her advance her latest project, Robbie has one major flaw: he has the capacity to feel emotions. Max Alvarez: 17-25, Latino / Hispanic, an edgy, pessimistic kleptomaniac who thinks humanity’s gone to shit. They don’t have many friends but take a liking to Robbie’s deadpan demeanor. Although Max seems callous, they truly care about Robbie. Max is nonbinary. Connor Mosaku: male, 17-25, Black / African Descent, confident and wicked smart. Because he’s interested in robotics/AI, he quickly connects with Robbie in a way that no one else does, which leads to a budding romance. He doesn’t know about Robbie’s true identity. Leticia Costa: female, 40-55, White / European Descent, a worldrenowned engineer who’s been in the shadows for a few years and is eager to get back out there with her latest project. As Robbie’s creator, she’s controlling, closed-off, and impersonal. Italian accent preferred. Robin Costa: female, 19-25, White / European Descent, Leticia’s current project and most prized possession. As a robot, she’s able to feign emotions to the point of being manipulative. Jealous that Robbie is able to go out into the real world, Robin will stop at nothing to ensure that she is the last one standing. Brian: male, 30-45, all ethnicities, an event director at the convention center where Leticia will display the new work she has been doing. Has a couple of lines. Mrs. Julie Pereira: female, 30-40, Black / African Descent, Latino / Hispanic, White / European Descent, the peppy high school calculus teacher. Seb: male, 16-25, all ethnicities. Principal Miller: backstage.com
ethnicities, character actress. Barbara is doing her laundry when things get psychedelic. Think Peter Fonda in “The Trip.” Should have a unique look. Laundry Characters: all genders, 23-87, unique, interesting characters. Confirm your availability for Nov. 20 and 21. • Seeking submissions from NY. • Send submissions to dave@dreambear.
org.
• Pays $150/day for approx. six-eight
hours. Nonunion.
Demo & Instructional Videos Cognitive Health Training Video for Clinicians
• Casting a mental health training video
for healthcare providers. The short video is a demonstration for clinicians working with clients who need to develop their cognition (memory, focus, and comprehension skills). • Company: ModernEpic. Staff: Victoria
S., coord.
• Scheduled to shoot two days between
Dec. 6-9 in the Washington Heights area of NYC. • Seeking—Rick: male, 35-55,
Ethnically Ambiguous / Multiracial, a counsellor working with people who may need additional help with their cognitive skills (memory, focus etc.). He is a kind, warm, and caring man. Mike: male, 25-35, Ethnically Ambiguous / Multiracial, 29 years old. Studying to be a HVAC technician. He was diagnosed with schizophrenia in his early 20s and has been doing cognitive behavioral therapy to deal with
23
11.19.20 BACKSTAGE
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too. Only read for the part you are auditioning for. The dialogue to be read is highlighted in red in the script attached.
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casting California his symptoms. Mike is struggling at school because he has difficulty focusing and retaining information. On the suggestion of his psychiatrist, he’s come to see Ray to help him with his cognition skills. Mike is uncertain about what Ray suggests and unsure that it can help him. • Seeking submissions from NY. • Send submissions to admin@
modernepic.com.
• Pays $400/day, plus meals provided.
Spec Commercials ‘Ikea: Trust Your Seller’ Spec Commercial
• Casting “Ikea: Trust Your Seller,” a spec
commercial that follows a couple enduring the ill will of a haunted couch. Strict COVID-19 safety procedures will be practiced on set (temperature checks, masks, sanitation kits, etc.). • Company: Sacral Creative. Staff:
Local Commercials ‘7 Eat 9,’ Local Commercial for Small Business • Casting commercial for a small
accounting company that will play in local markets.
• Company: Artificial Creations. Staff:
Alain Gr-Polanco, prod.-dir.
• Shoots the week of Nov. 23 (one day
TBD).
• Seeking—Al: male, 40-80, business
owner struggling with company financials. Bella: female, 35-70, wife to the business owner, Al. LAB Accountant: female, 24-50, the accountant that comes in to assist the business owner. • Seeking submissions from NY. • Apply on Backstage.com. • No pay.
Must be able to self-report. No participation fee required. The producers plan to apply for a SAGAFTRA New Media Agreement for union talent. Nonunion actors welcome and encouraged to apply.
Grayson Whitehurst, dir.; Armaan Virani, DP-prod.; Jake Goldfine, prod. • Rehearses late Nov.-early Dec. via
Zoom; shoots Dec. 6 in NYC.
• Seeking—Chris: male, 24-38, early 30s;
an everyman who doesn’t want to disappoint his girlfriend, Mary--even when it means putting his own life on the line (or, in this case, on a possessed couch). Oblivious to obvious warning signs; lead. Mary: female, 24-38, early 30s; assertive--certainly more assertive than her boyfriend, Chris. Like Chris, however, she’s oblivious to obvious warning signs that virtually anyone else would immediately identify; lead. • Seeking submissions from NY and NJ. • Send submissions to ikeaspec2020@
gmail.com.
