Backstage Magazine Digital Edition: February 18, 2021

02.18.21

Tom Holland

Takes the Leap From “Spider-Man” to “Cherry,” this Hollywood wunderkind is just getting started Lee Daniels

on his nontraditional path to casting Billie Holiday

Rosamund Pike: “What you need is freedom as an actor”

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Contents

vol. 62, no. 05 | 02.18.21

Cover Story

Making Moves

For an actor who says he’s “achieved everything I could possibly want to achieve,” Tom Holland is still finding ways to engage, challenge, and test his physical limits like never before page 18

The Green Room 8

The Golden Globe nominations honor ‘Hamilton,’ ‘Borat,’ Netflix, and more

10 This week’s roundup of who’s casting what starring whom

12 Alan Tudyk on “Resident Alien” and

embracing the weird in his characters

Advice 15 NOTE FROM THE CD Pulling a stunt

16 #IGOTCAST

Dorothy Meyers

16 SECRET AGENT MAN I need to know

Features 6

BACKSTAGE 5 WITH...

Rosamund Pike

14 MEET THE MAKER

Lee Daniels, “The United States vs.

Billie Holiday” director

15 THE ESSENTIALISTS

Ita O’Brien, intimacy coordinator

17 IN THE ROOM WITH

Kelly Valentine Hendry

23 MOST INVALUABLE

Our annual roundup of film and television’s MVPs

32 ASK AN EXPERT

Gwyn Gilliss on using props in a self-tape

Casting 24 New York Tristate 26 California 28 National/Regional Tom Holland photographed by Hubble Studio on Jan. 9 in Beverly Hills. Grooming by Rachael Speke. Styling by Law Roach. Cover designed by Ian Robinson.

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6B E S T P I C T U R E

G O L D E N G L O B E® N O M I N A T I O N S (DRAMA)

INCLUDING

(DRAMA)

BEST DIRECTOR DAVID FINCHER BEST ACTOR GARY OLDMAN BEST SUPPORTING ACTRESS AMANDA SEYFRIED

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SCREEN ACTORS GUILD AWARD NOMINEE

C R I T I C S ’ C H O I C E AWA R D N O M I N AT I O N S

BEST PICTURE

®

INCLUDING

BEST DIRECTOR BEST ACTOR BEST SUPPORTING ACTRESS DAVID FINCHER

GARY OLDMAN

AMANDA SEYFRIED

BEST ACTOR GARY OLDMAN

“THE BEST PICTURE OF THE YEAR.” AWARDS DAILY

“ACTED TO PERFECTION BY GARY OLDMAN AND AMANDA SEYFRIED.” ABC NEWS

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BACKSTAGE, VOL. 62, NO. 05 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Congratulations to Jane Levy (Class of 2010) on her Golden Globe Nomination for Best Performance by an Actress in a Television Series Musical or Comedy

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Rosamund Pike

By Casey Mink

Following her Academy Award– nominated turn in “Gone Girl,” it’s hard to deny that Rosamund Pike has a knack for portraying, frankly, sociopaths. Her latest role in Netflix’s sardonic thriller “I Care a Lot” fits right into the canon. Though her character, Marla Grayson, could not be more different from Pike herself, she knew just how to prepare: “I vaped a lot, and I went to some spin classes.”

What performance should every actor see and why?

I’d say Celia Johnson in “Brief Encounter,” because, to me, that’s just beautiful acting, beautiful delivery, total naturalism.

It’s pretty flawless, in my opinion.

Do you have an audition horror story you can share?

Going to my “Bond” audition [for “Die Another Day”] with my mother’s concert dress from [when she was] an opera singer, thinking that was exactly the kind of dress I should wear. I took it out of the bag, and the costume designer said, “Yes, that it is a very lovely dress, but Bond girls tend to wear something more like this.” And she held up what looked like about three pieces of string. So, that. That’s the archetypal one.

“Gone Girl” character]. I’ve learned a lot from Amy Dunne since then, and I think she would’ve rolled her eyes in despair…. My partner picked me up from the airport, and I got to set clutching my mouth and pretending I had a toothache.

What’s the wildest thing you’ve ever done to get a role?

I flew to St. Louis to meet David Fincher [for “Gone Girl”] when I was on another job. The morning I was expected in Glasgow, I was flying back from St. Louis, knowing that four times a week, this flight coming in was late. My call time was at 6:30 and the flight, when on time, landed at 7 a.m. Production thought I’d been in Scotland the whole weekend, when I’d actually been halfway across the world. They never would have let me go—and I had to go. I always wonder whether that was a test by Fincher.

I had to come up with a plan: I had to have my partner say that I’d gone to A&E [the accident and emergency department] with a dental problem. I’d planted the idea that I had a toothache on the Friday before. I mean, it was so hammy; it was so un-Amy [my

What advice would you give your younger self?

Watch loads of American films, make loads of American friends, preferably have an American lover, and make sure that you can really speak American. Even if you think you might be able to because you have English as a first language, that is not a passport to being able to speak American. And now, I can be as free in American as I can be in English; but that took time, and what you need is freedom as an actor.

“[Marla is] defined by who she is and what she wants: She doesn’t want to be fucked over, and she wants to be rich.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: DENIS MAKARENKO/SHUTTERSTOCK.COM

How did you get your SAG membership?

I should’ve gotten it when I did “Fracture” with Ryan Gosling, but I didn’t know that one had to be a member of SAG. So there was a sort of alarming late-night call saying I might not be allowed to go to work the next day because I didn’t have Screen Actors Guild membership. It was my naiveté about everything that I didn’t know that was an obligation, and they assumed that I had it. I did get it for that, eventually.

Since the pandemic hit, only a few artistic and technical trades workers have been employed by the Met, barely affecting the opera company’s financial bottom line.

