Backstage Magazine Digital Edition: December 17, 2020

12.17.20

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Cool Under Pressure Kingsley Ben-Adir breaks big while bringing two American greats to the screen

5+ Pages OF CASTING NOTICES

Casting directors get candid in our first-ever industry survey

What

Kate Mara

learned by starring on ‘A Teacher’

Contents

vol. 61, no. 30 | 12.17.20

Cover Story

On the Shoulders Prospecting of Giants for Gold Cover Story

Kingsley breakout Your Ben-Adir’s official guide to the year saw him embodying both 2020 Oscar nominations former President Barack Obama page 16 on “The Comey Rule” and human rights icon Malcolm X in Regina King’s “One Night in Miami.” He’s taking it all with reverence and in stride page 12

The Green Room 4 Warner Bros.’ HBO Max deal causes film industry uproar The Green Room

Broadway’s boom 6 This week’s audience roundup of who’s casting what starring whom

8 This week’s roundup of who’s casting what whom 7 Kate Mara on starring “A Teacher” and creating rich characters

10 Annie Murphy reflects on

“Schitt’s Creek” Advice 9 NOTE FROM THE CD Advice Casting what’s real

13 C RAFT 10 # IGOTCAST Survive and thrive

Andrew Pickwood

13 # IGOTCAST 10 S ECRET AGENT MAN Mark Beauchamp

Connecting with casting

14 SECRET AGENT MAN

The power of intention Features 3 BACKSTAGE 5 WITH...

Features Mare Winningham

4 BACKSTAGE 5 WITH...

8 MEET THE Grier MAKER David Alan

George C. Wolfe, “Ma Rainey’s

12 Black MEET Bottom” THE MAKER director

Cathy Yan, “Birds of Prey”

9 T HE ESSENTIALISTS director

Phoenix Mellow, costume

14 designer THE ESSENTIALISTS Jeremy Woodhead,

11 Ihair N THE WITH andROOM makeup designer Stephanie Klapper

15 I N THE ROOM WITH 17 UNINTERRUPTED

Victoria Thomas AND UNCENSORED 21 Top OURcasting DREAMdirectors BALLOTin the take ourSHOULD Andindustry the 2020 Oscar anonymous survey have gone to…

24 32 A ASK SK AN AN EXPERT EXPERT

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Casting Casting 18 22 19 27

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21 28 National/Regional National/Regional Kingsley Ben-Adirby photographed

by Zoe Cover illustration John Jay Cabuay.

McConnell on Nov. atRobinson. the Ministry in Cover designed by 9 Ian London. Production by Joel Gilgallon.

Grooming and styling by Liz Taw. All clothing by Burberry. Cover designed by Ian Robinson.

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Backstage 5 With...

Mare Winningham

By Allie Volpe

After getting signed by an agent out of high school, Mare Winningham quickly carved a small-screen niche for herself with dozens of TV movies, ultimately earning two Emmys. Her career continued with films “St. Elmo’s Fire” and “Georgia,” the latter notching her Screen Actors Guild and Academy Award nominations. On hiatus from acclaimed Broadway musical “Girl From the North Country,” she can next be seen in the Tom Hanks–led “News of the World.”

ILLUSTRATION: NATHAN ARIZONA/PHOTO: RON ADAR/SHUTTERSTOCK.COM

What advice would you give your younger self? Open up, don’t gossip, and don’t listen to gossip. Film sets and rehearsal rooms—everyone describes them as instant families. There are good families and there are bad families. I would tell myself to not be fraught and not worry so much and let stuff roll off a bit. And if you are a leader, lead with love.

I was my own worst enemy a lot of times. I probably have a career because I didn’t have to audition for those TV movies.

What’s the wildest thing you’ve ever done to get a role? The best job of my life is the one I currently hold. When Broadway reopens, I have this incredible project that started in London, this Conor McPherson–Bob Dylan musical, “Girl From the North Country.” When I had to audition for it two years ago, I started picking on myself again, and my sweetheart said, “No, I’m not watching this. Take your dulcimer, go in there, [and] sing the songs.” And I said, “No, they’re going to have an accompanist there.” And he said, “Do what you want. He’s going to want to hear your best. This is how you want to sing it? Do it.” I fought him and fought him and finally did it his way and got it.

How did you first get your SAG-AFTRA card? I remember being confused about this Catch-22 about how you can’t get a SAG card without having a job, and you can’t get a job without having a SAG card. I was grateful that there was a casting director casting this teen idol show that was very popular called “James at 15,” and in that episode, he was having a Miss 15 pageant. There were about six of us; each of us was a contestant in this Miss 15 pageant. They had backstage scenes where we were all discussing James. We all got our cards. In some ways, I don’t know if I’ve ever been happier.

What’s one performance every actor should see and why? When I was a little girl, they used to play “The Wizard of Oz” before the holidays. I was so frightened of Margaret Hamilton—Miss Gulch, the Wicked Witch. She was the first scary person in my life, and I had to leave the room when she was on. Later, as I watched her as an actor, I loved that performance. I find Miss Gulch so awful, and I love the way she built that performance.

Do you have an audition horror story you could share with us? There were so many. I had an interior casting director in me, and in my mind, I would see someone and go, “Oh, they’re much better for it than I am,” and I would defeatedly go in the room and carry that thought with me. One time, I saw the [character breakdown] sheet, and it actually said, “We’re looking for a Mare Winningham type,” and I didn’t get it! I think

“I love to see an actor blow my mind. It makes me want to jump up and shout.

Almost everything I watch, I find something that makes me want to jump up.”

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12.17.20 BACKSTAGE

HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! @BACKSTAGE

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Gal Gadot and Kristen Wiig in “Wonder Woman 1984” Industry

Uproar Over Warner Bros. + HBO Max Deal In a precedent-shattering new venture, the distributor will release its 2021 films simultaneously in theaters and on HBO Max

By Diep Tran

WHEN WARNER BROS. announced it would be releasing its entire 2021 slate of films on HBO Max and in theaters on the same day, starting with “Wonder Woman 1984” on Dec. 25, it seemed that Christmas had come early for movie fans.

But theater owners are not happy about this development.

The Dec. 3 announcement from Warner Bros. Pictures Group stated that in 2021, it will release 17 films in theaters and concurrently on HBO Max,

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including “In the Heights” and “The Suicide Squad.” These films will stream on HBO Max exclusively for one month, starting from the date of the film’s domestic release. They will then leave the platform and play exclusively in theaters domestically and internationally until the release window runs out. HBO Max is paying Warner Bros. a licensing fee for the rights to the films that is equal to the studio’s portion of ticket sales in the United States

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COURTESY WARNER BROS. PICTURES

(which is usually split evenly between studios and theaters).

Warner Bros. calls this new move a “hybrid distribution model” and plans to use it only for the coming year, after which it will reevaluate. Both HBO Max and Warner Bros. are owned by WarnerMedia.

“We’re living in unprecedented times, which call for creative solutions, including this new initiative for the Warner Bros. Pictures Group.

No one wants films back on the big screen more than we do,” said Ann Sarnoff, chair and CEO of WarnerMedia Studios and Networks Group, in a statement. “We know new content is the lifeblood of theatrical exhibition, but we have to balance this with the reality that most theaters in the U.S. will likely operate at reduced capacity throughout 2021.”

Though Warner Bros. has positioned this move as a “win-win

for film lovers and exhibitors,” the decision has already been met with criticism.

Director Christopher Nolan decried the deal, saying in a statement to the Hollywood Reporter, “Warner Bros. had an incredible machine for getting a filmmaker’s work out everywhere, both in theaters and in the home, and they are dismantling it as we speak. They don’t even understand what they’re losing. Their decision makes no economic sense, and even the most casual Wall Street investor can see the difference between disruption and dysfunction.” He also called HBO Max “the worst streaming service.”

Nolan’s film “Tenet” was produced by Warner Bros. and released in theaters this past summer, grossing just $350.7 million on a $205 million budget.

The disappointing performance was heavily due to the fact that theaters in Los Angeles and New York City were not open in an effort to slow the spread of the coronavirus. Theaters that were open elsewhere in the U.S. were only allowed to operate at partial capacity.

This news comes at a precarious time for the movie theater industry. According to the National Association of Theatre Owners, 96% of U.S. cinemas have reported over 70% in losses in 2020. The organization has estimated that, without federal help, 70% of its small and midsized theaters will go bankrupt or go out of business

by January. Regal Cinemas, the second-largest movie theater chain in America, recently announced it would close its theaters until further notice.

The largest movie chain, AMC Entertainment, has seen its revenues plummet 91%.

currently untitled project. The multicamera sitcom will follow three former roommates who reunite decades after their raging egos sent them on different paths. With new perspectives on life and more years behind them, they set out to live the lives they longed for in their 20s. The third role in the leading trio has yet to be filled, but casting is ongoing with Juel Bestrop. The comedy is scheduled to start shooting in late February in Los Angeles and is slated to premiere during the 2021–22 television season.

production, bicoastal casting has begun with Leah DanielsButler in Los Angeles and Billy Hopkins in New York. No location or shoot dates have been announced.

ABC Will Relive ‘The Wonder Years’

Kelsey Grammer–Alec Baldwin Project Former “Frasier” and “30 Rock” writers are joining forces to pen an ABC series that’s bringing together the respective stars of those sitcoms, Kelsey Grammer and Alec Baldwin. The two actors are set to executive produce alongside co-creators Christopher Lloyd (“Frasier”) and Vali Chandrasekaran (“30 Rock”) as well as feature in the

The revival will show a different side of the classic series

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.

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FILM

Robbie Replaces Stone in ‘Babylon’

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!

OSCAR WINNER EMMA STONE HAS exited the forthcoming period drama “Babylon,” which would have reunited her with “La La Land” director Damien Chazelle.

But don’t cry over departed actors: Margot Robbie is now in early talks to sign on as Stone’s replacement, reuniting her with her “Once Upon a Time in Hollywood” co-star Brad Pitt. The feature, about the industry’s transition from silent films to talkies, will be produced by Marc Platt and Tobey Maguire, among others.

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For more upcoming productions and casting news, visit backstage.com/news/casting

“The Wonder Years” ABC has ordered a pilot for a reboot of its beloved series “The Wonder Years,” which premiered in 1988 and chronicled the lives of a white, suburban family living through the changing times of America in the late 1960s and early ’70s. The revival, spearheaded

by Saladin K. Patterson, Lee Daniels, and original star Fred Savage, is diving back into that tumultuous decade, this time centering on a middle-class Black family living in Montgomery, Alabama, in the late days of the civil rights movement. While the project is still in the early stages of

CHRIS LARGE/FX

What’s Casting

“Firestarter” Stephen King will see another of his page turners adapted for the screen with a new version of “Firestarter,” which was last turned into a film in 1984. The sci-fi–horror story follows a young girl who develops mysterious pyrokinetic abilities after her parents undergo an experiment. When her powerful mind gains the attention of the wrong people, she is abducted by a secret government entity set on weaponizing her unusual gift. Currently, Zac Efron is the only actor attached to the Terri Taylor–cast adaptation. The project will start shooting in May 2021 under the direction of Keith Thomas, nearly a year after its initial production date of May 2020. Toronto will host the shoot.

consent and power dynamics, and I was interested in the lies that my character was going to tell herself to justify her behavior, and why she did the things that she did and what led her to making the choices that she made.”

Kate Mara on “A Teacher”

Her natural chemistry with Robinson was just half of what went into building these characters.

“I think that natural chemistry that you can’t really fake is the most important thing [in a scene partner]. But someone who’s very prepared but also is willing to throw it all away and really improvise is [also] really interesting. And when you’re working with someone like Hannah Fidell, that’s really important to her because all of her work has a lot of realism in it and is super raw.”