• In lieu of an in-person audition (COVID
protocol), include a self-tape with your submission referencing the script sides attached. Submissions without a selftape will not be considered. • Pays $175/day, plus meals provided.
Online Commercials & Promos Ballet Dancer for Footwear Brand
• Casting a ballet dancer for a dancing
and testimonial video for VIVAIA footwear brand.
• Staff: Yusuke S., coord. • Shoots in November or early December
in NYC.
• Seeking—Ballet Dancer/Ballerina:
female, 18-40, ballet dancer in regular clothing to wear brand shoes, perform dance visuals, and give a testimonial. • Seeking submissions from NY. • Apply on Backstage.com. • If possible, submit a ballet dancing
video example. For more info on the footwear brand, visit www.vivaia.co.
• Pays $300 flat rate (approx. six hours).
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
Film & TV Crew ‘Sacrifice’ Videographer
• Seeking a videographer and editor for
“Sacrifice,” a music video for a new single from the folk-pop band Late Night Thoughts.
• Company: lntmusic.com. • Two day weekend shoot, dates TBD in
Dec. in NYC.
• Seeking—Music Videographer/Editor:
all genders, 18+, all ethnicities.
• Seeking submissions from NY. • Send submissions to joshnyc22@gmail.
com.
• In your cover letter, note some of the
experience you have in filming and editing music videos.
• Pays $600 to film and edit the music
video. Traveling and food will be covered.
Southern California Feature Films ‘The Basilisk’
• Casting “The Basilisk.” Synopsis: Three
tech workers race to assemble the components of a mysterious AI project.
Be the future of theatre & performance Study your Bachelor’s degree in London BA (Hons) Acting BA (Hons) Contemporary Performance Practice BA (Hons) Theatre Practice Graduate degrees also available. Find out more and apply: www.cssd.ac.uk/backstage
California casting
With the disparate code coming together, they begin to realize the scope and power of it could have as well as the far-reaching consequences for humanity. As tensions rise over the decision to launch the program or destroy it, their own secrets and interpersonal conflicts lead to an explosive finale. • Staff: Chris Wilson and Stephanie
up for in willingness to please.
• Seeking submissions from CA. • Apply on Backstage.com. • If selected for a callback, must submit
an audition video.
• Pays $250/day. Producers might plan to
apply for a SAG-AFTRA Ultra Low Budget Agreement, depending on talent cast.
Stanziano, coords.
• Shoots ten days between Dec. 4-15 in
L.A.
• Seeking—Elizabeth: female, 30-40, any
ethnicity. Technology project manager. A pragmatist and political centrist. Understands the business game and what a disadvantage she has in it. Hides her self-doubt under a stern, no-nonsense exterior. Driven but capable of being friendly and jovial if it furthers her goals. Ray: male, 40-50, White / European Descent, open to all body types. Senior tech programmer. Would claim to be libertarian, but is really just conservative. Good at his job and will make sure you know it, though he’s aging out of a competitive tech workforce. Midwest values. He’s a Christian but doesn’t go out of his way to advertise it. Believes America is losing its way in the world. Satya: male, 20-30, South Asian / Indian, 20s-early 30s. Indian. Junior tech programmer on a H1B visa. Attractive and energetic. A bit philosophical. Grew up in a conservative family and now leans progressive with his newfound freedom in the U.S. For what he lacks in raw talent, he makes
Short Films ‘Accidental Date’
• Casting “Accidental Date,” a short film
is about a Russian female tourist in Palm Springs having trouble finding a date. • Company: Palm Springs Women in Film
and Television. Staff: Kim Waltrip, Kate Spates, Steven Ciceron, Angela Romano, coords.
• Shoots Dec. 8-9 in CA. • Seeking—Anya: female, 25-40, White /
European Descent, attractive but not stylish. Friendly, clumsy and happy-golucky. Able to portray an Eastern European woman with appropriate accent. Familiarity with Russian language helpful but not required. Lead. Marco: male, 25-40, White / European Descent, good looking bellman at a hotel. A kind sensitive man full of compassion. Smitten with lead character Anya. Able to portray an Eastern European man with appropriate accent. Familiarity with Russian language helpful but not required. Supporting. Zoe:
female, 30-40, all ethnicities, a Yogi. Spiritual zodiac type of person. Woodstock aura. A yoga enthusiast type. Comfortable playing a lesbian; supporting. Frank: male, 40-55, all ethnicities, an over the top flamboyant, highly energetic, effeminate clothing store manager; supporting. Flash: male, 40-55, all ethnicities, a good looking, charming womanizer. Casanova type of a guy; supporting. Levi: male, 21-35, all ethnicities, a hipster, partier type. A person who follows the latest trends and fashions. Has a carefree attitude about most things in life. A millennial; supporting. Valerie: female, 18+, all ethnicities, a street musician. Busker who goes from location to location in Palm Springs playing guitar; day player. • Seeking submissions from CA. • Apply on Backstage.com. • For consideration, include actor’s reel
and resume if possible. Must be Palm Springs local or be willing to work as a local. Production will send sides to those chosen to send a self tape.