Yet, that didn’t stop Peter Gelb, the Metropolitan Opera’s general manager, from backstabbing these stagecraft and design employees preparing for this year’s season. He recently padlocked them out of jobs, denying them an income, cutting off funding for their health care and stopping the production of sets for the new opera season.

The Met Opera isn’t about balance sheets. Without people, the opera is nothing.

Gelb seems to think otherwise. Stagehands, ticket sellers, set, costume, lighting and makeup artists, broadcast professionals, along with other dedicated Met employees, understand the strain COVID-19 is placing on the performing arts and are willing to make accommodations during these difficult times.

However, they refuse to accept Gelb’s overreaching 30%, take-it-or-leave-it wage cut that would remain in effect long after the pandemic is history and audiences return.

Make no mistake, producing opera is labor intensive and the Met is reliant on the artists onstage and offstage. Unless the Met’s management returns to negotiations and treats workers fairly, there will be no opera in 2021. The Metropolitan Opera House will remain dark and quiet, a vacant warehouse.

Stop a real opera tragedy. Tell the backstabbing Met management to back off. Withhold contributionS to the Met until workers are reinstated. Register for updates and to show your support.

Visit us at: www.MetOperaNews.com Paid for by International Alliance of Theatrical Stage Employees

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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Anya Taylor-Joy and Moses Ingram on “The Queen’s Gambit” Awards

Netflix Dominates Golden Globe Nominations

With the Feb. 3 announcement, this unusual awards season is in full swing

By Jack Smart

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Young Woman.” In the musical or comedy film race, Amazon Studios’ “Borat Subsequent Moviefilm,” Walt Disney Pictures’ “Hamilton,” Hulu and Neon’s “Palm Springs,” Vertical Entertainment’s “Music,” and Netflix’s “The Prom” are in the running.

The film director category features a majority of female nominees—a historic first for the Globes: Regina King for “One Night in Miami,” Emerald Fennell for “Promising Young Woman,” and Chloé Zhao for “Nomadland” join David Fincher for “Mank” and Aaron Sorkin for “Chicago 7” as contenders. (Barbra Streisand is the only woman who has

ever taken home the prize, for 1983’s “Yentl.”)

Following controversy in the wake of the HFPA’s foreign language category designation of A24’s American drama “Minari” from writer-director Lee Isaac Chung, the film was nominated alongside Denmark’s “Another Round” (Samuel Goldwyn Films), Guatemala’s “La Llorona” (Shudder), and Italy’s “The Life Ahead” (Netflix) and “Two of Us” (Magnolia Pictures).

“The Croods: A New Age” (Universal Pictures), “Onward” and “Soul” (Walt Disney Pictures), “Over the Moon” (Netflix), and “Wolfwalkers” (Cartoon Saloon) will compete for animated motion picture.

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COURTESY NETFLIX

ANNOUNCED VIRTUALLY BY previous Globe winners, including Taraji P. Henson and Sarah Jessica Parker, the film and television nominees for the Hollywood Foreign Press Association’s 78th annual show reflected an industry undergoing a sea change; Netflix claimed more recognition than ever before with a whopping 42 nods, while other distributors of streaming content edged out traditional networks and studios.

The motion picture drama category includes Sony Pictures Classics’ “The Father,” Netflix’s “Mank” and “The Trial of the Chicago 7,” Searchlight Pictures’ “Nomadland,” and Focus Features’ “Promising

In the TV categories, a mix of well-known contenders and up-and-coming talent alike earned the HFPA’s attention.

Netflix’s “Emily in Paris,” HBO Max’s “The Flight Attendant,” Hulu’s “The Great,” Pop TV and CBC’s “Schitt’s Creek,” and AppleTV+’s “Ted Lasso” will compete for best comedy series.

Meanwhile, Netflix’s “The Crown,” “Ozark,” and “Ratched”; HBO Max’s “Lovecraft Country”; and Disney+’s “The Mandalorian” are in contention for best drama. Hulu and the BBC’s “Normal People,” Netflix’s “The Queen’s Gambit” and “Unorthodox,” HBO’s “The Undoing,” and Amazon Studios and the BBC’s film anthology “Small Axe” are nominated for this year’s outstanding limited series honors.

Among the actors nominated were 2020 Emmy Award winners Mark Ruffalo for “I Know This Much Is True”; Julia Garner for “Ozark”; and Catherine O’Hara, Annie Murphy, and Eugene and Dan Levy for “Schitt’s Creek.”

Achieving recognition in more than one category were rising star Anya Taylor-Joy for “The Queen’s Gambit” and Focus Features’ “Emma.”; Olivia Colman for “The Father” and “The Crown” (the latter of which earned her a Globe trophy last year); and Sacha Baron Cohen, as supporting actor in “Chicago 7” and as the producer-star of “Borat Subsequent Moviefilm.” (He claimed the lead actor in a comedy or musical film prize once before, for the first “Borat” movie in 2007.)

The ceremony, hosted by returning pair Tina Fey and Amy Poehler, will be held Feb. 28, broadcast from the Beverly Hilton in Los Angeles and airing live on NBC.

Siegel (“The Wrestler”), the series will follow the couple’s whirlwind romance, their hasty marriage, and the tabloid scandal and subsequent legal battle. Betty Mae is casting the miniseries, and has already brought on Sebastian Stan as Lee, Lily James as Anderson, and Seth Rogen as the man who stole the infamous tape.

The team is aiming to start production in April and continue shooting through the spring. No location has been announced.

What’s Casting

Baldasare Casting, though no actors have been announced yet. Production on the potential series is expected to start in Atlanta in April.

Everything Old Is New Again Three new projects look to the past for inspiration

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

Elisabeth Moss Joins ‘The Godfather’ Making-Of

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!

EMMY AWARD WINNER ELISABETH Moss has signed on to star in an untitled feature about the making of “The Godfather.”

Moss will play Eleanor Coppola, the wife of Francis Ford Coppola, in the film-about-thefilm, which will be directed by Barry Levinson.