The Slate

Kate Mara Is ‘A Teacher’

The Emmy nominee talks about her latest TV project and how she keeps a performance alive

By Benjamin Lindsay

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.

FILM

It’s All ‘Gucci’

MARGAUX QUAYLE CANNON

CHRIS LARGE/FX

By Casey Mink

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YOU CAN NEVER GO WRONG with Kate Mara. Across film and television, the longtime actor always delivers emotional depth and grounded takes on even the most complicated of characters. Case in point: Claire Wilson, the titular role on “A Teacher.” Based on Hannah Fidell’s 2013 feature film of

the same name (Fidell here serves as creator and showrunner), the FX series follows Claire’s descent into a sexual relationship with her student Eric Walker (Nick Robinson). It might just be one of Mara’s best screen performances to date.

She recently sat with Backstage to talk all about it.

As an actor, “A Teacher” gave Mara plenty to work with.

“I was approached to star in it but also produce it, which was exciting to me, to be creatively involved in everything from the beginning. And I also had already seen the movie version of this, and I was a fan of the film and of the story—so I knew I wanted to be a part of it right away…. I think that the show exposes the gray area of

RIDLEY SCOTT’S UPCOMING FEAture “Gucci” has added Jeremy Irons to its already A-list cast. The film, about the possible assassination of fashion tycoon Maurizio Gucci at the hands of his wife, has secured Lady Gaga to play the murderess in question. Irons additionally joins Adam Driver, Jared Leto, Al Pacino, and Jack Huston on the project, which comes courtesy of MGM. Shooting is slated to begin following Scott’s completion of “The Last Duel,” which will go back into production before the end of this year.

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You don’t always have to sympathize with the character you’re playing.

“I think it’s important to really create a backstory—maybe [one] that people don’t even learn about throughout the show. Certain things are just for you. And I also don’t think you always need to sympathize or relate to your character. I think sometimes it’s more interesting if you can’t connect to certain things, but you just have to find it somehow anyway.”

Acting works best as a team sport.

“For me, it’s always about connecting with the other actor.

I find it much more difficult to be alone in a scene than to be [in it] with somebody else.

And a lot of that, I think, is just found on set in the takes.

I always try to come prepared but not locked into a certain thing. Being over-prepared is sometimes really detrimental to a performance.”

Want to hear more from Mara? Watch our full interview at backstage.com/magazine, and follow us on Instagram: @backstagecast.

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George C. Wolfe, “Ma Rainey’s Black Bottom” director

By Casey Mink

Chadwick Boseman, Colman Domingo, Viola Davis, Michael Potts, and Glynn Turman in “Ma Rainey’s Black Bottom”

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a few. His job, as he sees it, has always been to lean into characters’ humanity rather than shy away from their ugliness.

His latest muse is the titular singer of “Ma Rainey’s Black Bottom,” August Wilson’s play set during a single session at a 1920s Chicago recording studio.

He directed a film adaptation for Netflix, which premieres Dec. 18. That Ma is played by Viola Davis doesn’t hurt.

“Ma Rainey, as August has crafted her, is a really fascinating character, just in the sense that she’s ferociously smart, she’s an out lesbian, and she sings about it,” Wolfe says of the project, which, like 2016’s “Fences,” is produced

by Denzel Washington. “She’s the boss; she’s not apologetic

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for being the boss. Viola, in addition to being a gloriously skilled, emotional actor, is very smart and outspoken, and has a commanding presence and a warmth and a spirit and a power that’s glorious to be in.”

While many proclaim themselves to be an “actor’s director,” Wolfe doesn’t have to say it for it to be true. Whether in the audition room or on set, in rehearsal for a stage musical or a feature film, he knows a performer already has the key to the material. All he has to do is help them turn it.

“Almost as important to me as talent is how [actors’] minds work—how they think about the character, how they think about people,” he explains. “I’m digging: What secrets do they

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DAVID LEE/NETFLIX

GEORGE C. WOLFE IS WELL aware that people—actors, especially—come with baggage. He only requests that it never looms larger than their talent. “You have to have an overnight bag instead of a trunk,” he says with a laugh.

“How about a little carry-on?

You put everything in there.”

It should come as little surprise that Wolfe is willing to work with complexity, having spent much of his Tony-winning career unmasking messiness— knowing well that beneath said mask is often just more mess.

It’s visible in the morally ambiguous souls that populate “The Wild Party,” “Shuffle Along,” “The Iceman Cometh,” and the original Broadway production of “Angels in America,” to name

know as human beings? Not secrets about themselves, but what they understand about people. I’m perpetually looking for how actors’ talent and mind and emotions interconnect.”

For that same reason, Wolfe has a rule that he will never tell an actor no. Whatever impulse they’re acting from, even if it is not yet a fully realized choice, stems from an innate connection. To stifle it would be to stifle the truth and their whole performance.

Instead, he asks questions— many, many questions.

“It doesn’t matter so much to me what the answers are. It’s to engage them in the rigor of digging underneath the thought.

I also think one of the crucial things that a director does is make an actor feel safe about the journey that they’re about to go on,” he says. “There are two schools of directing: You stand where you are and demand actors come to you, or you go to where actors are and, over the course of the process, between takes, you convince them to come in the direction you think they need to come in.”

Wolfe is dynamic enough to know which principle to apply and when. In “Ma Rainey,” for example, his work with the late Chadwick Boseman fell firmly into the latter. “We did a number of Chadwick’s monster scenes that last week.

Afterward, he would be physically exhausted because of the demands of the role and the stakes,” he recalls. “And he’d just be outside the band room on these steps, resting, and he’d see me coming. I got to know that he’d gesture if you could come up closer to him to give him the notes. And I’d spout at him and he’d go, ‘Uh-huh,’ and then we’d go again. It’s building confidence, trust.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “SYLVIE’S LOVE”: COURTESY AMAZON STUDIOS

Meet the Maker

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THE ESSENTIALISTS

PHOENIX MELLOW costume designer

“Sylvie’s Love,” about a record store employee’s summer fling with a saxophonist, is a romance that swings—and so, too, must its costumes.

Thanks to PHOENIX MELLOW, who was given access to Karl Lagerfeld’s archives to create the film’s 1950s looks, every outfit is one you can just about hear.

Costume designers are character psychologists.

“It’s all in the details, from the color that they choose to the outfit that they wear. It really goes with the psychology of: What is the era? How much money does this character make? Where

Note From the CD

Casting What’s Real

By Casey Mink are they shopping? Do they get it tailored? Are they a mother? Are they a musician? Are they a performer? There are so many questions that go into it that you don’t think about when you’re dressing yourself in the morning—but I’m thinking about it for this person.”

The “Sylvie’s Love” costumes can dance.

“I’m very immersive in costume design and make sure everything is very authentic, including all the undergarments. But even in the fitting room, we were playing jazz and soul music to just get us into that [space].

I remember Nnamdi [Asomugha] would come in with his sax and start playing. It just felt like the music was so much a part of it, and [filmmaker] Eugene [Ashe]…was really thinking about the music right from the beginning when we met, and he really inspired us to use that in the characters.”

DAVID LEE/NETFLIX

ILLUSTRATION: MARGAUX QUAYLE CANNON; “SYLVIE’S LOVE”: COURTESY AMAZON STUDIOS

By Marci Liroff

EVER WONDER HOW A CASTing director casts an actor for a project about a real-life figure? Speaking with my Emmy-winning casting director colleagues Meredith Tucker and April Webster, it soon became clear that it’s an intricate process that involves considerable research and thinking outside the box.

When casting a project about real people, what is your process? Meredith Tucker: I like to get reference photos to see what the person actually looked like in the time frame in which we’re casting them.

And, depending on whether the figure’s voice is something the public would be very familiar with, like Lenny Bruce on “The Marvelous Mrs. Maisel,” historical footage is helpful, as well.

April Webster: Our process is to collect as much material on

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the people as possible: pictures, interviews, and transcripts. I then create a board or a book with clippings and pictures.

The film “Anonymous” was a project about whether or not the Shakespeare plays were actually written by Edward de Vere, the 17th Earl of Oxford—a popular theory. In that case, we had to look at portraits and other historical materials to get a sense of the temperament and style of the person.

Do filmmakers usually want actual doppelgängers, or do you depend on makeup and prosthetics? MT: It’s a mixture of both. On “Vinyl,” we had to cast a 1973 David Bowie. Bobby Cannavale suggested Noah Bean, who happens to be a dead ringer for Bowie, but more circa 1983. Through prosthetic teeth, wigs, makeup, contact lenses, and weight loss on Noah’s part,

he was really transformed. He looked remarkable.

For “Maisel” and the casting of Luke Kirby as Lenny Bruce, we actually auditioned an actor who physically looked more like Lenny; but Luke was able to fill out the role in a way that the producers saw a future with this character. And all that was needed with him from a physical standpoint was some hair styling and costuming.

AW: For “Tonya & Nancy: The Inside Story,” we had a huge board with newspaper clippings and pictures of all the main players, including Tonya [Harding]’s mother, boyfriend, etc. We did our best to find actors that looked like the real people. Some prosthetics were used on Alexandra Powers’ nose to look more like Tonya.

Both actresses could skate but went through the training

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process. It is more than just looking like the person; you want to get the essence of them if you can.

Does the production have to secure the life rights of the person, dead or alive?

MT: It depends. On “Vinyl,” there was at least one instance where they had to cut a historical character when they couldn’t secure the life rights.

AW: When I cast “Anonymous,” the people were no longer alive, so we had more leeway casting the parts. But we do our best to present the best possible interpretation.

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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Connecting With Casting

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strongest clients when I’m trying to create a relationship with a casting director. That means pitching my best shot for the role, not every single actor who is remotely right. To be clear, I submit the whole lot, but I only call or email about the one individual I believe is perfect.

And it’s a wonderful day when that actor gets the job or goes right down to the wire because the CD has now learned I’m not a bullshit artist.

Cement the bond I’m in the game now, but there are other agents competing with me for the casting director’s attention, so I have to be more than just another guy in a suit who wants something.

I start by keeping things friendly—no business. Let’s say, for instance, I’m covering the office that works on “NCIS.”

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Andrew Pickwood

By Jalen Michael ANDREW PICKWOOD has been in the acting game for a while now.

That means he knows exactly what he’s looking for.

Treat every character as a full human being.

“I generally look at the depth of the character descriptions and storyline. I look for unusual topics and characters that don’t appear to be one-dimensional.”

Backstage streamlines the submission process.

“I like the variety of the projects that I find on Backstage. I also really like the way the site is set up, the resources for storing media that I use for submissions, and the application process. It allows for much more detail to be provided for a submission than other services.”

Always remember why you’re in it.

“There is a difference between loving the craft of acting and wanting to be a celebrity.

Which gives you more pleasure: the time spent on set or stage working with other characters, or getting media attention and appearing with other stars? Plan how you will achieve either of those goals.”

TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; PICKWOOD: ANDREW PIECKA

THERE ARE MANY REASONS why actors need representation.

The main one is that agents have relationships with the casting community that can get you in the room. How we go about creating those relationships is an interesting process.

Naturally, if I worked at CAA or WME with A-list talent, casting directors would be trying to get me on the phone instead of the other way around.

Everybody wants what they’re selling. For the rest of us, it’s a little different. I’ve always worked at midsized agencies; that makes me a street fighter—the kind of guy who has to hustle to accomplish his goals. To be competitive, I use a three-step approach that has served me well.

Establish trust I always lead with my

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

After watching an episode, I always send them a brief email saying how much I enjoyed the guest cast. And that’s it. I don’t ask for anything. They always respond positively.

I also read every film and pilot script that crosses my desk.

When I’m done, I always send the casting office an email congratulating them. And that’s it. I don’t pitch anyone.

I just express my excitement about the project. They always respond positively.