• No pay, but credit and meals provided.
Student Films ‘A Phone Call’
• Casting “A Phone Call.” Synopsis: An
estranged father, who is in trouble calls his long lost son to have one last conversation with him. • Company: New York Film Academy.
Concentrations in acting, costume design, costume technology, lighting design, scenic design, stage management, and technical direction Access to New York City, just 45 minutes away Benefits of a Big Ten Research University masongross.rutgers.edu
admissions@mgsa.rutgers.edu
Staff: Armaan Lucknowala, dir.-writerprod.; Farhaan Colabalawalla, 1st AD; Arnav Kasbekar, prod.; Shivan Giri, prod. • Shoots between Dec. 11-19 (but most
likely Dec. 18-19) in Los Angeles, CA. • Seeking—The Man: male, 45-60, all
ethnicities, the main character in this short film, he is running away from a couple of dangerous men who are after his life after he finds cover, he tries to call his son who he has not spoken to in 25 years. Michael: male, 25-35, all ethnicities, the supporting character in this short film, he is the son and receives a random phone call in the middle of the night from his estranged father who he has not seen or spoken to in 25 years; most of this character is just the VoiceOver, until the revealing shot in the end. Young The Man: male, 18-30, all ethnicities, a character which is only in the flashbacks in this short film, he will be required only on one day of the shoot; he plays the younger version of the The Man. Mother: 18-25, all ethnicities, a character which is used only in the flashbacks in this film; she is getting married and having a good time with the Young Man; the Mother will be required only one day of the shoot. • Send submissions to a.lucknowala@
student.nyfa.edu.
• Auditions will mostly likely be held on
Zoom because of the Pandemic but the final audition may be held in person, so if that maybe an issue, let us know beforehand. • Travel, meals, footage and IMDB credit
casting California provided. Deferred Pay as well.
‘American Nightmare’
• Casting “American Nightmare,” a stu-
dent horror film based on the 50s’ American Dream but taking place in a modern-day time. A Latino family moves into a new neighborhood without realizing that their house is haunted by the 50s’ American Dream and will not stop until their lives are terrorized by this “Nightmare.” • Company: Asuza Pacific University.
Staff: Brianna Bermudez, dir.
• Shoot dates and location TBA due to
university policy for COVID-19. January and February are scheduled for possible weekend day shoots. • Seeking—Maggie Sanchez: female,
15-29, Latino / Hispanic, a 17-year-old girl who’s drowning from the pressures of society to apply to college due to the American Dream. She is the critical factor for the house that will try to control her but once realizing the house’s plans, she will fight back to break free from this social construct. She starts off being submissive towards people’s orders, but her character arc will soon reveal that she’s the one who is in control. Toni Sanchez: male, 18-25, Latino / Hispanic, a 15 years old boy who is invisible towards his family. He fights to be noticed but all of the attention is focused on his sister Maggie. He’s first to realize of the house’s evil plans but the house gets rid of him before he decides to act. He truly loves his sister and family and is willing to go the extra
mile to help. His character’s arc will go from being forgotten to now being recognized and accepted in his family. Justina Sanchez: 30-60, Latino / Hispanic, the mother of the house, a hard-working lawyer however, the house’s ideals turn her into the perfect housewife due to the 50’s social standards. Her pressure to become a 50’s housewife is influenced to an extreme enable control of her daughter’s life. Antonio Sanchez: male, 30-60, Latino / Hispanic, a family man and is willing to do anything for his family. He feels like a failure only because he went to trade school compared to his wife who went to law school. He owns his business that he’s afraid of, however his working habits ends up killing him from stress. The house turns him anxious and afraid to reveal to the society who he is, so opposite from his son, he’s trying to go unnoticed. 50s’ Commentator: male, 18+, an important figure for this house to communicate its truths. The 50’s Commentator will be heard on radio and voiceover throughout archive footage. Their position is to broadcast and try to sell the story in a chirpy, happy, Trans-Atlantic accent until the story becomes sinister. • Seeking submissions from CA. • Send submissions to bbermudez17@
apu.edu.
• For consideration, include a video with
your submission and note your availability for January and February. Note: Must be flexible with shoot days in those possible months. Must also include the
answer in the video to “What is your idea of the American Dream?” Note: Make sure to include the video audition in your submission.
he is hanging from the ceiling beaten up already; he is half-conscious, doesn’t know where he is at and confused.
and credit provided.
student.nyfa.edu.
• Seeking submissions from CA. • Send submissions to b.stoycheva@
• Meals, copy of the film, reel footage,
• Send headshots, and video of you
‘Blood Money’
reading the role that you want to audition for.