“The Handmaid’s Tale” star joins a cast that also includes Oscar Isaac as Francis and Jake Gyllenhaal as Robert Evans. The project has been re-adapted from a Black List screenplay

by Andrew Farotte and will document the “Shakespearean behind-the-scenes drama” that didn’t stop “The Godfather” from becoming one of the most acclaimed films in history.

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MARGAUX QUAYLE CANNON

“The Powerpuff Girls” The Powerpuff Girls, the pintsized crime fighters who were a fixture of the Cartoon Network lineup in the 1990s and 2000s, are all grown up—this time

in the real world. When they were last on the small screen, they were eager to fight bad guys before dinnertime; but the CW will put a darker spin on the trio’s narratives now that they’ve reached adulthood. In the live action adaptation-reboot (co-created by “Juno” scribe Diablo Cody), Blossom, Bubbles, and Buttercup are in their 20s and have come to resent the fact that they spent their youth saving the world instead of having a childhood; but the sisters have to revisit their roots in order to come to the rescue once again. The pilot has started to cast the leading trio with the help of Rapaport/

“Pam & Tommy” Fashion isn’t the only thing from the 1990s that people are interested in revisiting. Hulu is looking to return to the tabloid goldmine that was actor-model Pamela Anderson and Mötley Crüe drummer Tommy Lee’s chaotic relationship—and sex tape leak—with a limited series.

Directed by Craig Gillespie (“I, Tonya”) and written by Robert

“Epic” “Once Upon a Time” may have bid farewell to ABC viewers, but the Disney-owned network isn’t ready to say goodbye to fairy tale tie-ins just yet.

Hoping to recapture the magic for a new pilot, the network has brought in that series’ co-creators, Adam Horowitz and Eddie Kitsis, along with Brigitte Hales. Taking place in the Disney Universe, “Epic” will reimagine the studio’s familiar fairy tales for a new audience.

While the series is still very early on in production, casting on the primetime pilot has commenced with Ulrich/Dawson/ Kritzer. No actors are publicly attached to the project so far, but it has planned an April start date, with Ireland as a prospective shooting location.

the most efficiency. And I think that’s what he’s working toward, but he’s bad at it in the beginning…. He’s a very intelligent being, but he’s very stupid about humans. That kind of ignorant curiosity was exciting.”

He uses the theater to “re-teach” himself how to be an actor.

“I’m rereading Uta Hagen right now. I went to Juilliard when I was 23, so damn, that’s a while ago! I felt like if you spent too much time in Hollywood, you’d lose your ability to be what I considered a ‘good actor’…. I have to keep coming back to the theater every couple of years to do a play to re-teach myself how to act.”

Alan Tudyk on “Resident Alien” The Slate

dead. So then, the alien takes his form and becomes Harry Vanderspeigle. And he gets pulled into this little town when they need a doctor’s help in doing an autopsy, because their doctor was murdered.”

An Opportunity for Oddities

Alan Tudyk latches onto character quirks to bring his performances to life

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.

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physician who isn’t exactly what he appears to be.

Tudyk’s character on “Resident Alien” has a big secret.

“Harry Vanderspeigle is an alien. He wasn’t an alien; he was just some guy who was a doctor who was on vacation at his cabin in a small town in Colorado. But an alien accidentally crashes his spaceship—he was on his way to the earth to destroy all human life—[and] seeks shelter in that cabin and kills him a little bit.

Well, he kills him a lot; he’s

TELEVISION

Casting Complete for ‘Game of Thrones’ Prequel

By Casey Mink

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

“HOUSE OF THE DRAGON,” HBO’S highly anticipated Targaryen-centric prequel to “Game of Thrones,” has completed principal casting. Signing onto the project are Rhys Ifans, Steve Toussaint, Eve Best, and Sonoya Mizuno; they join previously announced stars Paddy Considine, Olivia Cooke, Matt Smith, and Emma D’Arcy.

Co-created by Ryan J. Condal and Miguel Sapochnik, along with book scribe George R.R. Martin, the project was (unsurprisingly) given a straight-to-series order. Set 300 years before the events of its predecessor, the new show does not yet have a premiere date.

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JAMES DITTINGER/SYFY

ALAN TUDYK IS ONE OF those actors who shows up and steals every scene he’s in.

In a career that has spanned more than two decades, he has become one of the industry’s most reliable character actors, with credits in theater, film, television, and animation. Yet the actor says he’s never done learning about the craft of acting—from the great practitioners, but also from the actors he’s shared the stage and screen with. Tudyk is currently starring on Syfy series “Resident Alien” as Dr. Harry Vanderspeigle, a small-town

He was excited to explore Harry’s physicality.

“When I first read it, I got excited about the idea [that] he’s learning to use his body, learning how to manipulate the physical form that he’s now taken on. It’s similar to other roles that I’ve played, in a way—I’ve played robots before.

They move ergonomically; their form is being manipulated with

His early roles created the template for his career.

“My first play I did, I played 25 roles. It was 25 roles in a [three-person] play. [The other two actors] played two roles throughout the play, and I played all the people around them. So I’d come on as some French person, and then somebody else and somebody else—different costumes, different wigs. Oh, it was so much fun! It really set the stage for what my career would become, because I played a lot of little, very different roles.”

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Lee Daniels, “The United States vs.

Billie Holiday” director

By Casey Mink

Andra Day in “The United States vs. Billie Holiday”

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on Hulu Feb. 26. “But I met with Andra because I knew she could sing the role better than any of the actors. I saw the soul of Billie, so I said, ‘Why don’t you audition?’ I sent her to my friend Tasha Smith, an acting coach here in Los Angeles.

And Tasha, unbeknownst to her, recorded Andra getting into character. It wasn’t the audition, it was just her getting into Billie. And I said, ‘This ain’t acting. This is being.’ ” Daniels has a history of throwing neophytes into the belly of the beast—he did it with Gabourey Sidibe in “Precious.” For “Billie,” his first

“You can be brilliant, but you’re only as good as your director. And so a lot of actors are untrusting.”