Plus, whenever someone reveals something personal, I make a note of it. For example, if a casting director mentions his love of Italian food, I’ll write that down so I can have a recommendation ready the next time we speak.

And casting directors aren’t the only ones I get to know. I go out of my way to create friendships with their associates and assistants. Those people have a lot of say, and they’re the casting directors of tomorrow; so if I treat them well now, they’ll treat me well in the future.

Get some face time To be truly effective, an agent has to be more than a name on an email or a voice on the phone. That’s why meeting casting directors in person (when a pandemic-free world allows) is so important. Once you know what someone looks like, it’s much harder to ignore them. An unconscious bond has been created, and that’s extremely valuable in any professional relationship.

I hope this gives you some insight on what makes an agent effective. It should also give you a few lessons that you can use in your own career on how to keep the right people in your orbit. But don’t be pushy or annoying. The key is to be genuine and likable.

culture +

Spotlighting the people and projects you need to know

In the Room With

Stephanie Klapper

The CD has found new ways to help performers and others in the industry while theater is largely on hiatus

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; PICKWOOD: ANDREW PIECKA

WHEN THE ENTERTAINMENT INDUSTRY WENT INTO QUARANtine earlier this year, everyone found a different way to use their newfound free time. Many actors explored new avenues to train and stay sharp with the help of casting directors’ virtual Q&As and classes. But Stephanie Klapper took her lockdown time a step further.

In addition to continuing to work on casting projects where possible, the theater CD began writing a book and is in the process of launching a podcast. Before Klapper began casting theater on Broadway and around the world, she worked in everything from stage management to arts education to Broadway advertising—and she’s ready to dish on it all. With her latest endeavors, she hopes to help aspiring actors take the next step in their careers, no matter what that step looks like.

How did the quarantine pause lead to you writing a book?

I’m writing it with a friend, Raphael Crystal, and the way the book came about was really at the beginning of COVID-19.

We were talking, and I was just feeling so sad and wondering what I had to offer and what was going on. I love teaching, and I love helping people.

There’s really no book that talks about the journey to becoming

backstage.com

a professional performer. We thought it would be really interesting if we did it from both of our points of view together.

We’re tentatively calling the book “Building a Life in Musical Theater.” It’s an instructional, anecdotal, practical-advice skill book on what to do and how to do it. It covers a little bit of everything, but it’s really for people who are in high school or college or are involved in

community theater, or people later in life who think, I’ve always wanted to do this.

What do you hope aspiring performers can take away from the book? You don’t have to be on Broadway if theater is something you love. If you want to go that route, this is one way to do it. But if you just love it and you want to know how to approach it and do it with more of a professional mindset, these are the things you could do to make that [happen].

What advice do you have for actors looking to take the next step in their careers? Really look inward and check to make sure it’s what they really love to do. Have the perspective of why they continue to do it and what they have to offer. We all know it’s not easy and it’s not getting

11

any easier, so it’s really always checking on that. Make sure it’s what you love to do most of all and [you] can find ways to keep yourself engaged and creative. I guess the two things I’m doing are good examples of trying to find other paths to still continue to do what I love to do and build outward from there.

What makes an actor memorable to you in an audition? I just want them to be well-prepared and happy to be there. I’m not just something they’re checking off their to-do list. I think sometimes academic institutions or training programs instruct students to just go in for it. I get it. You need to try it out and get your muscles to be in a good place. But I think that when you’re coming in for me, I really want you to be there because you want this opportunity—not because you think you have to do it.

Want more?

Read the full interview at backstage.com/magazine

12.17.20 BACKSTAGE

BACKSTAGE 04.02.20

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backstage.com

Kingsley Ben-Adir’s breakout year saw him embodying both former President Barack Obama on “The Comey Rule” and human rights icon Malcolm X in Regina King’s “One Night in Miami.”

He’s taking it all with reverence and in stride

On the Shoulders of Giants

By C. Taylor Henderson Photographed by Zoe McConnell

“WHEN I FIRST DID DRAMA IN SCHOOL when I was 14 or 15, I really didn’t like it,” Kingsley Ben-Adir admits with a chuckle.

“I found the idea of having to get in the space and be seen quite stressful. It was very tense and nervy. My memories of it were not that enjoyable.”

Some 20 years later, it’s mind-boggling to imagine Ben-Adir disliking the craft for which he’s now getting major awards buzz.

Calling from London on a calm Sunday in November, the actor’s passion for his work— and wonder at his landmark 2020—jumps through the line: “It’s all unraveling now, and I guess it hasn’t really sunk in yet.”

The British actor is a relatively fresh face in film and on television, first booking series regular roles on ITV’s long-running “Vera” and Fox’s “Deep State” before landing on popular BBC series “Peaky Blinders” in 2017, then Netflix’s “The OA” and Hulu’s “High Fidelity”—both beloved, both prematurely canceled—back-to-back in 2019 and 2020.

Audiences will recognize him most recently from AMC’s anthology series “Soulmates” and as former President Barack Obama on

backstage.com

Showtime’s take on recent history, “The Comey Rule.” But it’s his thought-provoking and surprisingly vulnerable turn as Malcolm X in Regina King’s critically acclaimed “One Night in Miami,” hitting theaters Christmas Day and streaming on Amazon Prime Video starting Jan. 15, that has everyone talking.

The film has already been heralded as one of the year’s very best. Following its world premiere at the Venice International Film Festival, “Miami” screened at TIFF (where it was runner-up for the People’s Choice Award), the BFI London Film Festival (which Ben-Adir cites as a “personal triumph,” considering “it was around the corner from [his] house”), and others on this year’s unorthodox awards circuit. Based on the 2013 play by Kemp Powers, who also wrote the screenplay, the film fictionalizes a real night in the lives of Black icons Malcolm X, Sam Cooke (Leslie Odom Jr.), Jim Brown (Aldis Hodge), and Cassius Clay (Eli Goree) as friends and contemporaries hanging out in a Florida hotel room, unpacking their lives and roles in the civil rights movement of the 1960s.

Ben-Adir’s voice catches the wind when he

13

reflects on his experience making the film.

Though he originally was asked to audition for the role of Clay, “the debate between Malcolm and Sam was really the conversation that fucking jumped off the page,” he remembers. “For me, it was the really interesting part of the movie, and I didn’t feel that I connected with Cass in the same way.” He informed the production team that the proposed role wasn’t for him, but he also made it clear: “ ‘If for any reason, the part of Malcolm becomes available, please give me a call, and I’ll do whatever I can to get in that room and show Regina some stuff.’ Four and a half months later, I got a call saying that Malcolm had become available and they wanted to see something within 24 hours.”

But the London-born performer, out of respect to King and the material, wanted more time. Massaging a prior relationship he had with one of the film’s producers, he negotiated for a full weekend to prepare.

With that go-ahead, he locked himself in his room to watch archival videos of Malcolm X on a loop “and just did a deep dive into the dialect and sent the tape over to Regina.”

12.17.20 BACKSTAGE

My only responsibility to myself and to the projects [is] you have to use every single minute that you have to make sure you put every part of your mind, body, and soul into this. You have to give it everything that you can.

His insistence on putting in the work marks a reverence for character-building that Ben-Adir charts back to performances he saw and plays he read in his youth, ones that later inspired him to reconsider the stress he felt as a younger actor.

“Jeffrey Wright is always the first person who comes to mind,” he says. “He’s one of the few people where, every time I watch him, there’s this truth and internal dignity.

Everything he does is always so different and so connected; he’s someone who I’m always excited to find out what they’re doing next and what they’re in.” Alongside Wright, BenAdir praises Anthony Hopkins and Robin Williams, and recounts being reluctantly dragged by his father to see Jim Sheridan’s 2002 film “In America” only to have his eyes “filled with water” by the end.

“I think all of these experiences—you don’t really know what’s going on at the time, but they’re all building in you. They’re building blocks to the passion,” he says. That high he felt watching Paddy Considine and Samantha Morton onscreen is what he hopes to capture in his own roles, and it’s what led him to training at the Guildhall School of Music & Drama at age 21.

“I applied when I was working, and I got into a bunch of schools, so that’s really how it started,” he says. “One thing just led to the next, and I got into Guildhall and did three years training there, and then just took one step at a time.”

Guildhall also gifted him with a level-headedness about what success can look like in this industry. He recalls a “big speech” from voice coach and professor Patsy Rodenburg in his last week there. “She said that the first five years of your career, for those of you who are lucky enough to have a career for the first five years coming out of this building, is just practice. She said [to] use them to learn, [and that] after 10, that’s when everything will really start kicking in.”

Fast-forward to 2020: Ben-Adir has just hit his 10-year mark, and everything is indeed sliding into place. “When you’re starting off, you’re so eager for everything to happen straight away, to get these big lead parts straight away,” he posits. “It didn’t really happen for me like that; it’s taken a bit more time, and I feel like Malcolm came exactly at the right time, when I was ready.”

Once the role was his, Ben-Adir promptly began to put in the work required to tackle the historic figure, refusing to let Denzel Washington’s iconic, Oscar-nominated 1992 performance intimidate him. “There was this really awesome opportunity to play Malcolm in a way that I felt that we might not have seen before. Because it is just four men in a room speaking, so much of the arc of the movie is this huge emotional undercurrent that Malcolm is going through. Trying to map out that journey with Malcolm just required such a full and deep concentration.”

The actor wanted to “look into an examination of his humanity—the father, the backstage.com

loving husband, the friend.” He read a lot from Dick Gregory and even put the comedian’s analysis of his good friend up on the wall so he’d never forget it. Gregory described the “lacerating demagogue” everyone knew, for instance, as “a character that Malcolm slipped in and out of. It wasn’t all of who he was.”

“He was really a sweet and bashful man.

If he could hear us talking now, he’d be so embarrassed,” Ben-Adir says. “Around this time, he was being pushed out of the Nation [of Islam], his relationship with Elijah Muhammad was crumbling, and the FBI was beginning to follow him around. I was just like: This is the way to play Malcolm in this story.”

He only had 12 days to prepare before filming, and Ben-Adir’s meticulous process became his entire life for those two weeks.

Perhaps his most outlandish—but productive—practice during this time was paying a friend to come by at 8 a.m. every day to train.

15

“We just ran text, ran lines, [and] talked about Malcolm. He was doing a bunch of reading for me, I was reading as much as I could, and then on lunch breaks, we would go into deep discussions about the politics of the time and just [try] to get as much in as possible.”

That’s not to mention the physical transformation, which saw Ben-Adir shedding close to 20 pounds. Fortunately, he was already dieting to play Obama. “I’d been cast as Obama maybe four weeks before, [and] I’d already started to lose weight. I was already fasting and chain-smoking and trying to drop 20 pounds, really, as quickly as I could.

So I was halfway there.”

About that chain-smoking: A diet of “cigarettes and coffee can be helpful if you have to do it really quickly,” he says. But Ben-Adir doesn’t necessarily recommend his weightloss technique, should others find themselves in a role with similar demands. “If there was more time, I would have done it in a much healthier way. I think there’s a way to do it 12.17.20 BACKSTAGE

With Aldis Hodge, Leslie Odom Jr., and Eli Goree in “One Night in Miami”

Casting the Whole Package

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figures speaking candidly about how race shaped their experience in the public eye?

Considering the groundswell of support for Black Lives Matter in 2020, it’s a story that’s even more timely today.

“After we wrapped, we went into lockdown. And then George Floyd happened, and the world sort of flipped upside down,” BenAdir says. “There was this feeling that [we] wanted to get this film cut and put together and out as soon as possible because the message in the film is really important for now, for these times.

“There’s something about that responsibility and that pressure and the significance of this project—not only playing Malcolm, but playing Malcolm with Regina, was just so deeply, deeply exciting. I’ve been waiting for something like this for years; you dream of that moment. It was a huge honor. My only responsibility to myself and to the project [is] you have to use every single minute that you have to make sure you put every part of your mind, body, and soul into this. You have to

16

give it everything that you can.”