• Casting “Blood Money,” a short film.
Synopsis: 100 grand missing and their boss gone, two men use less than legal methods to get their answers, yet there is a comic twist and lots of burgers.
• Credit provided.
‘Sound & Vision’
• Casting “Sound & Vision,” a student
• Company: New York Film Academy.
Staff: B. Stoycheva, coord.
• Shoot may be possible early spring 2021
in Los Angeles, CA.
• Seeking—Joshua: male, 18-42, Black /
African Descent, the main baddie in the movie; tough, tall, sarcastic, with love for weapons, mysterious, cranky, yet still with a smirk on his face; used to getting whatever he wants and does not take no for an answer; he tolerates his partner Ethan, even though he acts tough and always barks at him, he still wouldn’t switch him for anybody else. Ethan: male, 18-33, White / European Descent, a softy; even though he is one of the interrogators, he’s main interests lie in eating burgers and watching Joshua do the dirty work; he is the mediator and calms down Joshua if he gets too fierce with their victims; Ethan has this unbothered face all the time, but he still wants to do the job that he was assigned to do. Bob: male, 18-33, Ethnically Ambiguous / Multiracial, the victim in the story; in his late twenties,
film director struggles to make his film admit the intense Covid 19 environment with his less than prepared crew, strict on-set health advisor, and quickly waning passion. Note: The film is planned to be shot in Santa Barbra while adhering strictly to the Covid 19 guidelines put in place by Santa Barbara County, including every member of cast and crew being required to wear a mask at all time, and no more than five people being on set at a time. Sanitizing and temperature checking will be a major priority while on set. This a student film for the UCSB 106 Production course. • Company: Sound & Vision. Staff: Jack
Scotti, casting dir.
• Shoots early January 2021 in Santa
Barbara, CA. Note: The dates not locked down yet. • Seeking—Jack: male, 18-27, a
pessimistic, self-deprecating, overly ambitious film student trying to direct his own film; often uses comedy to express his frustrations with his disastrous film production; his
Your Talent,
ON STAGE
Photo by Eric Woolsey from the 2018 production of Three Sisters
L E I G H G ERD I NE
College of Fine Arts
partners with The Muny, St. Louis’s summer home to professional musical theatre, and the St. Louis Shakespeare Festival.
The CONSERVATORY of Theatre Arts at Webster University is the only undergraduate training program that has a major regional theatre and an opera company on campus. The Repertory Theatre of St. Louis and The Opera Theatre of Saint Louis offer unparalleled opportunities for study. The Conservatory also
Majors include Performance (Acting and Musical Theatre); Directing; Stage Management; Scene, Costume, Lighting, Sound and Wig and Makeup Design; Costume Management; Technical Production; Scene Painting; and Dramaturgy. Learn more at webster.edu/conservatory.
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California casting
impatience with the process is often communicated through narration over the course of the film. Lisa: female, 18-27, a reliable producer who plays as the foil to the film’s slightly neurotic director; being as level headed as she is, she often serves as the one making the tough decisions on set. Health Advisor: all genders, 20-40, an emotionless, stone faced, and calculated Health Advisor of little words; tasked with making sure that the director’s film and crew stay stringent to Covid-19 Guidelines. Donald: male, 18-27, an unaware and overconfident member of the film’s crew, Donald often takes himself too seriously; he has a very spaced out demeanor. Melvin: male, 18-27, an unreliable crew member who struggles with following directions; shows up to set believing a halloween mask is Covid-19 compliant. Becca: female, 18-27, a self conscious, polite, and unsure student actress who is cast as the lead in a western romance film; she plays a strong and fearless killer in the student film. • Seeking submissions from CA. • Send submissions to jackscotti@umail.
ucsb.edu.
• Auditions will be held over zoom. • Meals will be provided.
‘The New Me, Baby!’
• Casting “The New Me, Baby!,” a drama
about a famous singer named Rosalina who is ready to go on stage and throw a show for the public. Fifteen minutes before her show, her abusive ex,
Maximiliano, decides to come into her dresser and put a show on of his own, to win her back. This is when Rosalina finally gets to put this coward in his place.
• Note your availability throughout the
Hollywood. Staff: Elizabeth Campos, dir.-prod.
Scripted TV & Video
• Company: Columbia College
• Shoots Nov. 23 (9 a.m.-1:30 p.m.) and
Nov. 24 (11 a.m.-1:30 p.m.) in the Tarzana, CA area. • Seeking—Rosalina: female, 26, Latino /
Hispanic, a 26-year-old singer who has made it so far from a past life of risks and bad behavior. Rob: male, 30-32, all ethnicities, a waiter at the place Rosalina is performing, who happens to be close to her. Rob admires Rosalina and will do anything to make her feel happy and satisfy her needs. Little does she know, he is always watching over her. Maximiliano: male, 28-30, a man who doesn’t like to lose. He believes that he can always get his way in the end. After five years of being out of Rosalina’s life, he makes a surprising appearance before her show to see if he could win her back. Security 1: male, 32-33, all ethnicities, holds Maximiliano down on the floor to gain control over his outrageous actions. Security 1: male, 32-34, holds Rob standing up, preventing him from physically attacking Maximiliano. Stylist: female, 24-28, all ethnicities, makes a short appearance while Rosalina is getting ready for her show in the intro. • Seeking submissions from CA. • Apply on Backstage.com.
week for rehearsals.