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film in eight years, he wanted to get back to a place “where all the actors were unknowns,” he says. “Good actors to support telling the story of Billie, so that you were lost in the world and not taken out by people you recognize.”

Though directing greener actors requires additional support—especially through challenging scenes, which there are many of Daniels’ films—he gravitates toward them more than seasoned vets. New actors, he muses, haven’t yet had their trust or spirit broken by the filmmaking process.

“A lot of times, actors are jaded because they give their best performances, and then it’s in the hands of a director who just can cut ’em up,” he says, speaking to the editing

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TAKASHI SEIDA

IF YOU WANT TO WORK WITH Lee Daniels, the Academy Award–nominated director behind “Precious” and “The Butler,” you’d better not be afraid of heights. “I’m desperate to keep it fresh,” he says, “which is to say: I love actors who are willing to jump off the cliff with me.”

That mentality explains why, for the title role in “The United States vs. Billie Holiday,” Daniels didn’t hoist the feature onto the back of a decorated film actor. Instead, he went with singer Andra Day, who stepped onto set having never acted in front of a camera.

“I had actors I was excited about—who were actors,” Daniels says of casting the film, which features a script by Suzan-Lori Parks and debuts

process. “You can be brilliant, but you’re only as good as your director. And so a lot of actors are untrusting.”

Daniels also cites inexperienced actors’ willingness to change things up “on the day,” be it a new costume, a new prop, or an entirely new chunk of dialogue. “They don’t know any better!” he exclaims. But that isn’t to say he takes advantage of anyone’s naiveté—quite the opposite.

The first order of business on Daniels’ set is to “make them completely at ease,” he insists.

It’s the only way to tap into the sacred, sensitive dynamic between the actor and director.

“You’re dancing; it’s a waltz.

You are lovers, except you’re not making love, but you really have to be on the same syllable.

We’re family. You can’t get this work out of someone [without] knowing them intimately— knowing their insecurities.”

It all comes down to helping the actor become the best vessel for the story at hand.

That requires a total lack of rigidity—on the part of the actors, the director, and the storytelling itself. It’s why, even in Daniels’ most difficult-to-watch work, there are moments of triumph and levity. “For me, that’s storytelling,” he says.

For that same reason, “The United States vs. Billie Holiday” is framed around the notoriously troubled singer in her capacity as a civil rights activist, and her anti-lynching anthem “Strange Fruit.” “There’s hatred out there, and it was time for people to really know Billie’s story,” Daniels says. “If she could do this back then, what can I do? What can I do to make the world better? What can I do to make my environment better? What can I do better for my kids? This is a call to arms.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “I MAY DESTROY YOU”: NATALIE SEERY/HBO

Meet the Maker

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Note From the CD

Pulling a Stunt

ILLUSTRATION: MARGAUX QUAYLE CANNON; “I MAY DESTROY YOU”: NATALIE SEERY/HBO

By Marci Liroff

I’VE ALWAYS BEEN A WATCHdog when it comes to safety on set. Like a mother hen, I want to make sure that everyone is educated, cautious, and has given consent to any action taking place. I spoke to my colleague Peter King, a stunt coordinator with over 25 years of experience, about what actors need to know before diving in.

How do you determine whether an actor can do a stunt themselves versus using a stunt performer?

We are brought in when the script has scenes with any type of action or events that would require the actors to be put in any physical situation. Usually, I would never say, “The actor is doing a stunt,” but rather phrase it as “actor action.” This would be where I design the stunt in a way that the actor could do it safely and still accomplish a dynamic scene that makes

TAKASHI SEIDA

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THE ESSENTIALISTS

ITA O’BRIEN

intimacy coordinator

the director happy. Sometimes, it may be something simple, like riding in a car that drives erratically, or something more challenging, like jumping out of a tall building on fire shooting a gun while falling. Deciding whether an actor can do any actor action in a scene requires an evaluation of their ability and confidence to do what is needed. When it really has to be the actor, there are times we change how the scene is written; or we can use a stunt person and keep it all as it was intended. A good stunt coordinator will be good at having many options to make this happen in a way that pleases everyone.

What can an actor do to be of service to the stunt coordinator?

When the actor listens and shows confidence [while you’re] working together, it makes the scene go much smoother and

By Casey Mink

Michaela Coel’s “I May Destroy You” struck a nerve with audiences, in part because of its hyper-realistic, challenging sex scenes (which included depictions of assault).

Fortunately, actors on the HBO miniseries had intimacy coordinator ITA O’BRIEN as an advocate every step of the way.

injury is emotional and psychological if it’s not done well. If someone is touched or manhandled in a way that’s not right for them, as much as a physical injury, there’s an emotional and psychological injury, from feeling awkward to feeling harassed to actually feeling downright abused.”

Just like fight scenes, intimate scenes require professional guidance.

“For intimate content, there is a risk assessment that needs to be taken, just like a dance or a fight. The risk can be physical—people can injure themselves—but it’s also that the [risk for]

Intimacy rehearsals were crucial for “I May Destroy You.” “[Actors are] going, ‘OK, great. We’ve spoken about what we want, now let’s get up on our feet. Where are you OK to be touched?

Where are you most importantly not OK to be

look more authentic. It could be something simple, like showing the actor how to hold a firearm properly for the scene or showing them where to stand to be out of harm’s way. An actor who thinks they know it all and will not listen to any directions makes things very challenging.

One of the more difficult things can be when the actor demands to do their own stunts. Then we have to simplify the scene to keep them safe; and they then think it was easy and do not realize what we had to do to make it work for them. They never get to see how much more dynamic it could have been with the stunt double doing it the way it was planned. Of course, an actor can always, no matter the circumstances, ask for a stunt double. If an actor ever feels uncomfortable with what they are being asked to do, they

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touched?’ I always say that we’re inviting the ‘positive no.’ We invite your boundaries, we invite your no, so that we can all work freely with your yes. That’s what Michaela and I have spoken about, so then the actor is really able to bring their all [and] bring all of their beautiful skill to the intimate content, creating those beautiful scenes.”

should ask for a stunt double.