Now, having completed his most impactful project to date, Ben-Adir only hopes to continue his journey and his career with the same guiding mentality in place.

“I think as time moves on, so much of the love for this thing is trying to find projects to be involved in that have that power to move people to laugh or cry or think—just cool fucking stories that can touch people,” he says. “I think that’s beautiful.” backstage.com

AMAZON STUDIOS

that’s kind to your body, but because there wasn’t that time, it was just really fasting….

I wouldn’t advise anyone to do that. I’m not suggesting that that is the way to do it, but with all of the lines that I had to learn and the research that I had to do and the dialect I had to get, there wasn’t the time to hire a dietitian to help.”

Still, Ben-Adir admits that the process of acquiring the required physique was exciting for him. “Secretly, I’ve been waiting for years for a part where you get to do a full transformation,” he says. “Transformative acting is something I’ve always been so keen to have an opportunity to do, so I was really excited.

It’s the perfect opportunity to have a go at trying to transform into someone who’s not yourself. Each day you achieve your goals, you get a buzz from it that really encourages you on to the next day.”

It helped, too, that the pressure was on.

The cultural weight of a story like “One Night in Miami” isn’t lost on Ben-Adir; when else have we seen four powerful Black male

CASTING DIRECTOR KIMBERLY HARDIN remembers the very particular challenges of casting Malcolm X for “One Night in Miami.” Not only was she on a time crunch after their first-choice actor pulled out of the project, but there are specific hurdles to clear when casting real-life figures for film. “I had to do [this] with each one of the guys, because you’re not just casting a good actor. You’ve got to find someone who is the same as the real person [and] can [take] their dialect or their nuances and their diction and then be able to deliver a performance. When you start whittling that down, it’s not like it’s a whole lot to choose from,” she says. Specifically in the case of Malcolm X, she says that “even the look— he’s got to be tall and fair-skinned and thin.” She adds that Ben-Adir “was always a big fan of the film…. When Malcolm X opened back up, I was like, ‘I want to give Kingsley a shot,’ and he auditioned and did brilliant. And the rest is history.”

In casting “The Comey Rule,” CDs Sharon Bialy and Gohar Gazazyan agree that Ben-Adir’s physical resemblance was key.

“When you’re casting people to play reallife characters, especially the president of the United States, you want to make sure the actor is somewhat close,” Bialy admits.

And they emphasize that, beyond his appearance, a figure like Obama “has a soul that you can tap into in terms of how they approach the world,” and actors need to be able to access that. “I think what Kingsley had that we were drawn to, in addition to his resemblance to President Obama, was his intellect [and] his grace, which I think are two of the qualities that people associate most with [Obama],” explains Gazazyan.

“Kingsley really was the whole package.”

—Benjamin Lindsay

Casting Directors, Uninterrupted and Uncensored

thank course,

“Schit

and Pat OK, so, during D weddin finale, y yoursel Sorry, I Catheri this bel six seas wacky w snatche but her co-crea hubby N making

Top CDs in the industry take our anonymous survey and reveal exactly what they’re thinking

By Elyse Roth

CASTING DIRECTORS SPEND MOST OF THEIR DAYS THINKING about actors—searching for them, meeting with them, watching their auditions, and ultimately helping them book jobs. As a result, they have a lot of advice for actors and answers to their most pressing questions. Backstage took some of those most-asked questions to CDs covering film, TV, and theater across the country to get their candid answers. Here’s what they had to say.

GIOVANNI LOVE/SHUTTERSTOCK.COM

Yes, they will still cast you without representation.

Actors might think CDs are just trying to be encouraging when they say they can be cast without an agent or manager, but the consensus is that many of them aren’t looking at representation status. “I especially think smaller offices and independent casting directors who are sifting through submissions and open calls themselves are more in tune with unrepresented actors,” assures one CD. Another says their craft demands that they are always searching for new actors; however, if you don’t have representation, “You are your own agent! This entails reading all of the casting breakdowns, selecting which auditions you are going to attend, selecting castings you are appropriate for to send electronic selfsubmissions, and making an audition schedule for yourself.

Auditioning is a full-time job. If you do not have representation, it is your job to negotiate your contract and your salary! And you should always try to negotiate.”

There are things CDs want you to know for an audition other than your lines.

First, know who you’re auditioning for, not just the script and creative team of the project. “Research

backstage.com

the team! Knowing the names of who is involved is so easy and goes a long way,” one CD says.

And a mental checklist can go a long way, too. “It seems so simple, but just double-checking that you have your sides and a hard copy of your headshot and résumé—it can help set a good tone for the rest of your audition.

I really shouldn’t be stapling and trimming your headshot and résumé for you.”

You should always “make sure you are completely familiar with the material and you have dressed appropriately for the character that you are auditioning for,” another CD says.

“Conduct yourself with complete professionalism. Never waste our time.” Preparation also means character work. “I can always tell when an actor comes in and only does surface-level work.

Being prepared gives you the confidence to really nail your audition,” says a theater CD. And, finally, “No excuses.”

Beware doing things that will get on a CD’s nerves—and get you passed over.

While CDs are typically patient and willing to give actors the benefit of the doubt, there are things that will turn a CD off that you should avoid. “Being unkind to interns, monitors, and assistants is a huge

NO ACT after ye seemin newly m you’ll fin where w 2020–2 to see a

red flag for me,” one CD explains.

“That kind of disrespect for someone who you don’t think has influence in you booking a job is not only incorrect, but is so telling of your character and personal values.” Along those lines, be willing to accept direction, and don’t bring a bad attitude or indifference into the audition room—no matter what might be going on in your personal life.

Oh, and remember: “Silence or turn off your phone! Phones have a funny way of going off exactly when we don’t want them to.”

17

It shouldn’t be a surprise that unpreparedness will reflect poorly on an actor. “It shows that you do not care about the project. An audition is a job interview, and you need to come prepared. Also, if you are submitting an audition video, the video should be perfect. You have the opportunity to film your audition an infinite number of times; make it perfect. This is your opportunity to show us how excited you are to have this potential job.”

12.17.20 BACKSTAGE

Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events

Submit a Notice |

New York Tristate Student Films ‘Convolution’

• Casting “Convolution,” a science

fiction thesis film.

• Company: Brooklyn College. Staff:

Matthew Savage, dir.

• Shoots three days between Jan. 15-18,

2021. At least one shoot day on Long Island, NY (transportation will be arranged).

• Seeking—Adam: male, 22-35, Asian,

Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Middle Eastern, Southeast Asian / Pacific Islander, White / European Descent, lead role. The main subject in the film. This role is active and will require some running and simple stunts, like faking a fall. Will be required to be on set all three days of shooting. Not a dialogue-heavy film.

There are only four scenes where talent will be talking with another actor.

Claire: female, 8-15, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Middle Eastern, Southeast Asian / Pacific Islander, White / European Descent, daughter of Adam. Only seen in flashbacks. Needed for one shoot day. Production states: “I understand this role is a minor and am willing to work with parents on any concerns they may have.” Background Scientist: 18+, voiceover role only (due to COVID). Role requires a dozen lines read that will be featured in the flashbacks of the film.

• Seeking submissions from NY. • Send submissions to msavage247@

gmail.com.

• Auditions will be held over Zoom or a

similar platform.

• Travel reimbursement and meals will be

provided. Stipend can be discussed, but budget is low.

‘Green Christmas’

• Casting “Green Christmas,” a student

short film. Synopsis: A homeless man is arrested by NYPD officers as he runs through a park.

• Company: Feirstein Graduate School

of Cinema. Staff: Bavly Soliman, dir.;

BACKSTAGE 12.17.20

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.

Jores Philippe, co-prod.; Liam D. O’Brien, co-prod.

Casting picks of the week

• Shoots Dec. 20 in the NYC area.

• Seeking—Cuffs: male, 30-50, White /

European Descent, 30+. Supporting role. NYPD police officer with strongman build. Comedic background/abilities preferred.

Gentler: male, 20-30, Black / African Descent, 25. Supporting role. Young.

New recruit NYPD officer. Unfit appearance. Comedic background/ abilities preferred.

BY LISA HAMIL

tv

‘City On A Hill’ Fight corruption in Showtime’s second season in NYC

• Seeking submissions from NY. • Send submissions to liam.obrien@

feirstein.film.

stage

• No pay. Meals and copy of completed

‘Frederick and Louise’ Join the cast of this historical play over Zoom

film will be provided. Transportation expenses may be covered for out-ofstate talent.

‘Mute Asians’

tv

• Casting “Mute Asians.” Synopsis: At the

beginning of Covid-19, when the son stands up for racism, his father forbids him for his own reasons.

‘The Gilded Age’ Revisit the past in Newport, RI for this new HBO series

• Company: Pratt Institute. Staff: Andy

An, dir.

recording her own sound. Must be flexible and open to learning new technologies. A relatively quiet space is required in order to capture adequate sound.

• Seeking submissions from NY. • Send submissions to narrativelab@

reelworks.org.

• Pay amount TBD. Production plans to

apply for a SAG-AFTRA Micro-Budget Agreement if casting union talent.

Scripted TV & Video Amazon’s ‘The Marvelous Mrs. Maisel,’ Background Dancers

• Casting background dancers for season

four of the Emmy- and Golden Globewinning Amazon series “The Marvelous Mrs. Maisel.”

• Company: Grant Wilfley Casting. Staff:

Jackie, casting dir.

• Mandatory COVID test provided by

• Rehearsals will take place via Zoom

Audiobooks & Podcasts

with one potential rehearsal on location; shoots TBD in NYC.

‘Dawn of Tomorrow’ Go back to the future in this scifi remote podcast

• Seeking—Mr. Lee: male, 40-55, Asian,

a Chinese immigrant who has a son and his own restaurant; Mr. Lee is not physically intimidating but he is a serious father; he has his own belief when facing racism and prefers to be silent, of which his son is totally the opposite; he loves his son but it’s hard for him to make his son understand his reasons. David Lee: male, 16-25, Asian, is born in the U.S. and his father is a 1st-generation Chinese immigrant; David, is a high school student, has a naive-looking face; he’s energetic and an extrovert; like many teenagers, David thinks of himself and acts like an adult; he doesn’t hold back his anger when facing racism; David is somehow confused by his Chinese American identity, especially when facing racism; he prefers to stand up for himself as thought by the American culture, but his father’s contrary belief gives him a hard time.

tv

‘The Marvelous Mrs. Maisel’ Dance the year away in Amazon’s NYC gem

from her apartment, discussing pressing topics with various people from across the city.

• Company: Reel Stories Teen

Filmmaking. Staff: Larry Cruz, dir.; Marvin Hernandez, prod.

• Shoots remotely Dec. 19 via Zoom.

• Seeking—Susan: female, 25-38, Black /

African Descent, very millennial. Stylish.

Dry sense of humor. Insightful, but a little judgmental at times. Distrustful of mainstream media. Coping with a recent heartbreak by throwing herself into her podcast. Talent will be taking direction exclusively on Zoom from multiple people and will be in their own apartment. Must have able to use own home as a film location. In addition to acting, actor will be recording herself, setting up the camera and lights at the cinematographer’s discretion, and

• Seeking submissions from NY. • Send submissions to andyanjianhao@

gmail.com.

• Negotiable.

‘Pandemic Podcaster’

• Casting “Pandemic Podcaster,” a

student short film. Synopsis: A cynical podcaster chronicles the quarantine

18

production prior to fitting and shoot dates; fittings held January 2021 in Brooklyn, NY; shoot dates TBD between Mar.-June in NYC. • Seeking—1960s Strip Club Dancer

Types (Burlesque): female, 18-45, White / European Descent, 1960s strip club background dancer types (burlesque style). Must be comfortable with full nudity on camera (various states of undress, pasties, G-string, topless, etc.). No visible tattoos.