• Meal and copy provided.
ABC’s Disney Holiday Singalong
• Casting a Disney Holiday Singalong for
ABC.
• Company: Lauren Waters Casting.
Staff: Lauren Waters, casting dir.
• Shoots in Los Angeles. • Seeking—Boy with Christmas Tree:
male, 5-12, White / European Descent, a union child actor to be a part of a Christmas scene. Must be local to Los Angeles. • Seeking submissions from CA. • Send submissions to
Laurenwaterscasting@me.com.
personalities for a pop culture trivia game show.
• Casting states: “If you’re a pop culture
fanatic, sports junkie, music lover, or just obsessed with trivia, we want to hear from you. We’re on the hunt for outgoing teams of two to answer fastpaced trivia to earn their shot at big money.” • Company: Cornwell Casting. Staff:
Damon Collazo, supervising casting prod.
• Shoots one day during the first week of
December in L.A.
• Seeking—Partner 1: 18+, all ethnicities,
mother-daughter and father-son duos for a major network game show.
• Seeking submissions from CA. • For consideration, submit a cover letter
including who your partner would be in and their name and relationship to you to tina@cornwellcasting.com.
• No pay. Chance to win cash prizes. Must
be 18 or older and in the Greater L.A. area or willing to travel.
• Pays SAG-AFTRA rates.
Reality TV & Documentary
Multimedia Digital Series, Kamala Harris Episode • Casting girls who are inspired by the
Major Network Game Show, Dynamic Duos
election of Kamala Harris as VicePresident for one or two episodes of an unscripted, digital series.
father-son duos with fun, outgoing
clips of Kamala speaking and be
• Casting dynamic mother-daughter and
Musical Theatre
B.F. Ain. Theatre arts
www.molloy.edu/theatre-arts Manhattan & Rockville Centre, NY
• Production states: “The girls will watch
casting National/Regional interviewed about their opinions of her. In addition to this episode, we might film another light and fun episode about food. If so, we’d tell you more about it before you were booked.” • Company: Freelance. Staff: Maria
Skeels, casting dir.
• Shoots next week in L.A. • Seeking—Kamala Harris fan: female,
8-16, Asian, Black / African Descent, South Asian / Indian. • Seeking submissions from CA. • Send submissions to mmscasting@
gmail.com.
• Pays $104 to film up to two episodes of
digital series. Production states: “Depending on whether we shoot one or two episodes, filming should only require about 2 hours maximum.”
Online Commercials & Promos Fitness Company, Plus Size/ Relatable Talent
• Casting Plus Size/Relatable Females for
a popular fitness company. Note: Due to the current situation, we are doing video call shoots with actors from home. These videos will be used for the brand’s social media ads FB and IG. • Company: Narrative Ads. Staff: Morgan
McVey, casting coord.
• Dates vary. Note: Seeking talent from
Los Angeles, though the shoot would be from your own home to stay safe with Covid.
• Seeking—Plus Size/Relatable Females:
National/ Regional
member of the close-knit D&D gaming party; has recently passed, but lives on in the memories of his closest friends; charismatic and easy to love; actor will only portray Gandrig but will appear as Brent in still photos. Barmaid: female, 18-50, all ethnicities, featured extra. Barmaid of The Ship’s Wake Tavern in the D&D fantasy world; familiar and friendly to the gaming party; her frequent customers. The Ship’s Wake Tavern Patrons: all genders, 18-50, all ethnicities, bar patrons in the fantasy world of Dungeons and Dragons. The Knight-Captain’s Guards: male, 18-50, all ethnicities, guards answering to the Knight-Captain, combative in defeating anyone who stands in his way.
female, 30-65, all ethnicities, who enjoy health and fitness • Seeking submissions from CA. • Send submissions to emily@
narrativeads.com.
• Pays $100 stipend.
Student Films ‘Augury’
• Casting “Augury,” an advanced
Print & Digital Modeling Eyewear Brand Photo and Video Shoot
• Casting photo and video content for an
Eyewear Brand website.
• Company: South James. Staff: Colin
Olsen, prod.
• Shoots Dec. 9 in Los Angeles, CA. • Seeking—Male Model: male, 18-50, all
ethnicities. Female Model: 18-50, all ethnicities.