Can you describe the stunt process on the day of filming?

The process can differ for many reasons. I meet with the director, first AD, crew, and my team before the day starts to make sure everything is in place and [to] discuss any changes. Then I meet with any actors involved to make sure they are comfortable and ready. Safety meetings can happen before or after rehearsals, but always right before we do the stunt. In this meeting, we cover every detail of the stunt, down to where crew would be standing.

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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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I Need to Know

BACKSTAGE 02.18.21

that what you want? Well, in my experience, most actors tend to forget that concept once they get signed. The memory loss usually begins when the ink dries on our contract.

Just the other day, I received a call from an actor who’s been on my list for less than six months. He’s been getting out on a regular basis, and he’s come close on a couple of gigs, so I would say that the relationship is working out fine.

Then the kid informs me he just signed with a manager.

To be clear, he has the right to do that. The issue is he didn’t include me in the

A successful agent-client relationship is all about communication and professional respect, but I’m not suggesting you have to do what I say.

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Dorothy Meyers

By Jalen Michael For actor DOROTHY MEYERS, hard work and fierce determination play a huge role in developing her craft.

But staying modest and true to herself does, too.

Find roles that resonate, and passion will follow. “[For an upcoming project,] I’m playing a daughter who’s helping her mom through some challenging moments in her life. I have passion in everything that I do.

So, for me, playing the daughter is playing myself, helping people. I also love to help people in any way that I can.”

Don’t fight the grind— embrace it!

“Remain humble, grateful, and confident.

Be consistent and appreciate all the nos you will hear—it only makes you stronger.

Ask questions, take a lot of acting classes, and grind, grind, grind!”

Backstage makes it safe and easy to submit.

“Continue to submit through Backstage. I use it every day and apply for as many jobs as I’m qualified for. I also change my [profile picture] periodically based on the role I’m applying for.”

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; MEYERS: DOUGLAS GORENSTEIN

AGENTS HATE BEING THE last to know. Our ability to function effectively is largely based on having current information right in front of us.

Nothing is more upsetting than reading a script for a project that’s been secretly canceled or pitching a client for a role that’s already been cast.

In those cases, I can look past the frustration, because the events have occurred outside my sphere of influence. But what about the moments when I’m the last to know inside my own office? I’m talking about those lovely clients who don’t include me in major decisions.

According to my doctor, they’re the main reason my blood pressure is higher than your stoner neighbor on April 20.

To be successful, agents and clients have to work as a team.

Doesn’t that sound good? Isn’t

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

process. This actor just called to say it was a done deal. Hell, I didn’t even know he was taking meetings, and that is unacceptable. You know why?

It’s because I hate this manager. The guy is toxic. And now we’re stuck working together.

Never, ever add someone to the team without getting your rep’s opinion first. That’s not me being a control freak. It’s me looking out for you. I might have inside information you need to know. And there could be some history there that will screw up our relationship.

In this case, I could’ve easily steered my client to a better manager who would actually bring something to the party.

You should also check in if you’re thinking about pulling the trigger on making a change to your appearance. It could be something minor like a new hairstyle, or something major like a piercing or tattoo. Either way, let’s have a chat before you do it. I may have some insight on how the change will affect your casting prospects.

Here’s another biggie: Don’t make travel plans without talking to me first. Yes, you have the right to live your life, but I might be working on something that could end up conflicting with your out-of-town dates. If you at least give me a heads up, the two of us can figure out a game plan, and we can avoid any nasty surprises.

A successful agent-client relationship is all about communication and professional respect, but I’m not suggesting you have to do what I say. I’m just saying you should at least give me the opportunity to express my opinion. After all, we’re in business together.

And who knows? Every now and then, if the stars line up correctly, I might actually share something that makes all the difference in your career.

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In the Room With

Kelly Valentine Hendry

From “Fleabag” to “Bridgerton,” the British CD knows how to cast an international hit

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; MEYERS: DOUGLAS GORENSTEIN

KELLY VALENTINE HENDRY IS NO STRANGER TO HIT TV. Although the U.K.–based casting director had (and still has) aspirations to direct, she fell into the craft of casting and has been behind ensembles instead of cameras ever since, including for hit series like “Fleabag” Season 1 and “Broadchurch.” It’s no surprise, then, that when the opportunity to assemble the ensemble for Shonda Rhimes’ first Netflix series came up, she jumped at the chance. (“Netflix, Shondaland, Regency, and [a] hit book series: #yesplease!” she quips.)

As a modern take on high society in 19th-century London, Chris Van Dusen’s “Bridgerton” intertwines its cast of mostly young actors in scenarios that are salacious, sensuous, and universally addicting.

Following its Christmas Day premiere, it quickly became the streamer’s most popular original series to date. Here, Valentine Hendry shares how she put actors like Phoebe Dynevor and Regé-Jean Page together, and talks about what not to do when you’re auditioning for her. You never know—you may find yourself in her room for Season 2!

What were auditions like for “Bridgerton”?

In this case, we had our creatives in Los Angeles, so they couldn’t be in sessions here in the U.K. We were lucky that we

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didn’t require “names” for the roles, so we had a lot of freedom and could bring in anyone we felt was suitable. A mixture of ideas, lists, and in-person casting kicked off the process; and

then actors were either chosen by our creatives there and then, or we waited and brought most into the studio when we had the creatives in London for recalls.

As the episodes went on and we were down to day players, we used a mixture of self-tape requests or in-person meetings with Cole Edwards, my associate on this project, who worked extremely hard. Auditions were fun and friendly, I hope!

There’s a lot of chemistry at play—how did that factor into the process?

