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F O R Y O U R C O N S I D E R AT I O N
F O R Y O U R C O N S I D E R AT I O N
01.21.21
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Bob Odenkirk remembers his early days in Hollywood
The true stories behind Oscar front-runner
“Nomadland” The year’s best advice from Backstage’s
“In the Envelope: The Actor’s Podcast”
4 Pages OF CASTING NOTICES
Digging Deep Steven Yeun
is in the business of making films that hit close to home
Contents The Green Room 6 Actors’ Equity Association and SAG-
AFTRA denounce the Capitol riot
8 This week’s roundup of who’s casting what starring whom
9 Javicia Leslie on making history as the first Black Batwoman
Advice 11 CRAFT Essential film set terms 12 #IGOTCAST
Nina Bogosian
12 SECRET AGENT MAN
vol. 62, no. 03 | 01.21.21
Cover Story
Seeing Through the Trees Steven Yeun builds specific characters and ponders cultural representation— then throws it all out the window page 14
One smart actor
Features 5 BACKSTAGE 5 WITH...
Bob Odenkirk
10 MEET THE MAKER Mollye Asher, “Nomadland” producer 11 THE ESSENTIALISTS Erik Messerschmidt, cinematographer 13 IN THE ROOM WITH Theo Park
19 MUSIC TO YOUR EARS Today’s buzziest contenders offer inspiration on Backstage’s podcast 24 ASK AN EXPERT Erin Cronican on dealing with a difficult actor on set
Casting 20 New York Tristate 21 California 21 National/Regional Steven Yeun photographed by Gari Askew II on Dec. 2, 2020, in Pasadena, California. Grooming by Anna Bernabe. Styling by Jayne Goheen. Cover designed by Ian Robinson.
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01.21.21 BACKSTAGE
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Backstage 5 With...
Bob Odenkirk By Allie Volpe
Prior to appearing as sleazy attorney Saul Goodman on “Breaking Bad” and later leading its spinoff, “Better Call Saul,” Bob Odenkirk primarily worked in comedy. He wrote for “Saturday Night Live” in the 1990s and was the co-creator, writer, and executive producer of “Mr. Show With Bob and David.” Landing the role of Saul changed everything, earning him critical accolades and awards nominations, and showcasing the breadth of Odenkirk’s impressive talent.
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What advice would you give your younger self? I would love to have been able to reassure myself that I had what it takes, and to proceed with a little more confidence and patience. I was hardworking, for sure—almost hyperactively hardworking. I wish I could’ve proceeded with more confidence and better perspective. What is your worst audition horror story? I didn’t really audition much. When I was a writer on “Saturday Night Live,” I was visiting my brother Steve. He was getting married in Phoenix. I got a call from my agent; he said, “They want to see you for a part.” And I said, “Well, I’m a writer on ‘Saturday Night Live.’ How did they see me as a performer?” And he said, “I don’t know, but they did. They want you—definitely you. You’ve got to get in here and read for this part.” So I doubleand triple-checked, because I was going to leave my brother’s wedding get-together. I didn’t miss the wedding. I flew from Phoenix to L.A., I went to Fox, and I did the reading, and I was not who they were thinking of. And I knew it before I flew in! We still had to do this meeting where we chatted, and I left. And I’m sure the producers were like, “What were we thinking? That was not the comic we were considering.” They eventually got the right name and got the right guy for that part, which was a hosting part. The person who did it was a comedy writer, so they kind of were right. It was Steve Skrovan.
boss in the American “Office.” I don’t know that I did anything special except call my agent and say, “Come on! I want that part.” But in the end, my friend, [showrunner] Greg Daniels, went with somebody named Steve Carell. I think it worked out for them all. How did you first get your SAG-AFTRA card? I got my AFTRA card from being on “SNL.” I was a writer there, but I did a few one-line roles, which they’ll sometimes have writers do. Ben Stiller got me my SAG card [for] “The Ben Stiller Show.” What’s one performance every actor should see and why? I think everyone should listen to a Derek and Clive comedy bit called “This Bloke Came Up to Me.” That’s an example of the best improvisation I’ve ever heard put on tape or presented. Just listen to how Peter Cook builds on the concept Dudley Moore initiates in that audio recording. As far as onscreen performance, I think you can get a lot out of documentaries. The movie “Minding the Gap”—watch that movie. You’ll see a bunch of people behaving like people, and I say, aim for that when you’re acting. Aim for that level of authenticity.
What’s the wildest thing you’ve ever done to get a role? I really wanted to do “The Office.” I auditioned to play the
“I don’t like the idea of somebody else deciding whether I get to perform or not.”
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01.21.21 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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Industry
Actors’ Equity Association + SAGAFTRA Respond to Capitol Riot
Days after insurrectionists attacked the nation’s capital, the two leading actors’ unions condemned the violence By Diep Tran
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unacceptable” in a statement. “For hours, a nation watched white supremacy on display in an illegal attempt to overturn the will of the people and disenfranchise millions of voters in Georgia, Pennsylvania, Arizona, and around the nation. “There must be consequences, and there must be accountability—not just for those who recklessly stormed the Capitol and disrupted the transition, but for the politicians who have shamefully incited this behavior with a steady stream of disinformation and hate.
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“Actors’ Equity was proud to endorse and support Joe Biden and Kamala Harris in the 2020 election. Never has their work been more important. We look forward to having a president who will uphold his oath of office.” SAG-AFTRA also released a statement decrying Trump’s words. “Rioters, emboldened and encouraged by a sitting president and his enablers who have peddled baseless conspiracy theories, stormed the U.S. Capitol in an attempt to subvert democracy.
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ON JAN. 6, AT THE BEHEST OF President Trump, an armed mob stormed the U.S. Capitol. Five people are dead, including one police officer. In the the days since, the president has been impeached for the second time, and a number of organizations have condemned the riots, including many in the entertainment industry. Among them are SAG-AFTRA and Actors’ Equity Association. Equity, which endorsed Joe Biden and Kamala Harris in the presidential election, called the riots “shocking and
“As a union and a democratic organization,” the statement continued, “we are appalled by this attack on the values we hold most sacred. The disgraceful scenes coming out of the nation’s capital have undermined America’s institutions and its standing in the world. Displays of the Confederate flag and other symbols of white supremacy and hate were meant to subjugate and terrorize people of color and those of certain faiths. This poison attacks the diverse membership of our union and the labor movement. “Yesterday’s attack was an inevitable result of sustained misinformation campaigns that attempt to discredit journalists while weaving a counternarrative based on falsehoods. Our members include broadcast journalists, who have been increasingly targeted by extremists who feel threatened by the facts. The number of attacks on journalists has spiked in the last year, and members of yesterday’s mob attacked broadcast journalists and destroyed cameras and other equipment, and left graffiti on a Capitol door reading ‘Murder the Media,’ leaving no question where they stand. “The reckless rhetoric by some leaders—including many members of Congress who continued to perpetuate lies even after the attack—is damaging the fabric of our nation and costing lives. “SAG-AFTRA is nonpartisan, representing members of all political views, but we cannot be silent as an angry, violent group attempts to rob the American people of their right to self-governance. We denounce this attempted insurrection and all who support it.”
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Marc Forster is set to direct the movie, which is being produced by Mandeville Films. Casting is underway with Stephanie Holbrook, though no actors have been officially announced. Production is scheduled to start this month in Prague.
A Full Season of Scares An “American Horror Story” spinoff has begun casting 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
Nicole Loves Lucy By Casey Mink
For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
IN NEWS THAT HAS INEVITABLY SET the internet ablaze, Nicole Kidman and Javier Bardem are in negotiations to portray Lucille Ball and Desi Arnaz in the forthcoming feature “Being the Ricardos.” Written and directed by Aaron Sorkin, the film will tell the story of the tumultuous relationship between the married “I Love Lucy” stars. Cate Blanchett had originally been attached to the project, which will come courtesy of Amazon Studios and Escape Artists. If and when the casting becomes finalized, a production timeline will emerge pending coronavirus restrictions.
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MARGAUX QUAYLE CANNON
“American Horror Stories” Ryan Murphy isn’t ready to lay one of his biggest franchises to rest just yet. In partnership with FX on Hulu, Murphy is unveiling a new horror series that will tell short tales in lieu of a season-long arc.
“American Horror Stories” will comprise 16 stand-alone episodes that span a range of topics from creepy and dystopian to murderous and ghostly, featuring talent seen in the original anthology. Murphy will create and executive produce the spinoff, with “American Horror Story” stalwart Sarah Paulson on board to direct at least one episode. The creator has tapped his go-to team, Ulrich/Dawson/ Kritzer Casting, which has almost exclusively cast the “American Horror Story” collection as a whole. Following a series pickup, the project is in the casting phase of pre-production. No shooting dates or locations have been announced.
“White Bird” Lionsgate, which distributed the film adaptation of R.J. Palacio’s “Wonder” in 2017, is taking on another of the author’s works with “White Bird.” The period piece, set in the same universe as “Wonder,” is an adaptation of the author’s 2019 graphic novel. The World War II–set story follows the life of a young Jewish girl who is taken in by a gentile family in Nazi-occupied France. While in hiding, she forms a friendship with a boy who has been shunned by his classmates.
THE CW
What’s Casting
“Confess, Fletch” Jon Hamm is stepping into the shoes formerly occupied by Chevy Chase in his latest film. While Chase went snooping as the sharp-tongued Irwin M. “Fletch” Fletcher in the original 1985 film and its 1989 sequel, “Fletch Lives,” this modern-day reboot will see Hamm taking on the investigative reporter role. The adaptation of Gregory McDonald’s 1976 novel will find Fletch investigating several murders despite the fact that he’s the prime suspect in one of them. Tasked with solving a disappearance and recovering his fiance’s stolen art collection to boot, Fletch solves multiple crimes and still finds time to clear his own name. Hamm, who is also producing, is currently the only actor attached to the film, which Ellen Chenoweth is casting. Production is set to begin in early May in New York City, with filming also taking place in Italy.