• Seeking submissions from CA. • For consideration, submit a photo with
you wearing glasses if you have it to colin@southjames.com. • Pay provided.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
production student film at Columbia College Chicago.
• Company: Columbia College Chicago.
Staff: Karen Chaney, dir.; Avi Zephyra, prod.; Kara Olander, casting dir.; Mia Johnson, writer; Evan Chhabra, writer.
• Rehearsals and shoot tentatively set for
February 2021 in Chicago, IL.
• Seeking—Evan / Knight-Captain: all
genders, 18-25, all ethnicities, a knowledgeable gamer, unpredictable in the wake of the passing of his close friend, Brent, a former member of the tightlyknit Dungeons & Dragons gaming party. Jordan / Bjorn: all genders, 18-25, all ethnicities, Brent’s brother; the youngest friend in the D&D gaming party; supportive and tactile in helping Evan process Brent’s passing. Cece / Aloura: all genders, 18-25, all ethnicities, a close friend in the D&D gaming party, first and foremost logical in dealing with Brent’s passing; not unaffected by his absence, but adept in concealing her pain. Brent / Gandrig: all genders, 18-25, all ethnicities, Jordan’s older brother and former
• Seeking submissions from IL. • For consideration, submit a self-tape to
OlanderCasting@gmail.com. If auditioning for a lead or supporting, choose any of the sides included, and provide two takes of that side. If auditioning for an extra or featured extra, please provide two takes of an improvised line that is in-character of the role. For all roles, mention if you have experience with: theater; sword fighting/stage combat; crying on command; knowledge of Dungeons & Dragons, or experience playing the game.
• Meals provided, at least one copy given.
‘Left to Live’
• Casting “Left to Live,” a comedy
student film about a wealthy Latinx Miami family whose eldest daughter, Talia, is left to deal with the De Aragon
ANYTHING IMAGINABLE. CHAPMAN UNIVERSITY is the best place to hone your craft, turn passion into profession, and create anything imaginable with faculty who know your name. B.A. THEATRE BFA SCREEN ACTING BFA THEATRE PERFORMANCE Accredited institutional member of the National Association of Schools of Theatre.
APPLY & AUDITION:
chapman.edu/copa/auditions (714) 516-5223 copaadmit@chapman.edu Talent awards, academic scholarships and financial aid assistance available. One University Drive | Orange, California 92866
National/Regional casting
family’s ghosts after she missed the memo on the suicide pact.
• Company: FSU Film School. Staff: Alex
Thiel, prod.
• Shoots Jan. 29-Feb. 5, 2021 in and
around Tallahassee, FL.
• Seeking—Nando: male, 18-35, Black /
African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, a handsome 20-something drag queen. Latinx/Afro-Latinx preferred. Nando is best friends with Talia and ends up wrapped up in the De Aragon family’s legal troubles when an exorcism goes awry. Franc De Aragon: male, 40-65, Latino / Hispanic, the patriarch of the De Aragon family, Franc is at his wits’ end trying to manage his crumbling fortune and his dysfunctional family. Must be Latino/Hispanic. Must be fluent in English and Spanish. Adina De Aragon: female, 40-65, Latino / Hispanic, the matriarch of the De Aragon family, the flamboyant Adina often clashes with her spoiled children and is, along with her husband, trying to weasel her way out of a dire financial situation. Latina. Middle-aged. Must be fluent in both English and Spanish. Anchorwoman: female, 21-49, Latino / Hispanic, Latina anchorwoman reporting on the De Aragon family story on local South Florida news. Ozzy: male, 21-35, a handsome Australian man who continues to haunt Nando after what was supposed to be a onenight stand. Australian accent required. Oscar De Aragon: male, 18-27, Latino / Hispanic, the fratty, preppy, college-
age son of the De Aragon family. He is dismayed at his family’s newfound financial troubles and is part of the suicide pact, after which he returns as a ghost to haunt the mansion. Judge Alvarez: male, 45-65, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, the no-nonsense father of Nando, who shows up to the scene of Nando’s accidental arrest and attempts to de-escalate the situation to save face. Latinx/Afro-Latinx preferred. • Seeking submissions from FL and GA. • Send submissions to ajthiel601@gmail.
com.
• Include a headshot and self-tape
audition video using the sides provided. • Must be local or willing to travel to
Tallahassee, FL.
Reality TV & Documentary
• “Is one family member not speaking to
another family member? Did you raise a spoiled and entitled child and now they are adults, on their own, and can’t live without your help? Do you have a meddling mother-in-law? Do your kids hate your new spouse? Do you have a teen pregnancy and don’t know what to do? Are you keeping a secret from your family and need help breaking it to them? Did you do a 23 & Me or Ancestry test and found out info on your parents?” • Company: Stage 29. Staff: Nicole
Segura, PA.
• Dates TBD. • Seeking—Entire Family: all genders,
13+, all ethnicities.