I’ve cast a lot of ensembles, and I really love it when there is a massive world to create.

In that world, there are lots of different forms of chemistry: friends, families, and lovers.

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There was a clear distinction from the start between the Bridgertons and their neighbors, the Featheringtons, and once we cast a couple of them, the rest were easier to add. Costume clearly helped with this, but there is an essence to each of the actors that puts them perfectly within the families. And as for the Duke and Duchess [RegéJean Page and Phoebe Dynevor], actually, their re-call was in L.A. with the creatives themselves; so I think they must be congratulated for ensuring that that chemistry worked out!

What kind of research went into casting this series?

I drank a lot of tea, quadrilled often, and promenaded every day. No, seriously, Chris [Van Dusen] is a generous showrunner who is accessible for questions and very happy to explain his visions. I read a lot of the book, and I think Lilly [Hanbury] in my office read the whole series. (She loves a bit of Regency romance.) I have done a lot of book adaptations: “Brave New World,” “Grantchester,” “The Last Kingdom,” “The Wheel of Time.” Sometimes it helps to know the source material, and sometimes it hinders.

Where do you look for talent outside of agent submissions?

Honestly, everywhere. That doesn’t take away the importance of training and drama schools; but if we are to be inclusive with our casting, we should be allowed to look for talent anywhere and everywhere. And we do. I won’t give my secrets away here. What I will say is I snoop around [on] fan sites a lot and pinch ideas all the time.

Want more?

Read the full interview at backstage.com/magazine

02.18.21 BACKSTAGE

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Making Moves For an actor who says he’s “achieved everything I could possibly want to achieve,” Tom Holland is still finding ways to engage, challenge, and test his physical limits like never before

By Benjamin Lindsay Photographed by Hubble Studio

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Holland’s calculated give-and-take with fame, fans, and family only comes after years of experience and mentorship. A natural talent, the London-born performer enrolled in hip-hop classes at a local dance school called Nifty Feet after his mother noticed him holding rhythm while strutting around to Janet Jackson’s “Together Again.” At age 9, he was scouted by choreographer Lynne Page; he soon began rigorous training in ballet for the West End’s Olivier Award–winning “Billy Elliot: The Musical,” which marked his professional debut just after his 12th birthday.

He took his final bow as Billy two years later and began chipping away at a career in film.

In past interviews, thinking back to his early days in the industry, he described growing up with an author-comedian father, a photographer mother, and three younger brothers as living in “the most un–child-actor household possible.” Throughout our time together, he speaks of his parents with genuine reverence, sprinkling valuable life lessons they’ve taught him on self-respect and handling rejection. And he’s conspicuously close with his brothers, with whom he heads the Brothers Trust charity fund, an

effort he’s “most proud of” on his list of many accomplishments. That’s not to mention that he’s also working on a “massively ambitious” feature film script with his brother Harry that they intend to one day direct together. (“I’m sure when we finally take it to a studio, they’re going to laugh at us when we say that we want to direct it,” he admits. “But it’s our script, and if they want us, they’re gonna have to have all of us.”)

Such an unwavering support system certainly was useful through the growing pains of life as a young artist, not the least of which included getting bullied for wearing tights at a ballet barre while other boys his age were playing rugby. Much has already been said about those rough patches and how Holland persevered; he relayed to GQ in 2019 that “it’s just what I had to do if I wanted to get this job,” and to People two years earlier that “you couldn’t hit me hard enough to stop me from doing it.” But what’s most fascinating, speaking with Holland about his dance background today, isn’t the schoolyard incidents it may have incited, but the way his training all those years ago has influenced pretty much everything he does

In “Spider-Man: Far From Home”

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SONY PICTURES ENTERTAINMENT

HE MAY BE BEST KNOWN FOR PLAYING one of the most famous teenagers around, but don’t let his boyish charisma fool you— Tom Holland has been performing on stage and screen for over half his life. Consistently employed throughout his adolescence and into adulthood, the 24-year-old has become one of the most bankable movie stars working today thanks to his turn as Spider-Man in the Marvel Cinematic Universe. Through it all, he has dodged the dramatics of TMZ-fueled virality (unless you count his gender-bending lip-sync performance of Rihanna’s “Umbrella” in 2017). In other words, one could call his career a Hollywood anomaly.

“I think what I’ve done well is I’m really good at being able to dictate when I’m in the spotlight,” he says of balancing his public and private lives. “When I’m at home, I live such a boring life that the paparazzi don’t want to take pictures of me. I’m with my dog, I meet my mates, we go play golf, we go to the pub, we go to sleep, and then we wake up and do the same thing again.” That is, until he’s filming his latest “Spider-Man” installment, which he’s on a brief respite from as he speaks to Backstage from a Los Angeles hotel.

APPLE TV+

onscreen, no matter the genre or role.

Take the obvious example: Peter Parker, aka Spider-Man, a role he landed at 19 in “Captain America: Civil War” and has played in a total of five (going on six) MCU features, including stand-alone films “Spider-Man: Homecoming” and “Spider-Man: Far From Home.” The sheer physicality of web-slinging, high-kicking, and back-flipping (or the demands of any spandexed Marvel gig, for that matter) is informed and enhanced by having a better understanding of one’s body— its movement, and what it looks like when stretched and positioned every which way.

His expertise in the physical also dictates how he plays less superheroic, reality-based characters. It’s apparent in his work in last year’s Netflix Southern Gothic “The Devil All the Time,” and in Apple TV+’s new crime drama “Cherry,” which sees Holland starring as a PTSD-addled war veteran who robs banks to feed his opioid addiction.

“When it comes to something as simple as walking—I mean, Cherry has a very different walk than what I have,” Holland notes.

“He’s very heavy on his feet and labored.

Obviously, when you’re doing ballet, it’s the

complete opposite. But by being able to do the complete opposite, you can mold yourself into these different people in an easier, more fluid way.”