Mandatory COVID tests provided by production before fittings and shoot dates.

• Seeking submissions from NY. • Send submissions to tmmm@gwcnyc.

com.

• Higher pay rate for nudity. SAG-AFTRA

rates apply to SAG-AFTRA members.

Amazon’s ‘The Marvelous Mrs. Maisel,’ Principal Dancers

• Casting principal roles in season four of

the Emmy- and Golden Globe-winning Amazon series “The Marvelous Mrs. Maisel.”

• Company: Amazon. Staff: Melissa

Braun, casting dir.

• Rehearsals begin in late January 2021;

shoots between Mar.-June in NYC.

• Seeking—1960s Strip Club Dancers

(Principal): female, 18-40, White / European Descent, professional dancers to portray 1960s strip club

backstage.com

California casting

dancers (burlesque style) for work throughout the season. Must be comfortable appearing on camera in pasties and G-string performing various burlesque-style striptease routines.

Must be comfortable working in atmospheric smoke.

• Seeking submissions from NY. • Send submissions to melissa@gwcnyc.

com.

• Note: Be prepared to submit a self-tape

audition upon request.

• SAG-AFTRA Principal Dancer Contract.

‘City On A Hill’

• Casting background actors for the

Showtimes series “City On A Hill”.

• Company: Grant Wilfley Casting. Staff:

Emily GWC, casting assoc.

• Shoots TBD in Staten Island, NY. Note:

Fitting and tests in Brooklyn, NY.

• Seeking—1990’s Inmates: male, 18-55,

Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, seeking SAG actors, works Dec. 15 in Staten Island, NY (Interior work); test: Dec. 14; fitting & test: TBD between Dec. 10-14 in Brooklyn (steiner) ; must follow studio COVID protocols when working; looking for people with early 90’s or 80’s style hair; no modern hair styles; straight hair, weaves, dreads, slight fades, curly hair ok; no large afros; must be ok with atmospheric smoke; men must be ok being clean shaven, and receiving a 90’s haircut, if needed; Men, no one over 6’0”; do not submit if you have already worked this season; note all of your sizes. SAG Featured Funeral Home Employee: male, 40-55, Black / African Descent, seeking SAG to portray 1990’s Featured Funeral Home Employee; works Dec. 14 in Staten Island, NY. Exterior work; test: Dec. 11; Fitting & test: 1Dec. 10 in Brooklyn (steiner); must follow studio COVID protocols when working; looking for people with early 90’s or 80’s style hair; no modern hair styles; straight hair, weaves, dreads, slight fades, curly hair ok; no large afros; must be ok with atmospheric smoke; men must be ok being clean shaven, & receiving a 90’s haircut, if needed; men, Jacket size 40-44, & no one over 6’2”; do not submit if you have already worked this season; note all of your sizes. Featured Experienced Corrections Officer: male, 25-55, White / European Descent, seeking SAG-AFTRA and Non-union to Portray Featured 1990’s Corrections, who are experienced as either a cop, corrections officer, or in the military; pays SAG special Ability rate, $188/8hrs; works: Dec. 15 & 17 in Staten Island, NY. Interior/exterior work; test: Dec. 14 & Dec. 16; fitting and test : TBD between Dec. 10-14 (no weekends) in Brooklyn (steiner); must follow studio COVID protocols when working; looking for people with early 90’s or 80’s style hair; no m odern hair styles; straight hair, weaves, dreads, slight fades, curly hair ok; no large afros; must be ok with atmospheric smoke; men must be ok being clean shaven, and receiving a 90’s haircut, if needed; men, Jacket size 40-44, & no one over 6’2”; do not backstage.com

submit if you have already worked this season; note all of your sizes; briefly describe your real life experience as a police officer, corrections officer, or in the military. SAG Experienced Cop/ Corrections Officers/ Military: all genders, 25-55, Black / African Descent, Latino / Hispanic, White / European Descent, seeking SAG-AFTRA and Non-Union to Portray 1990’s Corrections Officers, who are experienced as either a cop, corrections officer, or in the military; pays SAG special Ability rate, $188/8hrs; works: Dec. 16 in Staten Island, NY; interior/exterior work; test: Dec. 15; fitting and test : TBD between Dec. 10-12/14 (no weekends) in Brooklyn (steiner); must follow studio COVID protocols when working; looking for people with early 90’s or 80’s style hair; no Modern hair styles; straight hair, weaves, dreads, slight fades, curly hair ok; no large afros; must be ok with atmospheric smoke; men must be ok being clean shaven, and receiving a 90’s haircut, if needed; men, Jacket size 40-44, & no one over 6’; women, no one over a 31 waist; do not submit if you have already worked this season; note all of your sizes; briefly describe your real life experience as a police officer, corrections officer, or in the military.

• Send submissions to tmmm@gwcnyc.

rate.

• Pays $210/12hrs for shoot dates, 1/4

com.

• For consideration, email a current

• Seeking submissions from NY and NJ. • Apply on Backstage.com.

• Pays SAG BG rate; SAG Special ability

candid photo to tmmm@gwcnyc.com with the following information: your name; phone number; SAG-AFTRA or non-union; all wardrobe sizes (Men: height, weight, jacket, neck, sleeve, waist, inseam, shoe. Women: height, weight, dress, bust, waist, hip, shoe); Do you have general availability for the duration of the season?; Avail for wardrobe fitting this Tuesday Dec. 8?; Avail for covid test for this Monday Dec. 7? Men: Are you okay getting a 1960s haircut if needed? Men: are you okay being clean shaven on the shoot date?Women: what is the current length of your hair? Women: does your hair touch your shoulders?

Women: if your hair touches your shoulders, are you okay having it cut by our hair dept? Women: do you have any highlights, undercuts, weaves, extensions, braids, bayalage or color in your hair? Or do you wear a wig?

What forms of ID can you bring to set to fill out an I9? Have you worked on the show before? If so when and as what? Are you local to the tri-state area? Do you have any tattoos? (this includes, hands, feet, ankles, back of neck, behind the ear.) Attach current, candid photos. Need to see current hair style and length. One photo should be full body. Subject line should say “Backstage Core.”

‘The Marvelous Mrs. Maisel’

check for fitting and $60 stipend for covid tests.

• Casting 1960s types for work on the

Amazon Prime series, “The Marvelous Mrs. Maisel,” season 4.

• Company: Grant Wilfley Casting. Staff:

Jackie, casting dir.

• The show will film tentatively Jan. 20,

2021 (with wardrobe fittings beginning in December 2020); the show will tentatively wrap at the end of June 2021.

• Seeking—1960s Types: all genders, 18+,

all ethnicities, seeking people with general availability for the show; the show will film tentatively Jan. 20, 2021 (with wardrobe fittings beginning Dec. 8, 2020). The show will tentatively wrap at the end of June 2021. Mandatory ongoing covid tests provided by production. Interior & exterior work. Must be okay working around atmospheric smoke. No wool allergies. Interior & exterior work! Summer & late fall season wardrobe. Men must be okay getting a 1960s haircut if needed and being clean shaven on the shoot date.

Women’s hair requirements are as follows: No fashion colors. No wigs. No weaves. No braids. No undercuts. No ombré or unnatural looking highlights.

No roots if hair is colored. Hair must be above the shoulders, it cannot touch the shoulders. If hair touches shoulders, it will need to be cut by our hair dept. Gray hair on more mature women is great. No visible tattoos, for everyone: no tattoos on neck or handles. For men, no tattoos on elbows and down.

For women, no leg, arm or shoulder tattoos. Proper PPE must be worn at all times at fittings and on set when not on camera.

Southern California Feature Films ‘Mirror Mirror’

• Casting “Mirror Mirror,” a zero-budget,

COVID quarantine, passion project.

Synopsis: During quarantine, a KoreanAmerican woman moves into a new apartment with her boyfriend where she discovers a magic mirror that allows her to talk to the version of herself that became a nun. As both of them challenge and learn from each other, the murder of George Floyd explodes their worlds. Their newfound perspectives challenge them each to find the true nature of their own voices.

• Company: Rising Story. Staff: Jason

Chao, writer-dir.

• Most of these parts will be shot over

Zoom.

• Seeking—Samantha: female, 18-30,

Black / African Descent, a prospective nun who meets the lead, Sister Veronica Song at a SoCal convent right as the COVID quarantine starts to take effect. The sides cover her reasons for showing up and also how her relationship with Veronica shifts when George Floyd is murdered.There will be four scene total, three will be over Zoom and the fourth will be in person

Marci Liroff C A S T I N G

D I R E C T O R

Private Coaching

Private Coaching

Your audition should not feel like a visit to the doctor!

After working for over thirty years as a Casting Director with some of the best directors and producers in our business, I have gained an extensive knowledge of what it takes to get the job.

For the last several years, in addition to my ongoing casting work, I have been coaching actors to help them prepare for upcoming auditions and projects.

In an intimate one-on-one setting, I map out each actor’s personal path for success. It is your time to show us what you’ve got. I will help you feel more in your body than you’ve ever felt before.

Available in Los Angeles or worldwide thru Skype or Facetime.

• Seeking submissions from NY.

19

12.17.20 BACKSTAGE

For more information please visit http://marciliroff.com

casting California with strict COVID precautions tentatively shooting late December-early January.

• Seeking submissions from CA. • Send submissions to jason@risingstory.

com.

• No pay.

Short Films ‘Guest’

• Casting “Guest,” a seven-minute short

film by recent UCSB Film graduates.

Logline: When she catches a thief in her kitchen, a Christian woman assures him that he can take what he wants as long as he eats her breakfast beforehand.

• Company: University of California

Santa Barbara. Staff: Eoin Goyette, student.

• Shoots nights on Dec. 19-20.

• Seeking—Terry: female, 36-70, White /

European Descent, 40 to 65 years old, white female. She acts charitably but couples her selflessness with a haughty assumption of her own spiritual enlightenment. Unaware of her pretension, she prides her own pity to such a degree that it sounds borderline fetishized. She lets Guy steal her purse on one condition: he sits, and she makes him breakfast. Guy: male, 26-45, all ethnicities, 28 to 50 years old, all ethnicities male. Short and physically unintimidating. Guy is occasionally homeless with untreated essential tremor in his head and hands. To him, Terry’s breakfast offer registers as enigmatic, and he eats her meal entirely on edge, waiting to see if she’ll actually let him take her purse.

• Seeking submissions from CA. • Apply on Backstage.com.

• Pays $75/day for Terry and $40/day for

Guy. Travel will be compensated. Meals will be provided.

‘Tacos = Love’

• Casting “Tacos = Love.” Synopsis: A

young man goes on an unexpected date after giving up on true love. The romantic comedy follows Will, a recently dumped college student who comes back from studying abroad to LA. Back with his hometown best friend, Josh, they visit his favorite taco restaurant where Will meets Leila, a woman who might be the perfect match.

• Company: FiliFilms. Staff: Peter

Filimaua, USC MFA filmmaker.

• Rehearses December in Los Angeles,

CA; shoots Jan. 16-18 and 23-24 in Los Angles, CA. • Seeking—Will Perez: male, 18-35,

Latino / Hispanic, of Mexican descent; he believes in true love until he gets dumped by his long time girlfriend; he’s not good at communicating his feelings; he’s mostly quiet and respectful but has a short temper. Leila Navarro: female, 18-35, all ethnicities, is an introvert but is outgoing and charismatic when comfortable; she’s witty and can take a joke; she’s never been in a relationship before but is looking for someone mature. Josh: male, 18-35, Black / African Descent, Southeast Asian /

BACKSTAGE 12.17.20

Pacific Islander, Will’s best friend and biggest hype man; very comedic and always joking; doesn’t lack confidence and isn’t afraid to tell the truth. Melanie: female, 18-30, all ethnicities, Will’s longtime girlfriend; Melanie is caring and loving; she has a taste for fashion and material items. Luis: male, 30-60, Latino / Hispanic, a worker/manager at Will’s favorite restaurant; he’s hard working and still has a Spanish accent.