Javicia Leslie on “Batwoman”
The Slate
Ready to Make History Javicia Leslie on becoming Batwoman and finding her footing in L.A. By Matthew Nerber
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
A Big Project for Two Small Stars
TWO OF A24’S YOUNGEST BREAKout actors, “Eighth Grade” star Elsie Fisher and this season’s “Minari” scene stealer Alan S. Kim, will join forces in an upcoming feature: “Latchkey Kids,” helmed by “Rockaway” director John J. Budion. The dark comedy will follow a bright young boy who befriends an eccentric teen looking to escape her troubled life. Featuring a script from Meaghan Cleary, the pic will be produced by Related Pictures Group. Production is slated to begin in June.
Ryan Wilder is a complex character. “She grew up in foster care, and then she kind of went from home to home. Her mom died when giving birth to her. When she was in her early teens, she was finally adopted by who she considers [to be] her mother now. Life is just going really good for her, finally—and then her mother was killed in front of her. And it kind of changed her life…. And then she stumbles on the Batsuit. When she first gets the Batsuit, it ends up being her way of getting vengeance on a city that has turned its back on people like her. But as her journey goes on, she really becomes the hero that Gotham needs.”
Her advice for actors: Own what makes you unique. “It’s simple: You are not even enough—you’re more than enough. Everything that makes you different and unique is going to be what makes you win. Don’t walk away from it. Stop trying to blend in. Don’t try to be like anyone else. Stop trying to find actors that you admire to emulate. Be yourself, and be the highest and best version of yourself, and constantly continue to contribute to your craft, continue to grow in your craft, [and] continue to take classes. And understand that everything that you do to build on [your craft] is going to play [out] at some point in your career.” Want to hear more from Leslie? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
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MARGAUX QUAYLE CANNON
By Casey Mink
JAVICIA LESLIE MIGHT NOT be the hero we deserve, but she is the hero we need. Fans of the CW’s “Batwoman” should count themselves lucky, then, that the actor will be donning the Batsuit for Season 2. Leslie is portraying a brand-new character, Ryan Wilder, who
inherits the cape and suit following the departure of Ruby Rose’s Kate Kane. She’s also making history as the first Black woman to play the iconic superhero. Leslie sat down with Backstage to talk about her journey from acting student to Caped Crusader.
Finding the right acting class helped Leslie find success in Los Angeles. “I started with Krater Studio, which is an amazing studio. I think that most actors that first move to L.A. should start with Krater Studio, because we do on-camera work, and I think that that’s really important in class. A lot of classes don’t do on-camera work, and it allows you to see the things you do…. And then I moved [to] the Imagined Life, which I felt helped me more with my connection to [bringing] the humanity to all of [the] lives that I play. And then from there, I started doing television…. It’s been a beautiful journey. It’s had its ups [and] it’s definitely had its downs, but I’m glad I didn’t give up.”
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Mollye Asher, “Nomadland” producer By Casey Mink
Frances McDormand and David Strathairn in “Nomadland”
FOR “NOMADLAND,” CHLOÉ Zhao’s portrait of van communities throughout the country, producer Mollye Asher says the casting process was twofold in a way she hadn’t quite anticipated. “I built a document for Chloé that had pictures of a [given] nomad, a picture of their vehicle, and then little blurbs about them,” she says of filling out the ensemble with non-actors and real-life nomads. “In some ways, we were also casting their vehicles, too.” The film, which was awarded top honors at last year’s Venice Film Festival, stars Frances
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which is based on the 2017 nonfiction book by Jessica Bruder, certainly presented opportunities to do just that, particularly when it came to the “van-dwellers.” In order to authentically represent the film’s inhabitants, Asher would frequently venture out on location to recruit for open calls of sorts. “At Wall Drug [in South Dakota],” she recalls, “families were coming in, and we just would record them for Chloé so she could watch it later, and have people talk a little bit about themselves, tell a little story. From that, we were casting them as background—but also with the potential of having a speaking role.”
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SEARCHLIGHT PICTURES
“I like to take risks; all of the films I’ve done have been very different.”
McDormand as a woman who, having lost everything in the 2008 recession, takes to the open road in the American West. It is Zhao’s third feature film and her third collaboration with Asher; the duo met while in the same graduate film class at NYU and immediately hit it off on the subject of storytelling. “It’s just a very human way of working,” Asher says. They have fed off each other over the years, she says, growing in tandem within their respective disciplines. “I love working with her because I love going into communities that are not my own, and meeting people and working with people that I wouldn’t necessarily have run across.” And “Nomadland,”
It’s certainly an unconventional casting method under any circumstances, let alone for what has become the best picture front-runner of this unlikely awards season. But it’s one that speaks to both Asher’s methods as a producer as well as what she values so deeply about her partnership with Zhao. “I like to take risks; all of the films I’ve done have been very different, but I think the one thing [they have] in common is that they have really strong voices,” she says of her oeuvre, which earned her the Producers Award at the 2020 Film Independent Spirit Awards. “It’s really all about the filmmaker for me—in some ways, even more than the script. A lot of times, I will look at somebody’s past work before I’ll even read their script, because I’m looking for someone who has a unique, bold way of expressing themselves—a unique way of seeing the world.” Finding the right storytellers is half the battle for a producer, as Asher sees it. The other half is all the position’s duties, from pre- to post-production. Or, put another way: “The producer is the engine. They’re the one that has to understand the vision and the path that the director wants to go [toward], and [they need] to make sure that there’s a way to get there, and that there’s a foundation,” she says. “It’s being there for the filmmaker—to sometimes just be support for them, just give them a nod that’s, like, ‘Yes, I think you got it.’ ” Because it encompasses so much, Asher admits that producing is one of the most elusive roles in film. And that’s why she thinks there’s only one way to learn how to become one: “By doing it, really,” she says. “I produced a bunch of shorts in film school and then just jumped right in.”
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Meet the Maker
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Craft
Essential Film Set Terms
THE ESSENTIALISTS
ERIK MESSERSCHMIDT cinematographer
“Mank,” David Fincher’s new Hollywood film about old Hollywood, pays homage to its source material by shooting in black and white. But if you ask its cinematographer, ERIK MESSERSCHMIDT (previously a Fincher collaborator on “Mindhunter”), the Netflix feature is anything but a throwback.
By Denise Simon
IF YOU’VE ONLY EVER ACTED ONSTAGE, KNOW THAT FILM SETS are very different—and your first days on one may be intimidating. Between all the people, equipment, and terminology, it’s easy to get overwhelmed. If you know a few basics, though, you’ll have a leg up. Here are some of the phrases and lingo you’re likely to hear during filming. Be familiar with them before stepping on set, and you’ll be more confident when you land that film role!
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ACTION: This is the director’s
cue for the acting to begin. As an actor, you must be ready at all times—no checking your phone or goofing around. It’s important to be prepared so that when you hear “action,” you’re ready to act. CALL TIME: This is the time you must be on set or on location and ready to work. Call times are generally not given until the night before. Check your email and phone regularly to ensure that you read all communications from the set. If you’re late or miss a call, you
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may lose your chance to work with the director again. CHEAT: You may hear, “We’re going to cheat you in a little for this shot.” A cheat is a special shot in which angles are used to get interesting shots of people or objects. If you’re in a cheated shot, you’ll be asked to move off to one side to get the required shot. Someone will instruct you on where to stand. CUT: This signifies the end of a take and a call to stop the action. It’s crucial for you to keep acting until the director calls “cut,” or you risk messing
Cinematography is kind of like cooking. “The wonderful thing about working for David is he has an opinion about everything. I sent him the images, and he looked at them and was like, ‘OK, I like this. I don’t like this. This is
interesting. Elaborate on this. Tell me why you like this. Where do you see this?’ David really understands the movies he’s making, and this was the way for me to understand the movie he wanted to make and feel like I could best support the ideas he was trying to get across to the audience…. It’s like cooking; it never tastes the same way twice.” Whether in black and white or color, acting is acting. “The acting style, I would say—and I’m not a director—is classical. It’s: Hit the mark, say the lines. That has a
up a great shot. It’s never up to the actor to stop what they’re doing before they hear the “cut” call from the director. DIRTYING THE FRAME: A director has many choices for how a scene is shot. If you hear “dirty shot,” it means they’ve included some physical intrusion, like another actor’s body part, to give a sense of distance between two actors. It may also be used to create a power differential between actors. If a dirty shot is called, you may need to cheat your height a bit to get the correct angle in the shot. KEY LIGHT: This is a light that’s trained on you. An actor should always know the location of their key light so they can play to it. You may have a wonderful acting moment and be in the wrong position, but a simple adjustment can make everyone happy and ensure you have a great shot.
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By Casey Mink
lot more to do with the camera direction and technique we were using than the ‘black and white versus color’ conversation. We were doing very formal compositions, and the camera is operated on the dolly on a head. It’s very classic, very structured coverage, and it requires the actors to be cognizant of their marks.”
LENSES: If you hear the director
of photography or director talking about lenses, they’re talking about the width of the shot. Some lenses shoot wide angles, and they have a low number. A higher-number lens is used for close-up work. PICKUP: This means refilming part of a scene from a specific point in the action in which only part of a take is redone with dialogue or action. A pickup may be used to correct a mistake or to film additional material. For actors, this means listening attentively and being ready for an action that is called. Knowing film lingo will help you look and feel like a real professional, and your professionalism will make you someone directors want to work with. Simon is an acting coach and Backstage Expert.