In short, he says, “dance has been one of the most valuable assets I’ve had in my career.” He sheepishly adds, though, that the third installment of “Spider-Man” has him stretching those muscles anew: “Over the years, I’ve been getting less and less flexible, which has become a bit of a challenge.

Sometimes, landing in the Spidey poses, I’ve been pulling a hamstring here and there, so I’ve taken up yoga.”

All that is just the prep. Then, after he’s worked on script analysis and personal character-building, Holland carries a dancer-in-the-mirror mentality with him while filming—literally.

“I watch almost every take back while we’re shooting,” he says. “And it’s something that scares directors quite a lot. You sometimes find people going, ‘Why do you want to watch everything? Don’t you trust me?’ And it has nothing to do with my performance. It has everything to do with my physicality.

“It is like a dancer: When you learn to do

In “Cherry”

a dance, you do it in the mirror. And for me, when I’m on set and I’m figuring a character out, especially [in] the first few weeks, I have to watch it back, because I need to know that I’m doing what I think I’m doing in my head.

If I was doing a dance, and then I looked at it and I was like, ‘Oh, my God, that looks nothing like what I thought it looked like,’ I need to change it. It’s been a really valuable asset.”

While Holland worries aloud that “some people would be very against that,” he says he’s “really lucky that directors are so open” to letting him jump to the monitor after a take. Joe and Anthony Russo—who first directed him in “Civil War,” followed by “Avengers: Infinity War,” “Avengers: Endgame,” and now “Cherry”—say that it’s that attention to detail and knack for behindthe-camera collaboration that makes them want to continue working with the actor.

“It suits our process very well, to be honest with you,” Anthony Russo says. “We like to talk to people as filmmakers; we talk to our production designer as a filmmaker, to our actors as a filmmaker, to our producers as filmmakers. We like to talk about the totality of the film with all of our collaborators. And Tom is somebody who is very easy to engage on that level, because his brain goes there.

He doesn’t silo himself in a very specific process or a specific craft; he understands the larger process of the movie we’re all making together. This specific thing, where he does like to review his performance and think about how he can innovate on it in a coming take, or in later scenes, is very much the way Joe and I like to work.”

Considering this on-set approach, it makes sense that Holland envisions himself as a future director. It also further speaks to the fact that, aside from the intensive West End– caliber dancing of his youth, most of his craft as a performer has come through osmosis while working on professional sets, not via more traditional means of schooling. Yes, he attended the BRIT School for the creative and

Acting is a muscle, and it’s something that can always get stronger.

Whenever you work with new people, regardless of whether you think they’re good or not, you will always learn something from them.

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performing arts as a teen; but for the majority of his time there, he was working with Ron Howard and future MCU co-star Chris Hemsworth on their 2015 whaling epic “In the Heart of the Sea.” “I wouldn’t say that I necessarily ‘trained,’ ” Holland admits. “My training in the world of becoming a professional and learning how to work respectfully and be around people was from ‘Billy Elliot.’ ” The same can be said of his early screen projects, like 2012’s “The Impossible” with Naomi Watts and Ewan McGregor, and BBC BACKSTAGE 02.18.21

Two’s 2015 period drama “Wolf Hall” with Mark Rylance and Claire Foy. He cites those co-stars, as well as Robert Downey Jr. and Zendaya, as industry mentors and inspirations. He says he took those and others as opportunities to be a sponge, to learn on the job, and to figure out which processes speak to him as a performer and which don’t.

“I’d be so naive to say that my training is finished,” he continues. “Acting is a muscle, and it’s something that can always get stronger. Whenever you work with new people, regardless of whether you think they’re good

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or not, you will always learn something from them. I’m continuing to learn every day. I’m learning about directing, learning about producing, learning about writing. All of those things are helping me become a better actor.”

Holland’s approach to the emotional and intellectual components of acting is best described as instinct-based—what feels authentic and right in the moment, within the Venn diagram of himself and the person he’s playing.

“Lots of it kind of boils down to: How would I react in this scene?” he posits. “Figure that out, and then put the character on top. The easiest way for me to find a character is to find the similarities between myself and the character and then build on that.”

His homegrown, naturalistic way of performing seamlessly lends itself to a project like “Cherry.” The film sees Holland embodying its titular figure in dramatically different stages of his life—as a student, a lover, a soldier, an addict, and a thief. In addition to being physically demanding (Joe Russo says Holland lost and regained 30 pounds while filming), the film led him to map out Cherry’s psyche through his descent. He did this, in part, via extensive research and interviews with veterans who have experienced PTSD and addiction.

“You obviously have to research for every character you play,” he says. “I did a load of research for ‘Spider-Man,’ which is just reading comics. But ‘Cherry’ was the first time I sat down and had real conversations with people about their experiences and used their stories to help fuel my passion for the project. I always say that if you’re making a film about a real person, you have a duty to do justice to that person.”

“We had seen his work ethic at that point very, very clearly, but this role presented a challenge to him that he hadn’t encountered yet,” Anthony Russo says.

“Being a junkie, wasting away physically, being a soldier, having that specific type of training for that specific type of purpose— there were a lot of things [for which], just on a very literal level, he had to take himself, both psychologically and physically, to places that he hadn’t before.”

“Cherry” indeed allows for a welcome darkness and onscreen maturation for Holland not seen within the MCU, which thus far has perfectly honed his wide-eyed enthusiasm in its own way. But if his rise over the last few years is any indication, there’s a promise that even bigger and better things are around the corner.

“I want to tell stories that I would want to have seen as a kid,” he says of what he’ll put his muscle behind next. “And as I become an adult, or more of an adult than I already am, I want to tell stories that I wish I’d seen when I was 24. And then, when I’m 30, I’ll want to make films about what I would’ve wanted to watch when I was 28. I like the idea of constantly chasing what I wanted, because I know so much more now.” backstage.com

Most Invaluable Our annual roundup of film and television’s MVPs

By Elyse Roth & Jack Smart

“The Mandalorian” was a smash hit in its sophomore season thanks in large part to an actor who somehow commands attention while hardly ever showing his face. Between that primo quarantine-era Disney+ hit and his goofier turns in “Wonder Woman 1984” and “We Can Be Heroes,” it’s Pascal’s world, and we’re just lucky to be living in it.