• Seeking submissions nationwide. • For consideration, email your contact
info (name, location, phone number, email, and Facebook); names, ages, and photos of everyone in the family; and a description of your current family dynamics and issues (provide specific examples) to nicole.segura@cbs.com. • No pay.
‘A Reality TV Family’
• Casting entire families for a reality
show. Production states: “A major television network is looking for a family who may have a pressing issue that needs to be resolved. You must have a clear problem that needs a solution. Producers are looking for families of all types, with varying complicated problems that are prohibiting peace in your family’s life.
for Seventeen Magazine. Specifically looking to cast couples who have met in and have been together since high school. • Staff: S. Safran, CD. • Shoots remotely. • Seeking—Grandparent: 55+. • Seeking submissions nationwide. • Send submissions to Sabrina.safran@
hearst.com. • No pay.
Online Commercials & Promos Mental Health Project
• Casting men and women who feel com-
fortable speaking about depression and anxiety on camera for a brand that provides high-quality mental healthcare. • Company: Narrative Ads. Staff: Jackie
N., casting dir.
Multimedia Seventeen Magazine, High School Sweethearts (Grandparents)
• Seeking older couples based in the
United States who were high school sweethearts to be in an upcoming video
• Works remotely from home. • Seeking—Woman of Color for Mental
Health Project: female, 30-45, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, who feel comfortable speaking about anxiety and depression. Must be able to promote a mental
PERFORMANCE OPPORTUNITIES include main-stage and studio productions, cabaret performances and in-residence workshops with established artists. Scholarships available! • BFA in Musical Theatre • B.A. in Theatre • B.A. in Dance • Minors in Dance and Theatre 401 W. Kennedy Blvd. | Tampa, FL 33606 | (813) 253-6211 | admissions@ut.edu | ut.edu/theatre
casting National/Regional health brand on camera. Young Man for Mental Health: 25-35, all ethnicities, comfortable speaking about anxiety and depression. Must be able to promote a mental health brand on camera. • Seeking submissions nationwide. • Send submissions to charles@narra-
tiveads.com.
• Pays $100 flat.
Shampoo Brand
Watch Lifestyle Commercial
Dancers & Choreographers
watch brand.
‘Closure’
Murphy McCann, dir.
adaptation of a poem.
narrativeads.com.
• Pays $100. Nonunion or SAG-Eligible.
• Casting lifestyle web commercials for a • Company: Animus Studios. Staff: • Shoots in Providence, RI. • Seeking—Female Model: female,
• Seeking women from age 20-30 for
20-45, nonspeaking. Male Model: male, 20-45.
• Company: Narrative Ads. Staff: Emily
musstudios.com.
well known hair care brand for online and social media ads. C., casting coord.
• Works remotely from home. • Seeking—Woman With Soft, Shiny
Hair: female, 20-35, all ethnicities, seeking women with silky, shiny soft hair for online and social media ads for well known shampoo/conditioner brand. • Seeking submissions nationwide. • Send submissions to emily@
narrativeads.com.
• Pays $100. Non-union or SAG eligible.
Teeth Whitening Brand
• Casting male models for a teeth
whitening brand.
• Company: Narrative Ads. Staff: Emily
C., casting coord.
• Works remotely from home. • Seeking—Male Model with Nice Teeth:
18-35, all ethnicities, with nice teeth for a teeth whitening brand. • Seeking submissions nationwide. • Send submissions to emily@
• Seeking submissions from RI. • Send submissions to murphy@ani• Pay provided.
General Voiceover
• Casting “Closure,” a photographic • Company: Stop Action. Staff: Spencer
Trinwith, dir.
• Shoots in Wilmington, DE. • Seeking—Female & Male Dancer:
Happify Health, Female Voiceover Artist to Play Virtual Therapist
females and males, 18-35, all ethnicities, with excellent technical ability. Classically trained a plus.
• Casting a female voiceover artist for
• Seeking submissions from DE, PA, DC,
MD, NJ and NY.
• For consideration, submit a dancer’s
Commercial & Fit Modeling Furniture Modeling Shoot
• Casting models for high-end furniture
modeling shoot.
• Company: Bennett Creative. Staff:
Andrew Bennett, dir.
• Shoots Jan. 4 in Austin, TX. • Seeking—Model: 20-45, to model fur-
niture; must not have visible tattoos. • Seeking submissions from TX. • For consideration, submit full-body
photos and hand photos to jp@bennettcreative.co. Must not have visible tattoos.
• Pays $400/day, plus $50 for manicure
expenses covered.
reel or social media handle with your work to spencer@spencertrinwith.com. • Pays $125/day.
Film & Documentary (Voiceover)
Tiffany Sun, chief content officer.
• Records remotely. Must be availably
immediately in mid-November and able to record from home studio. Possible ongoing opportunity.