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One Smart Actor
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television don’t always offer an actor like him the chance to display his range. This is especially true of episodic television, where the turnaround is lightning fast. As a result, Luke has been in a rut for quite some time. Now, don’t get me wrong: My client is grateful for the opportunities that come his way. He has a family to feed and a mortgage to pay. But he’s also an artist; he wants to be challenged by a wide range of roles. Switching from a Windsor to a half-Windsor knot isn’t enough. So here’s what happened: I recently sent him an audition for a guest star role on a
“Most actors are capable of performances you would never imagine. They just need the chance to prove it.”
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Nina Bogosian By Jalen Michael NINA BOGOSIAN knows the first step is the hardest to take, which is why she took hers with the help of Backstage.
Take a breath and dive in. “The idea of having so many casting calls to choose from at the start can definitely seem intimidating, but I can honestly say that it’s not as scary as it seems. Backstage was designed to make casting easy for everyone.” Your next gig may be just around the corner—literally. “I’m from North Jersey, and I’ve honestly found more work in my state than in [New York City], which I was very surprised by. Limiting your location and work radius while searching for jobs is one of the most important things.” Everyone has to start somewhere. “I found [a recent project] just [by] scrolling through my filtered job listings. It was the first professional job I’d ever applied for, but it was so easy. I was cast just through my demo reel, which I shot completely at home with no prior professional work.”
TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.
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ILLUSTRATION: SPENCER ALEXANDER; BOGOSIAN: YOLANDA PEREZ
I HAVE A STORY TO SHARE that involves the actions taken by one of my smartest clients. What this guy did showcases how every actor can and should take charge of their own career. I’ve been representing Luke for six years. He’s a character type in his 40s. If you were to look at his résumé, you’d be impressed by all the credits, but there’s something there you wouldn’t see: the boredom. Luke is one of those men who looks natural in a suit playing characters with authority. His reel is a flow of clips where he’s a banker, a lawyer, a doctor, a politician, etc. That’s what he books. That’s his bread and butter. But it’s also a curse. You see, Luke has a theater degree from Yale, and he’s played every kind of character you can imagine onstage. Unfortunately, film and
#IGOTCAST.
RAQUEL APARICIO
Secret Agent Man
one-hour drama. The character was a police commissioner that would probably come back for more episodes. Recurring roles like that have the potential to generate some decent scratch over the long term. Luke confirmed he would put himself on tape right away, but then he made a request. There was another character on the breakdown that caught his eye: an unemployed reporter who was down on his luck—the kind of guy who spends more time drinking than looking for work. Casting described him as a grizzled Steve Buscemi type. Luke knew that wasn’t the right fit for him, but he didn’t care, because he knew he could play it. So Luke told me he was going to put himself on tape for both roles, and that I should give casting a heads up. This guy makes me a lot of money, and I wasn’t about to argue. Luckily, I caught the casting director in a good mood, because she said it was no problem. But she also listed all the reasons Luke was wrong for the reporter role. When I received his selftaped auditions, I watched them right away, and I could feel my toes start to tingle. That’s a sure sign I’m excited. Watching Luke perform both characters back-to-back was a revelation, because you could actually see him transform in the blink of an eye. I was impressed, and so was the casting director. She forwarded both auditions to her director, and Luke booked the grizzled reporter. His plan worked perfectly—and, to be clear, it was his plan, not mine. Most actors are capable of performances you would never imagine. They just need the chance to prove it. And if no one gives you that chance, just go ahead and take it. Fortune favors the bold.
culture +
Spotlighting the people and projects you need to know
In the Room With
Theo Park
The “Ted Lasso” CD says there’s more than meets the eye to casting a sports comedy By Elyse Roth
BUILDING THE CAST OF APPLE TV+’S “TED LASSO” REQUIRED more than just finding actors with good comic timing. To create the world around a London Premier League soccer team and its fish-out-of-water story, U.K. casting director Theo Park employed her go-to crop of actors while also looking outside her traditional talent pools. Working with series star and co-creator Jason Sudeikis, she ultimately found funny actors who could pass as footballers (or soccer players, as they’re known on this side of the pond) while also handling the series’ more emotional beats. What was the casting process like for “Ted Lasso”? It was a bit different from a lot of other jobs. The producers
were in America for most of the prep period, but I was lucky enough to get Jason and [co-creator and co-star] Brendan
Hunt over from America for a day of casting Rebecca [Welton]. She was our female lead, so we had to start there. In that time, I was able to pick their brains on the other roles. For the most part, I would just put people on tape and send the tape to Jason and the other producers, and they would decide from tapes. What did actors have to do while auditioning to prove they could pass as football players? The boys on the team had to play football to a good standard, so we made them do little videos of their skills, which were really great. Cristo Fernández, who plays Dani Rojas, had one of the best self-tapes I’ve ever seen in my life. His football skills are fantastic. I saw some brilliant tapes—really creative
self-tapes—from actors showing us their football skills. It’s great. What research or special searches did you have to do to cast the series? We did try to branch out a bit and try and find real footballers. For example, there’s this role of a girl—she’s actually just called “Soccer Girl,” but she’s quite an important role. She had to be really cool but also play football really well. We tried to find girls’ and women’s football clubs. My associate and I would go and meet them at the after-school clubs and video them showing us their skills. We also had some of them come to the office, and we’d take them out into the car park and video them with the football that we bought. It’s exciting when you get those sorts of jobs where you can really branch out; it’s not just straight auditioning in a room with someone. It was really fun.
Want more?
Read the full interview at backstage.com/magazine
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; BOGOSIAN: YOLANDA PEREZ
Where else do you like to look for talent outside of agent and manager submissions? I’m really interested in comedy, so I look to the standup scene. I’m also really interested in looking outside the normal route for young people, and we’ll do that by going to the National Youth Theatre; or there’s this great group called Open Door that encourages actors from less privileged backgrounds. There are lots of entities like that, where you can actually get in touch with them and see what they’ve got. There’s a fantastic group up in Nottingham, the Television Workshop. Just looking outside of people who already have agents is really good and really exciting.
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STEVEN YEUN’S JOURNEY FROM ASPIRING improv comedian to leading “Minari,” the toast of this film awards season, began in earnest after some words of encouragement from a mysterious audience member he’d never seen before and has never seen since. “I was in college, doing acting for fun,” he remembers. “This woman, she came to a staged reading and pulled me aside afterward and was like, ‘I really enjoyed your performance. I think you should pursue this. We are gonna need people like you.’ And I understood what she meant.” Yeun took those magic words as permission to envision a Hollywood that tells true-to-life Asian American stories that feature more than a handful of people who look like him. The path to success in such an inherently image-based industry, however, was and still is far less clear for anyone outside its cookie-cutter (white, American, mostly male) status quo. “At the time, there was only John Cho in the main mainstream,” he points out. “He was the only one really doing comedy—him and Steve Park.” If you know the identity of this “ominous woman,” as Yeun jokingly calls the audience member who spoke to him, please drop him a line. “She said these nice words to me, and it just kind of lit a fire. I was like, maybe John
is now clearing a path for someone like me to exist.” Born in Seoul, South Korea, and raised in suburban Michigan, Yeun recalls performing in church bands and being “raised by TV” after immigrating; the horror projects he’d later star in were presaged, perhaps, by early childhood viewings of “A Nightmare on Elm Street.” (His recurring dreams of Freddy Krueger sitting in his kindergarten classroom “like a spider on the wall by the chalkboard” suggests those movie nights happened a little too early.) It wasn’t until he went to Kalamazoo College, where he studied psychology, that Yeun discovered the freedom of live improvisation. He followed fellow comedian Jordan Klepper to the Second City in Chicago, scraping by with the occasional theater gig or local commercial. “I couldn’t see through the trees, really,” he says of his career beginnings. “I was just diving into the darkness.” This is why “representation matters” has become one of progressive Hollywood’s favorite talking points. Wouldn’t it be easier for a Korean American actor to imagine himself onscreen if there were a dozen or more John Chos? “There’s pros and cons to that discussion, obviously. Like, you don’t want representation on a surface level,” says Yeun.