Customer: male, 21-40, White / European Descent, this customer is rude and always in a hurry; stunt work is a plus. Extras: all genders, 18-60, all ethnicities, background extras for restaurant.

• Seeking submissions from CA. • Apply on Backstage.com.

• Link for zoom will be sent the day of.

• Pay varies per role, 0-$150.

Student Films ‘Deer Girl’

• Casting “Deer Girl.” Synopsis: An

unlikely connection forms when a decomposition researcher catches a teen girl on surveillance severing the deer head from his experiment.

• Company: UCLA Film and Televison.

Staff: G. Molina, casting.

• Rehearses and shoots February or early

March in LA. Covid Safety Note: Only one actor will be on set/camera at a time.

• Seeking—Deer Girl: female, 16-22, all

ethnicities, a teenage girl, fascinated by decomposing animals. She removes the head from the deer Harold is watching, and leaves him tokens of her presence.

Observant, almost clinical, detail-oriented. She’s obsessed with freezing time, preserving things, keeping things from changing. To her, human relationships are fleeting and uncontrollable.

Harold: male, 25-35, all ethnicities, a scientist, somewhat awkward, eager to please, desperate for connection.

While studying animal decomposition, he develops a fascination with a teenage girl who starts to mutilate the deer corpse he’s surveilling. He’s dependable and thorough, but he can become absorbed by his obsessions.

• Seeking submissions from CA. • Send submissions to giovannaevamo-

• Shoots Jan. 16 (4 p.m.) in L.A. • Seeking—Maya: female, 21-30, all eth-

nicities, she has been singing since she was a kid, but she’s mainly been a background singer. Now she is a solo artist and she recently got signed to Sony.

She’s never had complete confidence in her abilities and she has always compared herself to her peers. She’s panicking at the worst possible time and her managers have to try to calm her down to get on stage. David: male, 20-30, all ethnicities, he grew up in the same neighborhood as Maya and they have been friends since they were kids.

He has always believed her more than she believes in herself. He was the person that convinced her to be a solo artist and he convinced her to let him be her manager. When he finally got her a record deal, he thought that she would gain confidence. Unfortunately for him, she’s panicking and trying to cancel this show five minutes before she’s supposed to be on stage. He has to calm her down before she makes a decision that she will regret for the rest of her life. Eric: male, 20-35, all ethnicities, he has been trying to get into the music business for a while, but his artists have never been that good.

Through multiple attempts, something has always gone wrong that makes him leave his artists. When he sees Maya perform at a small local show, he thinks that he has found his golden ticket into the music industry. He convinced Eric and Maya to be added to their team. He was also a crucial part of getting Maya signed to Sony. Everything is going good until Maya starts panicking right before her 1st big show since she got signed. He gets pissed off and he yells at Maya. He refuses to let her ruin the best opportunity that he’s ever had.

Jerry: male, 20-30, all ethnicities, an audio visual technician that works at this theater. It was supposed to be a normal day for Jerry, but unfortunately there is some drama backstage. He finds out that the main performer is panicking and refusing to come to stage 5 minutes before she is supposed to perform.

• Seeking submissions from CA. • Apply on Backstage.com.

• Pays $125 for Maya and David, $100 for

Eric, $75 for Jerry, and $50 for Kevin.

lina@gmail.com.

‘Starling’

headshot. A link to reel or footage preferred.

“Starling,” a drama about addiction and love.

• For consideration, submit resume and

• Pays $125/day. Meals provided.

‘Get Up’

• Casting “Get Up.” Synopsis: Maya is a

young singer who is about to have her first big performance since she got signed to a record label. Her managers Eric and David have both worked hard for years and they finally got the attention of a record label. The only problem is she’s freaking out. Eric and David have to try to calm her down and get her on stage to make sure she doesn’t blow this once in a lifetime opportunity.

• Company: Art Center College Of

Design. Staff: Christopher Peay, graduate film student.

• Casting for an upcoming short film

‘Toad’

• Casting “Toad,” a USC thesis film

directed by Hongshi Zhong. Logline: Knowing her estranged father will soon pass away, Mia takes her father on a trip to find a final resting place and complete her last duty as a daughter.

• Company: University of Southern

California. Staff: Cindy Wu, prod.

• Shoots TBD in Los Angeles, CA. • Seeking—Mia: female, 25-40, didn’t

grow up in the happiest family; her parents divorced when she was little, and her father has been absent throughout her life; ever since her mom passed away two years ago, her boyfriend, James, has been the closest person to her; however, her traumatized childhood experience has been unconsciously holding her back from committing to an intimate relationship; now facing a big life decision, she has to reconcile with the past and take a leapof faith in order to move on with her life. Robert: male, 50-70, a true free spirit; he’s never settled in one place, nor does he easily become attached; he and Mia’s mom fell in love at first sight, but things didn’t really work out between them, so he decided to leave, although he secretly keeps his love for his wife and daughter; as he gets elder, he gradually comes to realize the importance of family bond, but it was already too late for him to start all over again; at the end of his life, he returns to the place where it all started,hoping to mend his relationship with his estranged daughter. James: male, 30-40, is a warmhearted and caring man; he has been dating Mia for four years, things havebeen going very well between them except that Mia never seems to be ready for marriage; James is serious about starting a family with Mia, so he is getting frustrated over time; however, he loves Mia deeply and understands that Mia’s family had a huge impact on her and how she deals with intimate relationship, so he’s always been patient and respected her decision, hoping one day Mia could fully accept him and make peace with the past.

• Seeking submissions from CA. • Send submissions to DWU157@USC.

EDU.

• For consideration, include a video in

your submission.

• Pays $100/production day, plus credit,

meal, and copy.

• Company: CSULA. Staff: Josias Lopez,

‘Where We Are Now’

• Shoots mid-January in Burbank and

dent thesis drama film. Synopsis: While she packs up her deceased father’s home, Eva’s brother returns with the hope of reconnecting after a long absence.

dir.; Logan Bauer, prod.-writer.

Fullerton.

• Seeking—Chase: male, 18-25, reliable,

kind, a great friend, and a stoner. Chase cares about his friend, Cierra, and worries about her delving into a world that he knows is dangerous. He does his best to guide her in the right direction and hopes she stays in that direction.

• Seeking submissions from CA. • Apply on Backstage.com.

• Include an audition tape(s). Production

will not be doing in-person auditions.

Online submissions.

• Meals provided. No participation fees

required.

20

• Casting “Where We Are Now,” a stu-

• Company: Dodge College of Film &

Media Arts. Staff: Carlota Crespo, dir.; Luca Rohr, writer-prod.; Evan Feng, DP; Marisa Brugger, editor; Grace Parsons, prod. design; Josephine Isore, UPM; Noah Minnie, sound design.

• Rehearses Jan. 15-Feb. 3 (Zoom and inperson) and shoots Feb. 5-7 and 12-14 (likely only one weekend) in the Orange, CA area. Note: Production will follow strict COVID-19 safety guidelines. backstage.com

National/Regional casting

• Seeking—Eva: female, 21-28, Ethnically

Ambiguous / Multiracial, White / European Descent, a sarcastic and caring, down-to-earth young adult who wants to start living her own life to the fullest. Tired of pleasing everyone in her family and never getting credit for her efforts, after her father’s death, she finally decides to break free and start a new life, far from what she called home.

However, her clingy and self-absorbed brother will do anything he can to convince her otherwise and bring her back to LA with him. Eva has decided that in order to leave behind her old life and stop living in his brother’s shadow, she will have to let go of many places and people too. She is determined, excited, and finally feels free to see what’s out there, but she will first have to fight against her people-pleasing nature to break the longest relationship of her life.

• Seeking submissions from CA. • Send submissions to lucawrohr@gmail.

Music Videos

• Rehearses Mar. 2, 2021 and Mar. 9

(1-3:30 p.m.); Zoom reading performance will be held Mar. 12, 1-2:30 p.m. (call time 12:30 p.m.).

‘Geronimo’

• Casting “Geronimo.”

• Company: Biola University. Staff: Jon

• Seeking—William Henry Vanderbilt

(Billy): male, 50+, all ethnicities, son of the founder of Railroad Empire, Cornelius. Rigidly paternalistic. Believes in strict set of rules about how the upper classes must behave in 19th Century America. Frederick William Vanderbilt (Freddy): male, 20-29, all ethnicities, very bright, embraces his intellectual and spiritual acuity. Believes everyone deserves a happy life. A romantic. Walter Cod/Alfred Torrance: male, 40+, all ethnicities, a presumptuous Englishman whose primary aim is to secure a dowry from an American heiress. Alfred Torrance, Cousin to the Vanderbilts, is a lout and a wastrel. First husband to Louise. Emily Thorn Vanderbilt (Emmie)/Nellie Hathaway: female, 20-29, all ethnicities, Emily is Frederick’s older devoted sister. Nellie Hathaway: A house maid. In love with Frederick. Louise Holmes Anthony Torrance Vanderbilt (Lu Lu): female, 30-39, all ethnicities, a woman of her time; finds Frederick engaging, but can’t imagine divorcing Alfred. Maria Louisa Kissam Vanderbilt (Mary Lou) (Cast): 50-59, all ethnicities, loving mother to her 8 children. An independent thinker willing to question societal norms. Already cast.

Puckett, dir.

• Shoots TBD date in Los Angeles County.

• Seeking—Shaun: 18-24, Black / African

Descent, Latino / Hispanic, Southeast Asian / Pacific Islander, an outgoing friend. Michael: 18-24, Black / African Descent, Latino / Hispanic, Southeast Asian / Pacific Islander, an outgoing friend. Jon: 1-14, Black / African Descent, Jon’s younger self; a young, curious kid. Waitress: female, 30+, all ethnicities. Sidney: 15-29, Black / African Descent, loud. You always knows he is in the room. He is very confident. But not exactly a lady’s man.

• Seeking submissions from CA. • Apply on Backstage.com.

• Meals, copy, credit provided.

com.

• No pay. Copy, credit, gas

reimbursement, and meals provided.

Scripted TV & Video ‘Plugs’

• Casting “Plugs.” Synopsis: ”Plugs” is a

webseries that poses the question: What happens when two amateur drug dealers become the most popular shroom dealers of LA? • Company: Breuer Management. Staff:

Brandon James, writer-dir.; Tim Breuer, prod.

• Shoots mid/late January in Pomona, CA. Note: Transit costs from LA will be reimbursed. This production will be following COVID guidelines to ensure a safe set.

• Seeking—Keisha: female, 20-29,

Black / African Descent, Vincent’s girlfriend; the moment Keisha and Vincent met, they knew there were meant for each other; she’s a strong and well-spoken woman who doesn’t take shit from anybody, let alone Vincent; while Vincent may put on a tough guy front when he’s dealing with his friends or anyone he’s doing business with, Keisha is the one person he can be vulnerable with - and the one person who has no problem speaking her mind to him. Note: Production is currently only preparing for the first episode in this series, but Keisha is a recurring role and will appear in several episodes if the rest of the series is greenlit.

• Seeking submissions from CA. • Send submissions to tbreuer@usc.edu.

• To view the series promo visit www.you-

tube.com/watch?v=bo9UvDx3dgw.

• Pays $100 (full day); $50 (half day), and

$25 (quarter day). Meals, copy, and credit will be provided.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

Online Commercials & Promos Plus Size Models (Size 14) for Popular Personalized Fashion Brand

• Seeking submissions nationwide.

• For consideration, submit photo and

• Seeking plus size models for a popular

fashion brand. Ads will be used for their online and social media pages (FB, TikTok, IG, YT, etc.).

resume to castingfandl@optimum.net.