‘A Hundred Ways to Love You’
• Seeking—Anna (Virtual Therapist):
female, 38-49, with deep, smooth voice; speaking pace is thoughtful (not fast but also not overly slow); warm tone; empathic; understands what you’re going through, but not commiserative and does not express extreme emotion; realistically optimistic without being overly cheerful; curious and engaged, but not overly emotional; confident and knowledgeable, yet humble; she’s experienced and can help; non-judgmental.
• Casting voiceover talent for “A
Hundred Ways to Love You,” a 14-page NYFA Intermediate project. • Company: New York Film Academy.
Staff: Yuchuan Cao, student.
• Records remotely Nov. 26-28. • Seeking—Chloe: female, 18-28. Jason: • Seeking submissions worldwide. • Send submissions to 547006938@qq.
com.
• No pay.
• Seeking submissions worldwide. • Apply on Backstage.com. • For consideration, include an audition
clip (MP3 or WAV) using the script provided. Applications without audio submissions will not be considered.
Animation & Video Games (Voiceover)
• Pays hourly rate.
Gigs
‘Junk,’ Animation M
Y
CM
MY
CY
CMY
K
• Casting “Junk.” • Company: SVA. • Records remotely by Nov. 23. • Seeking—Amy Lee: female, 25-35,
Cookie Liquor Brand Ambassadors, Athens, GA
after having a strained relationship with her mother due for many years, Amy finally puts her foot down to confront her mother on her hoarding issues.Calm and slightly apathetic voice. Must have personal voice recording set up and high-quality mic. Amy’s Mom: female, 60-70, living on her own and deals with her loneliness by hoarding. As a result, she has a strained relationship with her daughter, Amy.Cheery, Emotional, Coarse at times.Must have personal voice recording set up and high-quality mic. • Seeking submissions from NY, CA, IL,
TX and GA.
• For consideration, submit a note
including your equipment and recording capabilities to casting@sva.edu.
• Seeking official brand ambassadors for
a new liquor brand: Bakesale, Chocolate Chip Cookie Liqueur. Production states: “Responsibilities include running liquor store tastings and promotions in bars in Athens”. • Company: Bakesale, Chocolate Chip
Cookie Liqueur. Staff: William Kehler, founder-CEO. • Work ongoing (Thur.-Sat., 5-8 or 6-9
p.m.) in Athens, GA. Tastings would be booked two weeks in advance.
• Seeking—Brand Ambassador: female,
21-30.
• Seeking submissions from GA. • For consideration, submit your head-
shot, resume, and a description of any promotional or brand ambassador roles you have held to Will@DrinkBakesale. com. • Pays $75/3-hr. tasting plus $1/bottle
sold during the tasting.
• Pays $200/flat (to cover meeting with
BACKSTAGE 11.19.20
Happify Health, an NYC-based mental health tech company that creates science-based activities and games to help people overcome stress, depression, and anxiety. Artist will be playing the platform’s augmented intelligence therapist/coach. Looking to record 8-20 hours of speech that can be applied to TTS (text-to-speech)/deepfake technology. • Company: Happify Health. Staff:
male, 18-28. Silvia: female, 28-35.
C
director, recording session, and one or two possible pickup sessions if need be).
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Q:
I’m considering taking a gap year between high school and college to pursue acting full time. Can a gap year be helpful for an acting career, or should I go right to college? —@actinginfo, Backstage Community Forums
Our Expert
College has become an expectation for many families. According to the Bureau of Labor Statistics, workers with just a high school diploma make around 60% of the wages of those with a bachelor’s degree. Consequently, many graduating seniors assume not only that they have to go to college, but that they need to do so immediately. A gap year involves taking a break between high school and college. Historically, children of the wealthy would travel, usually to the capitals of Europe, as a way of finishing their education. A gap year can provide a break from 12 years of secondary education. Young adults can see new places and live a little. They discover how to manage their own affairs. They learn life skills. They are free to make mistakes while the stakes are still low. They gain perspective. For an emerging actor, the advantages of taking a gap year are considerable. You can develop time management skills and learn the business side of performance. By the time you do go to college or university, you may have already developed a more goal-oriented mindset than your peers, many of whom will be learning to live on their own for the first time. On the other hand, a gap year can pose challenges. You should be realistic about your chances of landing roles since you’ll be competing against actors who have already completed formal training programs. Depending on your finances, you might find yourself working so much to make ends meet that you’ll have little energy left for professional practice. Finally, you might the lose momentum to pursue a degree. In sum: Know thyself. A gap year can be a transformative experience that provides real-world knowhow. On the other hand, it can derail your educational trajectory. Talk with your family, your guidance counselor, and actors who have worked in the industry before college. If you decide to take time off, make a plan that includes figuring out logistics such as housing, employment, and budgeting. In the end, make your own choice based on what will be most helpful to you. *Submit questions for our Experts on Backstage’s Facebook or Twitter accounts or via our forums page at backstage.com/forums!
The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.
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Jeff Kaplan is an assistant professor of dance and theater at Manhattanville College.
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