Steven Yeun builds specific characters and ponders cultural representation—then throws it all out the window By Jack Smart - Photographed by Gari Askew II
“But even then, it serves a great purpose. Initially, just seeing someone who looked like you was enough to give you an expanded worldview of what you can be.” Chatting via webcam in his car (a momentary refuge from “crazy kid town,” par for the course for press interviews in the pandemic era), Yeun says that these days, he’s seeing storytellers “carry the torch of expanding on their humanity while also representing their community.” The needle is moving, and he’s hopeful that Hollywood’s gatekeepers are taking notice. Look at the success of Bong Joon-ho’s “Parasite,” the rarest of phenomena: an Oscar-dominating hit that in no way caters to the American gaze. “What’s nice to see about something like ‘Parasite,’ and America starting to become more aware of Korean cinema, is that it allows people to see what Asian people are like when they’re not considering how they fit within Western society, but rather when they’re just thinking of themselves as human beings,” says Yeun. “Director Bong doesn’t wake up every morning and say, ‘I’m an Asian person in an American world.’ He’s just like, ‘I’m director Bong,’ and his world doesn’t keep telling him otherwise. Whereas here, I might wake up and say, ‘I’m Steven, I’m me,’ but then you walk outside, and sometimes you’ll get this feeling that people are trying to put you in a specific box or lane because of the way you look.” Case in point: Yeun’s casually racist audition room experiences. In addition to the typical trials and tribulations of making a living in the arts, it’s no surprise that actors from minority backgrounds are faced with fewer available roles, limited imaginations in casting, and “classic archetypes,” as Yeun says delicately. Nevertheless, in 2009, he began to see through those proverbial trees. Within a year of making the ultimate leap of faith—moving to Los Angeles with stars in his eyes—he booked roles first in short films and commercials, then on “The Big Bang Theory,” then on an AMC zombie drama that would become
Seeing Through the Trees backstage.com
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01.21.21 BACKSTAGE
the most-watched cable show of all time. “Each year, I could see a little bit more clearing, and then more clearing. And then when ‘The Walking Dead’ happened, a lot opened up.” After six years as fan favorite Glenn Rhee, Yeun led Joe Lynch’s “Mayhem,” stole the show in Bong’s “Okja,” and fostered a prolific voiceover career in animated TV. In 2018, he earned awards recognition for his eerily enigmatic work in Chang-dong Lee’s “Burning,” solidifying his reputation as a bona fide critical darling in both Korean and American cinema. Then came “Minari.” Writer-director Lee Isaac Chung’s autobiographically inspired indie from A24 (in theaters Feb. 12), featuring Yeun as both an executive producer and the top-billed actor, is the story of a Korean American family moving into a trailer in an empty Arkansas field, which Yeun’s patriarch Jacob Yi envisions as their future farm. The film offers a detailed depiction of immigration and assimilation rendered with enchanting cinematography and music. It features intimate, understated performances from Yeun, Yeri Han, Alan S. Kim, Noel Cho, and Youn Yuh-jung, netting it two 2020 Sundance Film Festival prizes and resounding awards season buzz. “I enjoyed every minute of working with Steven,” Chung tells Backstage. “He’s one of the smartest collaborators I’ve had, and he searches and probes for ways to make each scene work better through his performance. “I find that when I talk to Steven during preparation and on set, he uses the words ‘truth’ and ‘honesty’ a great deal,” he adds. “These
ideals drive him constantly, and it translates to a fully realized person on the screen.” It’s hard not to see “Minari,” the story of an—rather than the—American dream, as the project that Yeun’s entire career has been building toward—a fulfillment of his artistic credo. “This is not a Korean movie, [and] this is not an American movie—as you understand it,” he explains. “This is such a uniquely American tale. And I think the third culture of it, the Korean Americanness of it, that specific lane that it inhabits, hasn’t necessarily been claimed in wider American society. “The narrative of Korean America is this—of pizza and kimchi together at the same table. It’s caught between two worlds… but ultimately, it’s its own thing. That’s what we’re trying to get to.” Hollywood still has progress to make when it comes to portrayals of foreigners, Americans, and immigrants “living their own, unique, third-culture life,” as Yeun puts it. Ahead of this year’s Golden Globes, the Hollywood Foreign Press Association classified “Minari” as a foreign film, rendering it ineligible for their best picture prize, suggesting that American stories featuring languages other than English aren’t, in fact, American. “We’re chipping away at that,” Yeun says. “One particular thing I think means well, and works—I’m not trying to bash it—is the phrase ‘specificity is universality.’ I know the intention of that phrasing, which is: Tell it specific and tell it true, and that will unlock the universal. But it puts the labor of essentialized authenticity onto it. And then you’re busy trying to police it for its cultural authenticity….
In “Minari”
That still puts the onus on the creator to explain themselves to the audience.” A better phrase, he suggests: Humanity is universality. “It’s when you can get so deeply specific that you are not explaining anything anymore,” says Yeun. “That was the central focus for us in ‘Minari.’ [The film didn’t say,] ‘Hey, America, this is what Korean Americans are.’ Instead, it focused on being a father or mother or family, or desiring something or striving for something. Or just living. It allowed more people into the narrative to enjoy it, because there wasn’t this wall up of authenticity that people had to scale.” Anyone outside a specific cultural
“MINARI” : MELISSA LUKENBAUGH/A24
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We’re all human beings, and these are very, very, very core stories of who we are, all together, collectively. We just might express them in slightly different ways.
“MINARI” : MELISSA LUKENBAUGH/A24
experience can still understand, and relate to, fundamental truths. As Yeun says, “We’re all human beings, and these are very, very, very core stories of who we are, all together, collectively. We just might express them in slightly different ways.” But how to get at those core truths and, as Chung says, translate them into fully realized people? In this case, the writer-director’s memories were blended, impressionistically, with the actors’ personal histories. “Steven’s preparations really took off as he brought himself and his creative instincts to Jacob, leaving behind any instinct to emulate his father or other fathers of that generation,” remembers Chung. “The more personal he made this role, the more real Jacob became. And the more I let ‘Minari’ become about the Yis and not the Chungs, the truer the story felt.” “The journey of Jacob for me, personally, was understanding I am my father,” says Yeun. “Yes, my father and I are separate people who lived in different eras and had different conditions. But the core feelings are still the same: of a family, and what you must do as a father, and the desires to uphold your family, and the feelings of your own ego that you must contend with, and the inner connectivity of the whole family unit. It was really humbling to understand that there is no real divide.” Humbling, sure, but also terrifying. “This is embarrassing to admit,” Yeun says with a grimace, “but I was so scared about this one! I think it was because I had to go through all the feelings of: I’m representing a community. As someone [who’s] part of that community, the voice was really loud in my head, self-policing. ‘No, a Korean father stands like this! He behaves like this!’ You realize those are thinly veiled, archetypical renderings of people. And they’re not the true intention and humanity of who they are.” Then came the epiphany that echoed the acting adage Yeun has heard countless times before: Just like prepping for any audition, “you pick at it, and you touch the ugly bits, and you touch the things that scare you. And you just dig in and dig in, deep, deep, deep, deep. And then you throw it away. “Finally, a wave came and hit me,” he remembers. “I’m just in service of this singular character, of the truth and the honesty of this one person. If I can access [it] through that person, it will do the rest of the work for itself. Because Jacob does not uphold the experience of all Korean immigrants. He is a singular person, just like I am a singular person. At some point, there’s just a submission to it.” Now, Yeun can’t help but wince remembering performances that didn’t drill as far into those depths of self-discovery. “I spent most of my early career trying to pick at the process [in] a very literal way,” he admits—a character’s tics, the way they walk or talk. “I think all those things are absolutely necessary. But while I was busy doing that, I was never getting to the intrinsic feeling of why BACKSTAGE 01.21.21
this person exists and who they are in an intangible way. So when I look back at a lot of my early work, I cringe—because I feel like I’m missing something, like I’m performing a vision or idea from a third party of who I think I’m playing.” Therein lies the ultimate advice for working actors—the way to claim what was missing from that early career. Yeun no longer has to create characters that stand in for an entire cultural experience or based on
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an imagined third party’s gaze. In “Minari” and, hopefully, future stories like it, he’s letting all that he is—Korean, American, actor, father—become universal onscreen without explanation or compromise. It is Yeun’s humanity that will shift Hollywood’s status quo and clear a path for others like him. “I’m still trying to work on what I’m capable of doing,” he shares. “I still find myself seeing a little bit more clearing and a little bit more clearing.” backstage.com
Music to Your Ears Today’s buzziest contenders offer inspiration on Backstage’s podcast
By Jack Smart READING INSPIRATIONAL ADVICE FROM YOUR FAVORITE ACTORS and creators is a great way to think about your own career in the biz. Even more inspiring? Hearing it from them firsthand! Backstage’s “In the Envelope: The Actor’s Podcast” airs weekly, featuring engaging discussions with industry pros and intimate interviews with today’s most exciting awards contenders. Each of the SAG Award–eligible stars below joined us to reveal the inner workings of their artistic processes, the career moves they wish they’d made starting out, and hard-won practical and philosophical tips for early-career actors. If you just launched your stage or screen career and want to learn from the best (or if you’re an industry vet just hoping for some inspiration), tune in to “In the Envelope” wherever you get your podcasts.
Rob McElhenney,
“Mythic Quest: Raven’s Banquet” “You’ve got to find the perfect confluence of making sure that you’re giving yourself a break [and] that you’re not too hard on yourself…. But also recognize when you’ve got to stop making
excuses, stop being lazy, and just go do the thing.”
Zoë Kravitz, “High Fidelity”
“I just really wanted to be liked [in auditions]…. Now, when I do read for things, I’m really thinking about it in terms of if I had this
job already. I would say, ‘This line doesn’t make sense. Can we do it like this?’ You communicate with the director the way you’d do [it] if the job was yours.”
Aidy Bryant, “Shrill”
“I feel like my entire career has sort of been born out of deep skepticism and cynicism about what this industry would allow me to do if I just took what was handed to me…. If you’re not getting the parts that you want or would love to be considered for, I do think it’s up to you to make it.”
Eva Noblezada, “Yellow Rose”
“There are always decisions for you. Say no! It’s not like you’re the only actor in the world and they’re only going to you…. Saying no, to me—it’s not a big deal. I don’t want to waste my time. I don’t want to waste their time. There’s something out there for me; I just have to be patient.”
Jonathan Majors, “Da 5
Bloods” + “Lovecraft Country” “I hope that every actor who is making things can feel emboldened and feel encouraged that we have power. Be yourself. Let your heart break every day. The beautiful thing about it is people
have to look at you. Be seen. Be seen. Be seen.”
John Boyega, “Small Axe: Red, White and Blue” “Train hard, be a fan of what you love, [and] study other people who have struggled the same way you have. It’s all about just calibrating and trying to find what, specifically, motivates you. Your freedom in that is knowing that there are no rules that could limit you as a creative.”
Hugh Grant, “The
Gentlemen” + “The Undoing” “I was so bad and so self-conscious, and I had no idea what was happening [early in my career]…. Trust yourself to find it fresh. Listen to the other actor. Think a thought. Let the line play off that thought.”
Simone Missick, “Altered
Carbon” + “All Rise” “We have to walk [into audition rooms] knowing that we have the most power, as opposed to looking at it like: Oh, I’m just trying to get the job. It’s like: They would be lucky if they got me for this particular project. Sometimes you’ve get to tell yourself that for years.”