Submissions deadline is Jan. 31, 2021.

• Equity’s contracts prohibit

discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

• Company: Narrative Ads. • Shoots in person in the Pasadena, CA

area, dates TBD.

• Seeking—Size 14 Plus Size Women:

female, 28-35, all ethnicities.

• Seeking submissions from CA. • Apply on Backstage.com.

• Include your measurements: Dress size,

pant size, shirt size, height.

• Pays $35/hr. flat rate. Must be non

union, sag-e, or core.

• Pays $100 stipend. Equity Staged

Reading Code.

National/ Regional

Short Films ‘Collateral’

• Casting “Collateral,” for the lead

antagonist, Cuaz, for the independent action/thriller short film. Note: The role is VO specific and the ability to record and work remotely with the director is mandatory.

Plays ‘Frederick and Louise’

• Casting Equity actors for roles in

• Staff: Werner Traut, writer-dir.-prod.

• Records TBD. Note: Principal

“Frederick and Louise,” a period drama Zoom reading. Synopsis: “Frederick and Louise” is a historical drama based on the lives of Frederick William Vanderbilt and Louise Holmes Anthony Torrance Vanderbilt. It takes place in the latter half of the 19th century and chronicles their early romance. Theirs was a love story that evolved and flourished in spite of the fact that Louise was considerably older than Frederick, divorced, and could not have children.

photography is complete. The film is now in editorial.

• Seeking—Cuaz: male, 30-45, 30s, the

son of a corrupt South American political figure now playing soldier, is out for vengeance; Cuaz is a sharpshooter and feels utterly in control for the majority of the film as he seeks vengeance against our protagonist; he’s luring the film’s hero to him; he has a plan and he’s confident it will work; he’s assured; cocky; intelligent; but most importantly, must

• Staff: Del Fidanque, writer-dir.

21

convey a sense of menace; underneath this, he’s fighting overwhelming grief for the loss of his wife and child.

• Seeking submissions from NY and CA. • Apply on Backstage.com.

• The Screenplay is attached. The

required VO dialogue for the audition is marked in green. Submit an audio file of the highlighted dialogue for your audition as well as your resume.

• No pay.

‘Harry,’ Real Truck Owner

• Seeking a real truck owner for a short

film about an eye-opening hitchhiker ride.

• Company: 130 Elektra Films. Staff:

Elettra Pizzi, prod.

• Shoots in London.

• Seeking—Harry: male, 51-64, White /

European Descent, must be able to drive a truck and have a full truck license (DAF-like truck).

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, submit a recent pic-

ture of yourself, a picture of your truck, and indicate if you own the truck or have access to it.

• Note: Seeking a real truck driver (DAF-

like truck or similar). Must have a professional license. Ideally you own your own truck or have access to one.

• Pays £150/day plus expenses covered.

Student Films ‘Coming Out’

• Casting “Coming Out,” a student film.

Synopsis: When a closeted young gay man living in the South is pressured by his friends to bully another gay teen, he must choose between accepting and standing up for who he is, or going along with his lifelong friends.

• Company: Savannah College of Art and

Design. Staff: Bryce Boehler, dir.; Ashur Woods, prod.; Jasper Lawrence, DP. • Rehearsals will be held over Zoom;

shoots Feb. 18-23, 2021 in Atlanta, GA. Production will be following COVID protocols.

• Seeking—Nick: male, 18-25, White /

European Descent, average height, well-built. The protagonist of the story. He has a strong Southern accent. He is a closeted gay man who is living in an unaccepting Southern town. He is conflicted between the morals he was raised with and accepting himself for who he is. Eliot: male, 18-25, all ethnicities, short and skinny.

Preferably blond hair but not necessary. Eliot moved to this town a few years ago from the city and therefore only has a slight Southern accent.

Type B personality and he would rather hide from a problem than confront it. Braxton: male, 18-25, White / European Descent, tall and well-built.

Preferably blond hair but not necessary. Thick redneck accent. Type A personality and he tends to take VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

12.17.20 BACKSTAGE

casting National/Regional charge. Dennis: male, 18-25, White / European Descent, tall and skinny.

Preferably brunette hair but not necessary. Heavy hillbilly/redneck accent.

Dennis is a follower who just goes along with everything his friend says.

He likes to pick fights with people.

• Seeking submissions from GA. • Apply on Backstage.com.

• Lunch, water, and limited craft services

will be provided. Credit and final cut of film will also be provided.

‘Hits And Clips’

• Casting “Hits And Clips,” a comedic

thriller that follows Josie as she navigates workplaces hostilities with her co-worker Lana. Synopsis: The pair cuts hair and throats, using the salon as a front for assassinations.

• Company: Florida State University.

2021 in Atlanta, GA. Production will be following COVID protocols.

reach...series regular; submit all ethnicities; actors with disabilities are encouraged to submit. Ash: all genders, 12-17, 12 to 17-years-old, Ash is non-binary and defies categorization; a whip-smart student with an innate ability to read people, Ash overhears Gigi’s talk about inclusivity in fashion, and they Immediately sign on to be Gigi’s teammate in the First Year Fashion Competition; quickly bonding with both Gigi and Shani, Ash jumps at the chance to have a non-traditional model, but when it appears the team will be disqualified, Ash is demoralized, but nothing keeps them down for long...series regular; submit all ethnicities; members of the LGBTQ+ community are encouraged to submit.

• Seeking—Jordan: male, 20-30, Black

/ African Descent, an emotional free spirit, like his mother. Jordan believes family is who you love. He is quick to judge but is empathetic with an “OK boomer” attitude. Ricky: 40-55, White / European Descent, has an alcohol problem and anger issues.

Thinks he knows what’s best and believes in a traditional family. He cares about foster animals because he, himself, is lost and alone.

• Seeking submissions from GA. • Send submissions to awoods23@

student.scad.edu.

• Pays $125/day, $62.50/half-day. Meals,

credit, and final cut of film will be provided.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For more info about the project, visit

Staff: Emily Walowski, dir.

• Shoots Jan. 25-26, 2021 in Tallahassee,

FL.

• Seeking—Josie: female, 24-30, deter-

mined, purposeful, sensible; Josie’s post college dream life never involved cutting hair for minimum wage; but, then again, it never involved becoming an assassin either; the newly promoted manager makes the best of her situation, preforming her job by the book to continue rising through the ranks; a task done easier without her wild-card co-worker, Lana; Josie believes if she follows the rules and perseveres, she will secure a job where she calls the shots; stunt work involved; must be physically fit. Lana: female, 24-30, clever, humorous, fierce; even the occasional thrill of a kill, fails to add enough excitement to Lana’s work life; a sharp girl with an even sharper tongue, Lana uses her wit and words to bring playfulness into her day; Josie, her uptight co-worker, serves as Lana’s favorite source for banter; Lana loves to get under Josie’s skin, seeing just how far she can push her luck; stunt work involved; must be physically fit. Girlfriend: female, 24-30, two-faced, focused, cold; a poised, elegant young woman on the outside, knows how to harness the power of appearances; she thinks of herself as a master manipulator; however, her hot-blooded nature causes her to act out in rash ways; stunt work involved; must be physically fit.

Boyfriend: male, 24-30, compliant, candid, oblivious; blinded by love, willing to travel to the ends of the earth for Girlfriend; he lost himself and his goals long ago in pursuit of her; now, Boyfriend’s one hope is to win over Girlfriend’s affection; stunt work involved; must be physically fit.

• Seeking submissions from FL and GA. • Send submissions to edw18@my.fsu.

edu.

• No pay.

‘Home Is Where the Heart Is’ • Casting “Home Is Where the Heart Is,”

a student film about an out-of-touch old white man who discovers he has a long-lost black son.

• Company: Savannah College of Art and

Design. Staff: Sebastian Haid, dir.; Ashur Woods, prod.; Akhil Deva, DP.

• Rehearses over Zoom; shoots Mar. 5-7,

BACKSTAGE 12.17.20

www.misfitcastingsearch.com.

Scripted TV & Video

• Compensation is TBD.

‘The Gilded Age’

• Casting “The Gilded Age,” season one

of the HBO series from the creator of Downton Abbey, Julian Fellows.

‘Misfit’

• Casting young actors 12-17 for “Misfit,”

• Company: Grant Wilfley Casting. Staff:

a new comedy pilot to air on a major TV Network.

Belle GWC, casting dir.

• Shoots early 2021 in Newport, RI. • Seeking—Caucasian Men 18-30: male,

• Company: Deborah George / Alexis

Booth Casting. Staff: Julie Gale, casting assoc.

18-30, White / European Descent, seeking SAG-AFTRA/nonunion to portray Caucasian 1880’s footmen. 18-30 age range, 5’11”-6’3”, attractive, slim; you will be needed to work multiple days likely from mid February-late March (possibly additional work after as needed); there would be a fitting/covid test the week of Dec. 14 in Newport, RI; there would likely be another fitting in January/February; every time you go to a fitting and the work, you will have to also attend a covid test unless working multiple days on set; acting experience a plus, but not required.

• Shoots mid-January-mid-February

2021.

• Seeking—Gigi: female, 12-17, Black /

African Descent, 12 to 17-years-old, Black, plus-sized girl with great hair, great style, and a great (if occasionally push) attitude; Gigi learned how to sew so she could make cute clothes in her own size, and she’s bringing her “can’t keep me down” energy straight to Fashion High; her body positivity includes all shapes, sizes, and types, but Fashion High might not be ready to keep pace with Gigi’s progressive attitudes; by choosing the normal sized lunch lady Rowena as the model for an upcoming fashion competition, despite the reservations of her teammates Shani and Ash, Gigi sees an opportunity to prove fashion—and body positivity—is for everybody; but when #Teamgigi face disqualification because Rowena’s not technically a student, she finds that not only has she endangered her dream of fashion, but her friendships as well...series regular. Shani: female, 12-17, 12 to 17-years-old, Gigi’s best friend, she’s a shy girl with an eye for accessories.

She has vitiligo (a condition in which pigment is lost from areas of the skin.); she’s always using her hair to cover her face, despite Gigi’s urging to show off her natural beauty; though preferring to play it safe within the ‘system’, Shani reluctantly goes along with Gigi’s plan to use lunch lady Rowena as their model for a firstyear fashion competition; when Rowena faces disqualification because she’s not technically a student at the high school, Shani, who felt railroaded into using Rowena in the first place, is upset; but Shani and Gigi are friends for a reason, and with a little trust, victory may still be within

• Seeking submissions from RI. • Send submissions to gildedage@

gwcnyc.com.

• For consideration, email the following

in the body of your email: name; phone #; SAG-AFTRA or Non-union (If you are nonunion, please let us know how many waivers you’ve received).

Which forms of IDs will you be bringing for your i9? (If you have a VISA or Employment Authorization Card, let us know!) Confirm you are local to the Rhode Island/New England area.

Current sizes: height, weight, chest, neck x sleeve, waist x inseam, shoes.

Okay being clean shaven (facial hair).

Okay with 1880’s haircut. Confirm you do not have any visible tattoos (behind the ear, neck, hands, etc.) Include several non-professional photos including full body, and waist up in plain clothing and background with no filters or hats or sunglasses etc. Avail week of Dec. 14, 2020 for covid test as well as fitting. General open/flexible availability from February - late March to possible work multiple days. Email submission to gildedage@gwcnyc. com with the subject line “Backstage Rhode Island Footmen.”

• SAG-AFTRA background pay scale:

$178/8hrs; if you are nonunion we would request a SAG waiver.

22

Demo & Instructional Videos Diversity Training

• Casting “Diversity Training.”

Production states: “We are developing technologies to help promote diversity in hiring. We are looking for an experienced actress to record a single 5 minute monologue on her webcam.”

• Company: Northeastern University.