STAGE 6 FILMS
Eva Noblezada in “Yellow Rose”
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Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate
SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. Trenton, NJ 8605. Submissions deadline is midnight ET Jan. 29. Notification of a callback appointment will be sent by Feb. 5. Online callbacks will be held Feb. 11 and 13.
Casting picks of the week
• Note: The roles of Principal/Preacher
BY LISA HAMIL
and Alneesa/Teacher will be doubled. • Pays $364/wk. plus health, pension,
Plays ‘Surely Goodness and Mercy’
• Seeking Equity video submissions for
“Surely Goodness and Mercy.”
• Company: Passage Theatre Company.
Staff: Chisa Hutchinson, playwright; Marcus D. Harvey (viewing auditions), dir.; C. Ryanne Domingues (viewing auditions), artistic dir. • Online, Zoom Rehearsals and
Recording run from Mar. 8-12. In-Person rehearsals and recording on Mar. 13th only. Opening night video followed by “live” Zoom talkback with actors on Mar. 19. Video available to view online from Mar. 19-23. • Seeking—Tino: male, 12, Black /
African Descent. Teacher: 30-49, all ethnicities, probably African American, any gender (but probably Female); Voiceover. Doubled with the role of Alneesa. Alneesa: female, 30-39, Black / African Descent. Principal: male, 40-69, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, POC, Any gender; Voiceover. Doubled with the role of Preacher. Preacher: male, 40-69, Black / African Descent, Voiceover. Sincere, urgent, full of fire. Doubled with the role of Principal. Deja: female, 12, Black / African Descent, Latino / Hispanic, Black, Black Puerto Rican-American, African-American or Latinx, AfroLatinx. Bernadette: female, 50-75, Black / African Descent. • Seeking submissions from NJ. • For consideration, record a 2-minute
contemporary, dramatic monologue and either attach it to your email or send it as a link. Also attach your headshot and resume to the email, and place “Surely Goodness Audition” in the subject line. Actors may email submissions to casting@passagetheatre.org (strongly preferred) or mail to Passage Theatre Company, c/o Ryanne Domingues, P.O. Box 967,
BACKSTAGE 01.21.21
and transportation. Equity SPT 3 Contract.
stage
‘Willow’ Fall in love with this virtual Equity production
‘Willow’
• Casting Equity actors for “Willow,” a
zoom reading. Synopsis: Young Jewish man from Brooklyn refuses to become a lawyer or doctor and seeks a life of adventure on an off shore oil rig in Alaska. On his way to Prudhoe Bay, he meets and falls in love with Superhero Willow. Together they partner to make the world a better place.
tv
‘Say It Somehow’ Search for the light in Buffalo, NY
• Staff: Del Fidanque, playwright-dir. • Rehearses May 19 from 1-3:30 p.m.
musical
EST and May 21 from 1-3:30 p.m. EST over zoom; reading runs May 25 from 1-3 p.m. EST (call is for 12:30 p.m. EST) over zoom.
‘Camelot’ Arrange a marriage in Sarasota, FL for this live Equity production
cast; (Benjamin, Benjie) 20’s; NY Jewish male, innocent, strives to do wellin the world. Billy Ray/Nick, (Nicky): male, 20-29, 20’s; Billy Ray: would be confederate soldier, antisemitic, sexist. Nick: Step Brother to Willow; kind, and humane. Willow: female, 20-29, any ethnicity female, 20’s, Superhero. Shirley: female, 40-59, (Aunt Shirley); any ethnicity; 40’s-50’s; Shirley is a no-nonsense middle-aged woman determined to bring her nephew Junk Food in Alaska. Bernice: female, 50-59, already cast 50’s: Bernice is a doting Jewish Mother from Brooklyn. Stage Directions Reader/The Voice: female, 18+, a woman, any ethnicity; requires a deep rich voice for reading Stage Directions; the Voice is the spiritual presence of Julian of Norwich, 14th Century Mystic; first female writer to be published.
student film
• Seeking—Ben: male, 20-29, already
• Seeking submissions from NY. • For consideration, submit photo and
resume. Provide link to web site or two video clips (one dramatic, one comedic). Sides will be sent to actors that fit the roles. Deadline Mar. 31, 2021. Submit to subm@optimum.ne. • Pays $100 stipend. Equity Staged
Reading Code.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
‘927D’ Reunite with your ex in this Los Angeles, CA student drama
national commercials
‘Endless Cycle’ Strut your stuff in this fashion brand broadcast commercial in Los Angeles, CA
Student Films ‘Family Friend’
• Casting “Family Friend,” an NYU
Graduate short film about curiosity, affinity, and strange familial entanglements. Logline: Theo (20-25) goes to his mother’s much younger ex-lover Nicolas’ (30-35) apartment to retrieve a lost item and instead finds an unexpected connection. • Company: NYU TISCH Grad Film. Staff:
Gabriela Azevedo, dir.; Mahum Jamal, prod.; Cade Featherstone, DP. • Rehearses late January via Zoom and
mid-Feb in person (one to two times); shoots mid-February in NYC. • Seeking—Theo: male, 20-25, Black /
African Descent, Ethnically Ambiguous /
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Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, a young man facing adulthood with curiosity and some trepidation. He is wise for his age and hungry for authentic life experiences. He is the child of divorced parents and very close to his mother Eliza (55). Theo is a bit reserved, smart, well-educated, middle class. Theo is bisexual. Nicolas: male, 29-36, Indigenous Peoples, White / European Descent, an independent, free spirited young man. He has arrived at a place in his life where he is comfortable with himself and not so wildly driven by a lust for adventure. Nicolas works as a baker at a high-end eatery. He has just ended a several months-long relationship with Eliza (55), Theo’s mother. He is kind, selfmade, curious and charming. Streetsmart, savvy. He has a high school education and a GED. Nicolas is bisexual. • Auditions will be held by appt. Jan. 23
from 12-2 p.m. at ZOOM, NYC.
• Send submissions to familyfriendfilm-
NYU@gmail.com.
• Pays $100/day, meals and travel
included. Accepting union and nonunion submissions.
Scripted TV & Video ‘Say It Somehow’
• Casting “Say it Somehow,” a short film
from Adam Guettel’s “The Light in the Piazza.” Note: Production will be filmed in upstate New York February-March, broadcast online. • Company: Anomalie Productions LLC. • Zoom meetings and coachings;
rehearses and films in person at the end of February/beginning of March for five days in Buffalo, NY. • Seeking—Fabrizio: male, 18-35, visually
reads 18-25, lyric tenor to A4, strong dancer (ballet/modern), Italian (Tuscan) dialect. • Seeking submissions from NY. • Apply on Backstage.com. • For consideration, submit dance foot-
age and short song in the style of the show.
• Pays $50/hour for zoom rehearsal fees
(incl. accent coaching session), $1,500 flat rate for five days of in-person rehearsal into filming. Housing and transportation to and from filming location covered. backstage.com
California casting
Online Commercials & Promos Basketball B-Roll Shoot
• Casting B-roll of a basketball game to
be used for a web promo.
• Company: Gannett Co., Inc. Staff:
Danny Smight, visuals prod.
• Shoots one day likely between Jan.
11-29 (date TBD) in Syracuse, NY. Must be local to Syracuse or able to self-report.
• Seeking—Basketball Point Guard: male,
20-35, Black / African Descent, a strong, athletic type who knows his way around the basketball court to run some solo drills/moves for the camera, which will be captured as B-roll footage for part of a larger piece.
• Seeking submissions from NY. • Send submissions to dsmight@gannett.
com.
• Send links to prior athletic experience/
basketball work. • Standard rate.
Southern California Student Films ‘927D’ (Working Title)
• Casting “927D,” a UCLA MFA student
production. Logline: Set in a small town, the Sheriff responds to an overdose call and must then make a death notification to the last person he’d ever want to see, his ex-wife. • Company: UCLA (MFA Production).
Staff: Jorge Parra Jr., writer-dir.
• Shoots Mar. 12-14 in the Los Angeles
area.
• Seeking—Sheriff John Carrillo: male,
40-55, all ethnicities, a tough, hardworking professional. His job has exposed him to some of the most horrific circumstances imaginable and it has taken a toll on him. He doesn’t budge and has almost no reaction when faced with death and loss, until now. Sarah: female, 40-55, all ethnicities, John’s ex-wife. She runs her own ranch, confidently carries a shotgun, and is far from being a pushover. Her strong character clashes greatly with John’s. However, nothing can prepare her for the news she’s about to receive.
Staff: Sierra Falconer, writer-dir.
• Shoots Feb. 26-28 in Los Angeles, CA
(do not apply if you are not available for these dates). • Seeking—Colette: female, 15-22,
15-yrs-old, naive, shy and just starting to feel comfortable challenging boundaries and rebelling against her hyper conservative mother in small ways. Will not consider minors for this role. Must be 18+ but look young. Beth: female, 35-50, 40s, tight-faced, always on edge about something. Hyper- catholic-conservative widowed single Mother of one increasingly rebellious daughter. Nick: male, 18-25, 15-ys-old. Boyfriend of Colette. Blissfully ignorant to her situation. This is an off screen role. Can be done remotely. To keep cast small, actor will not be on set during production. Minors will not be considered for this role. Pastor/Sermon: male, 18+, Seeking a voice actor who can do a commanding catholic priest voice. Professional audio recording equipment is a plus.This is a WFH role.
Logline: When a Catholic teen discovers she is pregnant, fears of harsh social scrutiny from her family and friends force her to weigh her options alone. backstage.com
• Company: Chapman University Dodge
• Seeking submissions from CA. • Apply on Backstage.com. • Video auditions required on a follow-up
26-28 in Los Angeles, CA.
• Pay for featured speaking talent:
• Seeking—Aviva Ardor: female, 20-27,
Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Afro Latina/Racially ambiguous. The main character who is confident but frustrated at being put in boxes. She ultimately finds that her self worth must be self sustained. Must be comfortable with /willing to learn a bit of blues dancing. There is a brief intimacy scene, nudity is negotiable to be what you are most comfortable with. • Seeking submissions from CA. • Send submissions to redvelvetfilmpro-
duction@gmail.com.
• For consideration, submit a video of
you reading the sides. Callbacks will be live over Zoom.
• Travel, lodging and meals included. The
producer plans to apply for a SAGAFTRA New Media Agreement.
$100; Nick: flat rate stipend of $50; Pastor/Sermon: flat rate stipend of $50.
National Commercials
‘HBday’
‘Endless Cycle’
Synopsis: Evelyn reenters Brian’s life with honest intentions to reconnect, but inadvertently ends up unearthing the past. Life is marked by ambivalence and uncertainty. This film attempts to explore the denial of pain and the turbid relationship between the past and the present that distills itself in the afterlife of a broken relationship.
broadcast commercial for an online fashion brand.
• Colette and Beth: flat rate stipend of
• Casting “HBday,” a student film.
• Casting “Endless Cycle,” a worldwide
• Company: Glass and Marker, Inc. Staff:
Jack Bushell, casting dir.
• Shoots Jan. 20 and 21 in L.A. • Seeking—Woman 1: female, 30-45,
Black / African Descent, works as a lawyer and is years into her professional career. Warm and nostalgic and has an air of wisdom. Can also be styled younger to look like she’s in her mid20s. Speaking role. Shoots Jan. 20 and 21. Pays $1,200 flat buyout. Audition required. Person 2: 20-30, Ethnically Ambiguous / Multiracial, freshly graduated from college, and is at the cusp of starting their professional life. Looking for a Gender-non conforming or young woman. Nonspeaking role. Shoots Jan. 20. Pays $500 flat buyout. Graduation Friend: all genders, 20-30, all ethnicities, two background extras for a graduation party scene. Young, energetic, and good smile preferred. Nonspeaking role. Shoots Jan. 20. Pays $250 flat buyout. Parent (Father): male, 40-55, all ethnicities, two background extras for a graduation party scene. Young, energetic, and good smile preferred. Nonspeaking role. Shoots Jan. 20. Pays $250 flat buyout. Woman 3: female, 25-40, Ethnically Ambiguous /
• Company: Dodge College. Staff:
Phoebe Trowbridge, head prod.
• Rehearses during the first two weeks of
February and a week before shooting; shoots Feb. 19-21 and 26-28 in the L.A. county area.
• Seeking—Evelyn: female, 18-25, all eth-
• Seeking submissions from CA. • Send submissions to trowbridge@chap• For consideration, make sure your reel
is accessible on your Backstage account. Applicants without reels will not be reviewed. • Pays $250/day, meals provided with
transportation reimbursed. Production
21
Multiracial, a woman starting a new life in a new climate. Nostalgic and optimistic, with resolve and excitement for change. Has hair that will look nice styled in a winter beanie. Speaking role. Shoots Jan. 20 and 21. Pays $1,200 flat buyout. Audition required. Woman 4: female, 20-30, Ethnically Ambiguous / Multiracial, a woman looking to spruce up her winter wear. She’s new to the winter climate and is excited to fill out her winter wardrobe. Nonspeaking role. Shoots Jan. 20. Pays $500 flat buyout.
College. Staff: Danielle Gibson, writer-dir.
• Tentative shoot Feb. 19-21 and Feb.
ter confirming your availably for Feb. 26-28. There will be an on set safety producer and strict COVID-19 safety precautions in place to keep everyone safe for the duration of the shoot. Actors must live alone (or with a partner/roommate that does not work outside the house), or be willing to pod in a safety bubble with the crew. Note your living situation and if you feel comfortable living in a pod for the duration of the shoot.
man.edu.
• Casting “Colette,” a UCLA short film.
University graduate thesis film by Danielle Gibson about the duality of being Afro-Latina.
• For consideration, include a cover let-
‘Colette’
Meals provided.
• Casting “Red Velvet,” a Chapman
gmail.com.
• Pays $125-250 per production day.
and video reel in your submission.
‘Red Velvet’
• Seeking submissions from CA. • Send submissions to Sierra.falconer@
nicities, consumed by guilt. She is someone who, despite doing their best, is constantly making things worse for herself and others. She is confronted with a reality she hasn’t come to terms with yet. Ignorance and naivety are no longer valid excuses.
• Apply on Backstage.com. • For consideration, include headshot
states: “Set will be following all COVID19 precaution protocols as determined by Dodge College of Film and Media Arts which permits a COVID compliance officer on set, multiple production zones, and COVID testing provided for all cast and crew before shoots.”
• Company: UCLA MFA Student Film.
basis for roles of Woman 1 and Woman 3. $1,200 flat buyout. Pay for featured nonspeaking talent: $500 flat buyout. Pay for extras: $250 flat buyout. Broadcast commercial, one year, online usage in perpetuity.
Online Commercials & Promos Digital Coffee Commercial
• Casting an actress for a digital com-
mercial for Super Coffee.
• Company: Do Good Media. Staff:
Jonathan Gaurano, creative dir.
• Shoots ASAP. • Seeking—Female Coffee Drinker:
female, 21-35, all ethnicities, upbeat, charismatic female who is able to drink and sell coffee. Loves the coffee taste. • Seeking submissions from CA. • Send submissions to jonathan.
gaurano@gmail.com.
• Auditions will be held via Zoom. Submit
a video reel, if available. For more info on the company, visit https://drinksupercoffee.com. • Pays $100/day via Venmo or Zelle
(cash). Transportation and food for the day covered.
National/ Regional Plays ‘Alabaster’
• Casting Equity actors for “Alabaster.”
Note: Seeking a diverse cast. All races and ethnicities are strongly encouraged to audition. Covid-19 precautions as mandated by AEA will govern rehearsals and performance. • Company: Salt Lake Acting Company.
Staff: Martine Kei Green-Rogers, dir.; Audrey Cefaly, playwright; Cynthia Fleming, exec. artistic dir.; Cassie Stokes-Wylie, literary mgr.; Latoya Cameron, EDI Dramaturg.
• Rehearsals begin Mar. 29, 2021. Note: If
it is safe to rehearse in person: Mon.-Fri.
01.21.21 BACKSTAGE
casting National/Regional from 5-10 p.m., and Sat. from 10 a.m.6:30 p.m. If it is not safe to do so we will explore virtual options; runs May 5-June 6, 2021 (with shows Wed through Sat. at 7:30 p.m. and Sun. at 1 p.m. and 6 p.m. Live performance options with limited audience numbers are TBD. It is more likely we will film the performance to share with audiences. Add’l Perfs: May 25 at 7:30 p.m. and June 5 at 2 p.m. in Salt Lake City, UT. • Seeking—Alice: 18+, all ethnicities,
(female identifying); a renowned photographer, 30-45, any race or ethnicity. Weezy: 18+, all ethnicities, (female identifying); a goat and daughter to Bib, 30-45, any race or ethnicity. • Seeking submissions from UT. • Callbacks: virtual. All auditions must be
YouTube links. Actors can read for as many roles as they would like (see links to sides in “roles” section). If auditioning for multiple roles, all recordings can be in one video or multiple videos. Submissions should be emailed to cassie@saltlakeactingcompany.org by Jan. 25, 10 a.m. MST. • Pays $508/wk. Equity SPT 6
Agreement.
‘Surely Goodness and Mercy’ • Casting “Surely Goodness and Mercy.”
Synopsis: This story follows an odd, but bright little boy named Tino who befriends Bernadette, the lunch lady at his school. Through quick conversations, a few moments of grace, and the help of their sassy friend Deja, both Tino and Bernadette learn about the strength hiding within themselves and what it means to truly care for another. • Company: Passage Theatre. Staff:
Ryanne Domingues, artistic dir.; marcus d. harvey, dir. • All rehearsals and performances will be
held online or at Trenton Central High School in Trenton, NJ with proper COVID procedures in place. Online, Zoom Rehearsals and Recording run from Mar. 8-12. In-Person rehearsals and recording on Mar. 13 only. Opening night video followed by “live” Zoom talkback with actors on Mar. 19. Video available to view online from Mar. 19-23. • Seeking—Tino: male, 10-15, Black /
African Descent, an oddball who gets picked on a lot at school. He’s brilliant but diffident, so accustomed to being beat down or “put in his place” that he doesn’t know how to engage people if it’s not awkwardly. Teacher/Alneesa: female, 30-45, Black / African Descent, Teacher: Voiceover. More important for her to seem right than be right. Alneesa: Tino’s aunt. Real wry sense of humor that often borders on cruelty. She’s justifiably resentful over having to take care of a kid that she didn’t ask for. Deja: female, 10-15, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, a bit of a bulldozer and a little rough around the edges-- like even her love can be abrasive-- but she’s ride-or-die loyal. Bernadette: female, 56-77, Black / African Descent, no-nonsense. No edit button either. Done with these kids. Except for Tino. He’s alright. Principal/ Preacher: male, 40-69, Preacher: Voiceover. Sincere, urgent, full of fire. Principal: Voiceover. Probably started
BACKSTAGE 01.21.21
this job as an idealist, but is now just trying to get through the day without throwing a kid out the window.