Staff: Timothy Bickmore, professor.

• Shoots remotely (one hour).

• Seeking—Software Engineer: female,

30-60, Black / African Descent, a software engineer with 5-10 years’ professional experience. Note: Must have the ability to record and transmit digital video with a good quality webcam and microphone.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, submit a sample

video recording with the webcam setup you have, introducing yourself, along with your resume and a link to a video sample of your acting.

• Pay provided.

Multimedia Visual Podcast About HR & Compliance, Host

• Seeking a host for an upcoming visual

podcast for a major human resources management service brand. We are looking for someone who can be engaging, quick, professional, but also is familiar with this field and can speak comfortably about Compliance and Human Resources.

• Hosting, B2B hosting, or podcasting

experience is a bonus, but mostly focused on finding someone who knows how to connect with people and is familiar in this field.

• This visual podcast will be filmed fully

remotely. Everyone with experience in human resources, compliance, payroll, or anything in corporate side of administration is welcome to apply.

• Company: Malka Media.

• Shoots remotely/virtually.

• Seeking—Podcast Host: all genders,

21-85, all ethnicities, any talent that is familiar and specifically experienced with these fields.

• Seeking submissions nationwide.

• Send submissions to malka@malkame-

dia.com.

• For consideration, mention in your

application or cover letter if you have specific experience in these categories.

We are only considering talent who is very familiar and experienced in these fields.

• Pays a flat rate of $1,000 for three

episodes.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

National/Regional casting

Online Commercials & Promos Contact Delivery Service Ad, Real Sisters Who Wear Contacts

beach body. Must not have skin allergies or sensitive skin.

• Seeking submissions nationwide.

• Send submissions to casting@

tubescience.com.

• Pays $300/day flat. Nonunion. All media

buyout.

tact delivery service ad.

Singers

prod.

Country Trio, Male Vocalist

• Casting real pairs of sisters for a con• Staff: E. Kennedy, supervising casting • Shoots in your own home with the help

of a remote director. Date is TBD and flexible. Depends on product arrival.

Both sisters must have a current prescription for contacts.

• Seeking—Key Sister in the Pair: female,

18-44, all ethnicities.

• Seeking submissions nationwide.

• Send submissions to casting@tube-

science.com.

• Pays $250/person flat for this non-

union, all media buy-out.

Digital Project, Outgoing Couples Willing to Shave on Camera • Casting outgoing couples willing to

shave on camera. This is a digital project that can either be shot in our downtown Los Angeles studio or as a remote, director assisted project anywhere in the US. • Company: TubeScience. Staff: Sarah

Furlong, coord.

• TBD. • Seeking—Female with a Male Partner

Willing To Shave On Camera: female, 18-55, all ethnicities, fun and outgoing women who have a male partner.This project will require you to be in a bathing suit in or around your shower.

Must feel comfortable shaving legs, armpits, toes, etc. Male With Female Partner Willing To Shave Face and or Beard: male, 18-60, all ethnicities, men willing to shave on camera with a female partner. You must be comfortable shooting in your bathrobe and showing your chest. In our audition form, we will ask you what you feel comfortable shaving, head, face, neck, chest, etc.; any combos are good.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• There are no in person auditions.

Production will ask interest couples to do a shelfie audition.

• Pays $250 per person for the project/

non union/all media buyout

Models for Body Skin Cream

• Casting women with firm skin to model/

demonstrate a body firming cream.

• Staff: E. Kennedy, supervising casting

prod.

• Shoots either at a studio in L.A. or from

own home with a remote director.

• Seeking—Attractive Women With

Firm Skin: female, 18-35, all ethnicities, attractive women, 18-35, with firm skin to model and demonstrate a body firming cream wearing a bathing suit or bra and underwear. Must be comfortable showing skin on tummy and hips. No nudity required, but must be comfortable showing your backstage.com

everywhere gather at a sacred ground on the planet Chaco, whose famous explorer Lokaro Rook was responsible for the first ever human/alien contact.

A communal holiday, Fellowship Time is organized and hosted by Ambassador Ojistah, a communicator between explored planets and unexplored planets.Ojistah, plainly put, constantly brims with excitement at her work. In her eyes, she’s got the best job in the world, and behind that professional elocution and polite demeanor, lies a childlike joy at living the dream of getting to extend olive branches to new worlds and new civilizations. While sometimes nervous and trembling from the pressure of having one of the most important jobs in the stars, it’s from a deep love of what she does. Ojistah, a Native American Iroquois from Earth, was inspired by the New Guinean Isa Kahlani, the first voyager into space, and as an indigenous woman, strives to follow her hero.

Seeking Native American actresses only for the role.

• Casting a male vocalist for country trio.

• Company: S&A global management.

Staff: S. Flannery, coord.

• Rehearses asap; performs in 2021 in

Vancouver, BC. • Seeking—Male Country Vocalist: male, 18-26, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, for country trio band; requires singing experience and country style. It’s optional to play guitar or not but would be helpful. Note: Submit any forms of media listed above, but include a headshot/photo and cover letter. Male Country Back Up Vocalist/Multitasker Musician and Productionest: male, 18-26, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, for country trio band; the three members will be the bones/rock for the group to build on; must have strong musical knowledge in productions. piano or guitar is required but both would be great and would be helpful to have vocal training too.” Second Male Country Back up Vocalist/Multitasker Musician and Productionest: male, 21-26, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, a 4th member the last member of the group; male vocalist and multi-talented in both productions and instruments/percussions.

• Seeking submissions nationwide.

• Send submissions to plc297@nyu.edu.

• Include an audio reel and reading of

attached sides in your submission.

• Pays $164 for the role.

General Voiceover Human Rights Video, Native Spanish Speaker Voiceover

• Casting a native Spanish speaker with a

light accent for a web activism video about human rights in Southeast Asia.

• Company: Art Camp. Staff: Jos Diaz

Contreras, dir.-prod.

• Records remotely.

• Seeking—Narrator: female, 18+, native

Spanish speaker with light accent.

• Seeking submissions worldwide.

• Send submissions to jos@artcamp.io.

• For consideration, submit a reading of

• Seeking submissions from BC and ON. • Apply on Backstage.com.

• For consideration, submit both cover

the script.

• Pays $250 for two rounds of voiceover

letter/resume, and video or voice recording. Include name, age, musical experience etc.).

recording.

• Unpaid.

Stage Staff & Tech

Audiobooks & Podcasts

Harvard Student Film, Video Editor • Seeking a video editor to edit a five-

‘Dawn of Tomorrow,’ Episode 8

minute film. It will have 55-60 cut points. The raw footage is about 1.5 hours. The goal is to achieve POV, L-cuts, clean dialogue, color grading, angles for clear storytelling, and tonally adjusted music score. A demo of director’s rough cut will be provided for editing reference.

• Casting episode eight of “Dawn of

Tomorrow,” a late night radio talk show set in 2156, during a new age of space exploration and wonder.

• Company: The Carellini Co. Staff: Peter

Carellini, actor-creator-writer.

• Records remotely.

• Seeking—Ambassador Ojistah: female,

• Company: Directing for the Screen at

Harvard Extension School. Staff: Bishal Nepal, writer-dir.

18+, Indigenous Peoples, in the world of Dawn of Tomorrow, the galaxy celebrates a shared holiday invented during the age of space exploration: Fellowship Time. People from planets

• Remote working opportunity. Zoom

interview. Script and Storyboard will be shared.

• Seeking—Video Editor: 18+, a demo of

23

director’s rough cut (5 min) will be provided for editing reference. 55-60 cut points. 1.5 hour footage. Editing includes POV, clear storytelling using best frames and angles, incorporating recorded audio files, editing dialogue to maintain volume/pitch, smart use of L-cuts for reaction inserts, color correction and grading, tonally adjusted music score, etc.

• Seeking submissions nationwide.

• Send submissions to bnepal@g.har-

vard.edu.

• For consideration, include a cover let-

ter, resume, and portfolio.

• No pay, but credit will be provided. This

is an opportunity to show quality work.

This is a college work, not for profit.

Utah Shakespeare Festival 2021 Season, Stage Managers • Seeking Stage managers for the Utah

Shakespeare Festival’s 2021 season.

LORT D season includes “Intimate Apparel” (Lynn Nottage, writer; Tasia A. Jones, dir. Rehearsals begin June 8; runs July 19-Oct. 9) and “Cymbeline” (William Shakespeare, writer; Britannia Howe, dir. Rehearsals begin June 7; runs July 20-Oct. 9). LORT B season includes “The Comedy of Errors” (William Shakespeare, writer; Vincent Cardinal, dir. Rehearsals begin May 11; runs June 26-Sept. 11); “Richard III” (William Shakespeare, writer; Cameron Knight, dir. Rehearsals begin May 10; runs June 25-Sept. 10); “Pericles” (William Shakespeare, writer; Kent Thompson, dir. Rehearsals begin May 10; runs June 24-Sept. 9); “The Pirates of Penzance” (Gilbert & Sullivan, writer; Cassie Abate, dir.-choreo.; Jeremy Mann, music dir.

Rehearsals begin May 10; runs July 2-Oct. 9); “Ragtime” (Terence McNally, book; Stephen Flaherty, music; Lynne Ahrens, lyrics; Brian Vaughn, dir.; Brad Carroll, musical dir.; Keenon D. Hooks, choreo. Rehearsals begin May 11; runs July 3-Sept. 11); and “The Comedy of Terrors” (John Goodrum, writer.

Rehearsals begin July 2; runs July 30-Oct. 9).

• Company: Utah Shakespeare Festival.

Staff: Brian Vaughn, artistic dir.; Tanya J. Searle, artistic assoc.

• Lort B season runs May 10-Sept. 11 or

Oct. 9; Lort D season runs June 7-Oct. 9 in Cedar City, UT. • Seeking—Stage Manager: 18+.

• Seeking submissions from UT. • For consideration, submit resumes and

cover letters at bard.org/employment from Dec. 1, 2020-Mar. 1, 2021.

• Equity’s contracts prohibit

discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

• Pays $1,277/wk. (LORT B); $999/wk.

(LORT D). Equity LORT B & D Contracts.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

12.17.20 BACKSTAGE

Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert Lisa London is a casting director.

Any tips for how to fully embrace a character?

—@elzhub123

No matter what kind of role you’re playing, you must create the character from an authentic and truthful place. As an actor, that’s your craft. Here are my tips for how to fully embrace a character.

Come up with at least three adjectives you feel best describe your character, then incorporate those into the role. Is your character happy, sad, angry, or frustrated? Decide on these adjectives and weave them in throughout each scene. No character has one attitude for a whole scene or role.

Write out the character’s backstory. This is up to your creative imagination. It can go as far back as you need and want it to. You can start in childhood, if that helps you create the character, or you can start at any moment you choose. It depends on the role, the scene, and what you need to do to take on the attitudes of the character. The more details you describe, the more emotionally connected you can be. As a casting director, I want to see layers to your performance.

Write out what happened the moment before the scene starts. This will help you connect with the character emotionally and physically. For example, if your character just had an argument with their significant other, that will inform their frame of mind when they come into the scene. Understand the nuances of the emotional and physical journey. Sometimes, the nuances of the role happen between the lines, when you’re just listening and reacting.

Decide what your character’s relationship is to the other person in the scene, as well as their relationships to anyone mentioned in the scene. If they’re speaking to a friend, define that relationship. Are they a best friend, or is this an adversarial relationship? Are they someone your character trusts?

Decide how your character physically looks and feels. What kind of clothes, hair, and posture does this person have? In the audition, dress with a hint of the character in mind.

Wear something that helps you look and feel like you are this person. For example, if you’re playing a lawyer, wear a suit.

Enjoy creating your character!

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*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.

BACKSTAGE 12.17.20

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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; LONDON: COURTESY LISA LONDON

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