• Arrival Feb. 22 to Sarasota; rehearsals
PA.
ethnicity, non-disabled or disabled; male identifying; an idealistic, compassionate and generous young King; he tends to be unsure of himself, but serves as a huge inspiration to others and strives to lead based on honor and chivalry; vocal range: Eb4-A2. Guenevere: 18+, 30-40, any race/ethnicity, non-disabled or disabled; female-identifying; a spirited intelligent young woman and soon to be queen; she loves Arthur and his ideals, but is suddenly thrown with the arrival of Lancelot; role on offer; vocal range: A5-B3. Lancelot: 18+, 25-40, any race/ ethnicity, non-disabled or disabled); male identifying; a valiant, confident French Knight who is very used to excelling at everything; vocal range: B4-A2. Sagramore/Moredred: 18+, 20-30, white, non-disabled; will double as Sagamore, a knight in service of Arthur, and Mordred, the illegitimate son of Arthur, bound todestroy his kingdom; these characters are male-identifying; vocal range: D4-C3. Dinadan: 18+, 40-50 years old, any race/ethnicity, non-disabled or disabled; male identifying; a knight in service of Arthur; vocal range variable. Lionel/Squire Dap/ Tom: 18+, 18-25, any race/ethnicity, non-disabled or disabled; will play Lionel, a knight in service of Arthur, Squire Dap, the squire to Lancelot, and Tom, a young stowaway whom Arthur knights, in hopes that they will spread the word of chivalry and Camelot; these characters can be male-identifying or gender non-conforming; vocal range variable.
begin Feb. 25; runs Mar. 17-Apr. 4 in Sarasota, FL.
• Seeking submissions from NJ, NY and
• Seeking—Arthur: 18+, 35-45, any race/
• For consideration, record a 2-minute
contemporary, dramatic monologue and either attach it to your email or send it as a link. Also attach your headshot and resume to the email. Email submissions to casting@passagetheatre.org with “Surely Goodness Audition” in the subject line. Submissions deadline is Jan. 29. Notification of callback will be sent by Feb. 5. Online callbacks will be held Feb. 11 & Feb. 13. • Pays $364/wk. plus health, pension,
and transportation. Equity SPT 3 Contract.
Weathervane Theatre Season • Casting versatile Equity actors, singers
and dancers for the Weathervane Theatre 2021 Season, the 56th Season of the Weathervane Theatre. This is a ten show Alternating Repertory Schedule. All Equity Actors will perform in three-seven productions. Length of contracts will vary based on package. We assemble a resident company of actors. Productions include: : “Hello Dolly!” (Ethan Paulini, dir. Marisa Kirby, choreo.), “Buyer And Cellar” (Nathaniel Claridad, dir.), “Kinky Boots” (Kevin Smith Kirkwood, dir.-choreo.), “Amadeus” (Ethan Paulini, dir.), “Disaster!”, “The Addams Family” (Taryn Herman, dir.-choreo.), “Pippin” (Ethan Paulini, dir.-choreo.), “The Mountaintop” (Shinnerrie Jackson, dir.), “Fully Committed,” and “She Loves Me.” • Company: Weathervane Theatre
Players, Inc. Staff: Ethan Paulini, Producing artistic dir.; Robert Fowler, assoc. artistic dir.; Marisa Kirby, choreo.-company member.
• Seeking submissions nationwide. • For consideration, Equity actors submit
a video audition by visiting https://asolorep.wufoo.com/forms/zzgnop00pg8n9k/ and filling out the online form. Prepare either two brief excerpts from contrasting songs in the style of the show, or 16 bars of a song in the style of the show and a one minute contemporary monologue. Auditions should total no more than three minutes in length. Submissions deadline is Jan. 29, 2021.
• Rehearsals begin June 14; runs June
26-Oct. 10 in Whitefield, NH.
• Seeking—Equity Actors: all genders,
18+.
• Seeking submissions from NH. • For consideration, submit unlisted
YouTube or Vimeo link to info@weathervanenh.org. Submissions deadline is Jan. 31 at 5 p.m1. Virtual Callbacks will take place via Zoom Feb. 16-17, 2021. Submit three brief selections that demonstrate versatility and how you might see yourself fitting into the 2021 season. While a monologue is not required, it is highly recommended.
• For more info, visit www.asolorep.org/
auditions. For the safety of all involved, Equity is offering employers the opportunity to solicit submissions via filmed capture in place of holding live Equity Auditions. Subsequent callback auditions will be also be held virtually.
• Pay TBD (minimum pending - $505/
week in 2019.) Equity LOA ref. LORT Agreement.
• Pays $717/wk. Equity LORT D Non-Rep
Agreement.
‘Million Dollar Quartet,’ Equity Video Submissions
Musicals
• Casting Equity actors for “Million Dollar
Quartet.”
• Company: Mill Mountain Theatre. Staff:
‘Camelot,’ Equity Video Submissions
Colin Escott and Floyd Mutrux, book; Ginger Poole, prod. artistic dir.; Payton Moledor, asst. artistic dir.; Seth Davis, resident music dir.
• Casting Equity actors for “Camelot.” • Company: Asolo Theatre Company.
Staff: Alan Jay Lerner, book-lyrics; Frederick Loewe, music; David Lee, book adapted by; Celine Rosenthal, dir.; Steve Orich, musical dir.; Felicia Rudolph CSA, Casting Director and Celine Rosenthal, Associate Artistic Director.
• Rehearses July 13-27, 2021; runs Wed.-
Sun. with two shows on Sat. from July 28-Aug. 22, 2021 in Roanoke, VA. • Seeking—Carl Perkins: male, 20-29,
singer/lead guitarist; must be able to accompany themselves on guitar
22
extremely well and be familiar with Carl Perkins’ music; should look and sound like Carl Perkins in his 20s; vocal range: D3 – C6. Johnny Cash: male, 20-29, singer/guitarist; must be able to accompany themselves extremely well on guitar and be familiar with Johnny Cash’s music; should look and sound like Johnny Cash in his 20s; vocal range: D3 – G#5. Jerry Lee Lewis: male, 20-29, singer/pianist; must be fun, energetic, and able to accompany themselves extremely well on the piano; should be familiar with Jerry Lee Lewis’ music; should look and sound like Jerry Lee Lewis in his 20s; vocal range: D4 – C6. Elvis Presley: male, 20-29, singer/musician; must be able to play basic guitar and look/sound like Elvis in his 20s; vocal range: A3 – C6. Jay Perkins: male, 20-29, bass player/singer, Carl Perkins’ brother; must be an extremely accomplishedbass player comfortable singing with others. W.S. “Fluke” Holland: male, 18+, drummer who plays onstage with the cast; must be an accomplished drummer with a good stage presence. Sam Phillips: male, 30-39, male, 30s; the founder of Sun Records and “Father of Rock ‘n’ Roll”; a charismaticactor with a strong stage presence. Dyanne:: female, 25-29, mid-20s; accomplished vocalist, Elvis’ girlfriend; should be comfortable singing solos in an alto range and covering all soprano parts in group numbers; seductive and confident; vocal range: A3-D5. • Seeking submissions from VA. • Prepare and submit video audition as
follows: Perkins/Lewis/Presley/Cash: one minute self-accompanied on piano or guitar and instrumental reel. Dyanne: one-minute song and one-minute monologue. Jay/Fluke: one-minute instrumental demonstration and instrumental reel. Sam: one-minute monologue. Submissions deadline is Feb. 1. Submit to auditions@millmountain.org or Ginger Poole, Mill Mountain Theatre, 1 Market Square SE, Roanoake, VA 24011. • Pays $546/wk. (Tier 7.) Equity SPT
Agreement.
Student Films ‘Blue Eyes’
• Casting one voiceover role in “Blue
Eyes,” an NYU student short film. Synopsis: A young man experiencing the loss of his father is now forced to take on his late father’s debt. • Company: NYU. Staff: Harshith K.,
coord.
• Works remotely (based on talent avail-
ability) via Zoom.
• Seeking—Aunty Veronica: female, 25+,
remote role. Audio will be recorded as a voicemail. Must have access to a mic for clean audio. • Seeking submissions nationwide. • Apply on Backstage.com. • Submit reel or previous work. • No pay.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
backstage.com
National/Regional casting
‘The 2nd Inauguration of Superintendent Jonstone’
• Shoots late January (exact date TBD) in
Superintendent Jonstone,” a student short film. Synopsis: A small town holds a school board meeting following reelection of the controversial incumbent. The dystopian school district operates a presumably authoritarian, militaristic rule over the schoolchildren, or at least the few who still go to school. The townspeople gather to contest the decision, but can even a catastrophe inaugurate true progress?
ethnicities.
• Casting “The 2nd Inauguration of
• Company: FSU Film School. Staff: D.
Feldman, coord.
• Shoots Mar. 6-7 in the Tallahassee, FL
area.
• Seeking—Superintendent Jonstone:
male, 35-55, all ethnicities, the incumbent Superintendent Jonstone is an enigma who rarely speaks and seems unconscious of what’s going on around him, as if he’s tapped into a dimension beyond time and space. He’s more of a spirit than a human being.Note: Video reel is optional. Bill: male, 28-42, White / European Descent, a chameleon who has no real sense of identity. He changes and appropriates personas, always assuming his inclusion in a group, arrogant of his privilege. As a result, Bill struggled with alcoholism until he met the love of his life: Maria. He’s a trust fund baby who wants the respect of a selfmade millionaire; he has dreams of capitalizing in politics.Note: Video reel is optional. Maria: female, 25-35, Latino / Hispanic, has an incredibly warm and vivacious aura to the point it can be taken as insincere. Her love for Bill is blurred by the security and complacency he provides her. She’s too smart to be ignorant of his bogusness, curbing any genuine connection or need for him. Maria wants a sincere. Note: Video Reel is optional. Pablo: male, 20-30, Latino / Hispanic, Note: Video reel is optional. School Board President: female, 65+, all ethnicities. The School Board: all genders, 65+, all ethnicities. Townsperson/Protestor: 18+, some may have speaking roles or will receive a supporting role.Note: Video reel is optional. Schoolchildren: 7-17, all ethnicities, some will have speaking roles. • Seeking submissions from FL. • Send submissions to djf18b@my.fsu.
edu.
• Audition sides provided. Zoom or in-
person auditions to be scheduled. Feel free to submit any résumé/reel/past audition video. • No pay.
Local Commercials Home Care Hospital Commercial
• Casting a home care hospital commer-
cial that tells the story of an in-home care patient and their nurse. • Company: Content Pictures. Staff:
Antonio Esposito, prod. backstage.com
Skin: female, 18-50, all ethnicities, full figured women who wear a medium to an extra large panty size to model shapewear. This project calls for women who are comfortable in their own skin and able to show their upbeat bubbly personalities. If you are in Los Angeles this could be an in studio shoot. If you are not in Los Angeles, this will be a director assisted remote project.
the Hartford, CT area.
• Seeking—Patient: all genders, 65+, all • Seeking submissions from CT, NY and
MA.
• For consideration, submit a video of
you saying hello and where you are from to ace@contentpictures.com. • Pays $1,000/10 hrs. Buyout usage.
Travel costs covered.
• Seeking submissions nationwide. • Send submissions to casting@tube-
science.com.
• For consideration, selected talent must
Online Commercials & Promos
fill out an airtable and submit a selfie video audition. • Pays $300/day. Nonunion, all media
buyout.
Backstage Branded Social Ad
Corporate & Internet Videos Voiceover
• Casting a paid social ad about
Backstage. This will be a video shoot featuring one user going through the cycle of joining Backstage, applying for auditions, and ultimately filming a selftape audition at home.
• Company: Bamboo. Staff: Jake Fordyce,
F135 Training, Voiceover
• Shoots late January or early February
demo for airplane engine mechanics.
content prod.
• Casting voiceover talent for a training
(TBD) in Seattle, WA. Note: Locals only.
• Company: Frontline Productions. Staff:
John Dickson, president.
• Seeking—Male - Backstage Auditioner:
male, 21-34, all ethnicities, to imitating a “day in the life”; working out, cooking, working from home, and a self tape audition. Personal outfits required for each activity.
• Records remotely. Must have access to
recording equipment.
• Seeking—Instructor: 18+. • Seeking submissions nationwide. • Send submissions to john@thefront-
line.com.
• Seeking submissions from WA. • Send submissions to jake@growwith-
• Pay range: $300-500. Script will be
bamboo.com.
around 1100 words.
• Pays $500 for a full day shoot and video
use in perpetuity.
Digital Make Up Project, Beautiful Women With Acne
Print & Digital Modeling
• Casting beautiful women with acne
issues. Note: This is a director assisted remote project. Talent will be demonstrating how they use foundation to cover any blemishes or imperfections.
Abercrombie & Fitch, Kids & Real Families
• Company: TubeScience. Staff: Sarah
• Seeking a pool of nationwide talent to
Furlong, casting prod.
use in future ad projects. Seeking kids and real families to be shot, and real photographers with kids who can self shoot content at home for this role. Parents will be required to include a link to their portfolio or website in their submission.
• We would like to shoot this project in
the next few weeks so please get your selfie audition in ASAP.
• Seeking—Beautiful Female With Some
Acne for Foundation/Make Up Project: female, 18-35, all ethnicities, you will be applying makeup.
• Company: Cast Partner. • Dates TBD. Talent submitted for this will
• Seeking submissions nationwide. • Send submissions to sarahfurlongcast-
be considered for projects throughout the following 2021 year.
ing@gmail.com.
• Pays $250 per project/all media buyout
• Seeking—Husky Size Boys and Girls
/non union.
(7-13 yrs.): all genders, 7-13, all ethnicities, husky/extended sizes. All hairstyles, looks, good energy. Must submit with state and union status. Boys & Girls (Sizes 7-8): female, 7-9, all ethnicities, all hairstyles, looks, good energy. Must submit with state and union status. Boys & Girls (Sizes 9-10): all genders, 9-10, all ethnicities, all hairstyles, looks, good energy. Must submit with state and union status. Boys & Girls (Sizes 11-12): all genders, 11-12, all ethnicities, all hairstyles, looks, good energy. Must submit with state and union status. Boys & Girls (Sizes 13-14): all genders, 13-14, all ethnicities, all hairstyles, looks, good energy. Must submit
ShapeWear, Full-Figured Woman (Medium to Extra Large)
• Seeking full figured models to model
medium to extra large shapewear. Producer states: “We are doing these projects both in studio and remotely, assisted by a director.” • Company: TubeScience. Staff: Sarah
Furlong, testimonial casting prod.
• Shoots are ongoing for multiple proj-
ects at both in-studio and remote locations. • Seeking—Full Figured Confident
Women Comfortable in Their Own
23
with state and union status. Real Photographers With Kids (For Self Shot Content): all genders, 50, parent photographers who shoot as experts, professionals, or hobbyists; submit if you have kids/family to shoot alongside and would be able to shoot at home content. To be considered for self shot content, parents will need to include a link to view their portfolio or website. Must note your union status in submission. Note: Photography parents must submit a link to view portfolio. Real Families: all genders, 25-50, all ethnicities, of diverse ethnicities and sizes that can be shot together. Kids between sizes: 7/8, 9/10, 11/12, 13/14. Must note your union status in submission. Real LGBTQA+ Families: all genders, 25-50, all ethnicities, of diverse ethnicities and sizes that can be shot together. Kids to fall between sizes: 7/8, 9/10, 11/12, 13/14. Must note your union status in submission. • Seeking submissions nationwide. • Apply on Backstage.com • For consideration, in your submission,
note what state you live in and if you are SAG or non union- this is required for all talent to be considered. • Seeking talent in the following regions:
Region 1: California, Texas, Florida, Arizona; Midwest: Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin; Pacific Northwest: Oregon, Washington, Idaho, Montana and Wyoming; East Coast: Maine, New Hampshire, Massachusetts, Rhode Island, Connecticut, New York, New Jersey, Delaware, Maryland, Virginia, North Carolina, South Carolina, Georgia. • Session rate child: $600+20%; Session
rate parent photographer shoot at home content: $1200+20%; Session rate full families: $1500- 2500 ( rate of $2500 is not guaranteed).
• Usage: Flag all SAG Talent - 1 year. See
additional materials for full usage terms.
Stage Staff & Tech ‘Camelot’
• Seeking Equity Stage Manager for
“Camelot.”
• Company: Asolo Theatre Company.
Staff: Alan Jay Lerner, book-lyrics; Frederick Loewe, music; David Lee, book adapted by; Celine Rosenthal, dir.; Steve Orich, musical dir.; Felicia Rudolph CSA, casting dir.; Celine Rosenthal, assoc. artistic dir. • Arrival Feb. 22 to Sarasota; rehearsals
begin Feb. 25; runs Mar. 17-Apr. 4 in Sarasota, FL.
• Seeking—Equity Stage Manager: 18+. • Seeking submissions nationwide. • For consideration, visit https://asol-
orep.wufoo.com/forms/r1bf6wwd06z3787/ to fill out the form and submit resume. Submissions deadline is Jan. 29. • Pays $717/wk. Equity LORT D Non-Rep
Agreement.
01.21.21 BACKSTAGE
Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover
Q: Our Expert Erin Cronican is an actor.
How do you deal with a difficult actor on set? —@suavejose21
Managing personalities when performing can be very challenging, so I’m not surprised how often a question like this comes up. There are various types of conflicts that call for different solutions. I can recommend a few things you can do if you feel an on-set or onstage relationship is getting out of hand. In the COVID-19 era, these tools still apply. SAY SOMETHING TO THE ACTOR PRIVATELY. Sometimes a gentle conversation can get things back on track.
Remember to use more “I” statements than “you” statements to avoid defensiveness and finger-pointing. Try phrasing things like, “When you said X, I felt X.” This should be a private conversation, if possible. TALK TO YOUR ASSISTANT DIRECTOR OR STAGE MANAGER. Occasionally, talking to your co-star doesn’t
help. This is when you need a neutral ally to help manage the issue. Pull your assistant director or stage manager aside and explain your situation. Ask them to schedule a mediation session, and be prepared to present solutions to help solve the problem.
IF THE CONFLICT IS A CASE OF RACISM OR DISCRIMINATION OF ANY KIND, TALK TO THE DIRECTOR AND/OR PRODUCER IMMEDIATELY WITH THE SUPPORT OF YOUR AD OR SM. Most likely, you’re not the only person
experiencing this behavior, and it will need to be stopped by someone in a position of authority. Don’t back down; you deserve to be heard.
IF THE PRODUCTION TEAM IGNORES YOUR CONCERNS OR THEY RETALIATE AGAINST YOU FOR SPEAKING UP, YOU NEED TO CONTACT OTHERS. Alert the union, the board of the theater, the executive producer, or
the authorities.
IF YOU’RE IN A TOXIC SITUATION THAT’S UNSOLVABLE, YOU ARE WELL WITHIN YOUR RIGHTS TO QUIT THE PRODUCTION—WITH AMPLE NOTICE TO THE PRODUCERS AND THE UNION—WHILE ATTEMPTING THE STEPS MENTIONED ABOVE. Please use professional methods to exit the production.
Social media is not the appropriate place to announce your departure.
*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 01.21.21
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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; CRONICAN : COURTESY ERIN CRONICAN
TALK TO OTHER ACTORS ABOUT YOUR CONCERNS. This is not a time to gossip or rant. Lean on your fellow actors for support and advice, and see if anyone else has experienced the same problems. Try to keep the offending actor’s name off social media. Only share it privately, when asked.
F O R Y O U R C O N S I D E R AT I O N
“SENSATIONAL! A moving and human true story on the meaning of genuine friendship in the moment it matters most. Superbly acted by Dakota Johnson, Jason Segel, and Casey Affeck.” - Pete Hammond, DEADLINE
F O R Y O U R C O N S I D E R AT I O N