FORTUNES RISE AND FALL IN AN INDUSTRY AS FICKLE AS HOLLYWOOD; performers face career droughts, sure, but they can also find themselves transformed overnight from working actor to star. During a tumultuous 2020, a handful of actors acquitted themselves brilliantly, leading or supporting more than one buzzy film or television series. We at Backstage enjoy saluting those hardworking stars, each year naming the list of screen MVPs. Without further ado, welcome to the Zendaya Awards!

swanky “The Gentlemen.” Kidman, meanwhile, has made our MVP list for years now but shows no signs of slowing, reminding us of her musical bona fides in “The Prom” and continuing her powerhouse producing streak.

Jim Carrey

Jonathan Majors and Jurnee Smollett

Anya Taylor-Joy

You can tell if someone is a breakout star when they appear on a buzzy TV series, and you realize you’ve just seen them in a recent film you loved.

“Lovecraft Country” stars Majors and Smollett became certified platinum in 2020. Spike Lee handpicked Majors for his Vietnam War epic “Da 5 Bloods,” while Smollett appeared on “The Twilight Zone” and knocked our socks off in “Birds of Prey.”

If you look too long, you might fall into Taylor-Joy’s huge, cinematic eyes. Well, that can’t actually happen, but they are impossible to look away from, whether she’s playing the brassy Jane Austen heroine in “Emma.” or an unlikely chess prodigy from the 1960s American South on “The Queen’s Gambit.” At just 24 years old, Taylor-Joy has proved her mettle at the center of both a feature film and a Netflix series, and has left us wanting more in 2021.

Leslie Odom Jr.

The cast of “Troop Zero”

Although no longer headlining every comedy feature, Carrey hasn’t hung up his hat for good. Far from it; he basically cannonballed into living rooms around the world, bringing his “Saturday Night Live” version of Joe Biden to life last fall. In addition to showing he still has the chops on his Showtime comedy series, “Kidding,” he also lent his can-do-anything persona to the animated box office hit “Sonic the Hedgehog.”

Lily Collins

It’s a trademark of Collins’ career that she never stays too long in one genre; 2020 showcased her ability to jump from one tone, era, and place to another. She stood out in the black-and-white “Mank” and firmly left her footprint in popular TV on “Emily in Paris,” in which she plays the series’ central fish out of water—with the impractical designer wardrobe to match.

The Cast of “The Crown”

It’s no surprise that the ensemble of one of the most cinematic shows on TV, “The Crown,” can step easily into feature film roles.

This was true in 2020 with Olivia Colman in “The Father,” Helena Bonham Carter in “Enola Holmes,” Josh O’Connor in “Emma.,” Charles Dance in “Mank,” and multihyphenate Emerald Fennell writing and directing “Promising Young Woman.”

of bingeable series: “The Boys,” “The Mandalorian,” and, of course, “Better Call Saul,” as the iconic Gus Fring.

Julia Garner

When a casting director says they can’t describe why but they just know that someone is right, Garner is the shining example.

She brings “it” to every role, making each of her performances unforgettable. Not only is she a twice-in-a-row Emmy winner for “Ozark”; she also starred in the Gotham Award–nominated indie “The Assistant,” a gutting portrayal of abuse of power in Hollywood that brings fiction almost too close to reality for comfort.

Hugh Grant and Nicole Kidman

Scratching our murder-mystery itch better than any screen project this past year, HBO’s “The Undoing” let Kidman and Grant show off their thriller chops. Grant keeps pushing the limits of what he can do—and what his devoted audience can accept—both on this buzzy series and in the

Freeform’s “Love in the Time of Corona.” Sia’s film “Music.” The Apple TV+ musical series “Central Park.” Regina King’s “One Night in Miami,” for which he’s already getting Oscar buzz. Everywhere you looked in 2020, there Odom was.

And while Broadway audiences have known it was only a matter of time before he became a household name, now TV audiences know it, too: Disney+’s “Hamilton,” featuring Odom’s Tony-winning turn as Aaron Burr, remains one of the year’s highlights.

Zendaya on “Euphoria”

Can Zendaya do any wrong? She is simply a force of nature. In 2020, she continued to prove her range, winning a historic Emmy Award for “Euphoria” as the damaged Rue and playing the titular Marie in “Malcolm & Marie.”

Zendaya’s budding career, in which she has conquered screen genre after screen genre, has fully blossomed.

What TV show doesn’t Esposito appear on these days? In addition to the acclaimed films “Unpregnant” and “Stargirl,” everyone’s favorite villain lent distinct menace to a succession

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This charming Amazon Studios indie kicked off 2020, signaling an auspicious year for its cast. There’s no stopping lead youngster Mckenna Grace, who continued her stellar work on “Fuller House” and “Young Sheldon.” Allison Janney starred in “Bad Education” and extended her TV reign with “Mom,” while Jim Gaffigan cracked us up with his comedy special “The Pale Tourist.”

And Viola Davis, the most V of all MVPs, ended her game-changing run on “How to Get Away With Murder” this year, only to follow it with Netflix’s documentary “Giving Voice” and another awards-caliber take on August Wilson with “Ma Rainey’s Black Bottom.”

Zendaya

Giancarlo Esposito

EDDY CHEN/HBO

Pedro Pascal

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02.18.21 BACKSTAGE

Plays

Musicals

Film

Submit a Notice |

New York Tristate Plays ‘I And You’ & ‘Master Harold and the Boys’ • Casting Equity actors for “I And You”

(Lauren Gunderson, writer; Melissa Crespo, dir. Rehearsals begin Mar. 30; runs May 5-23) and “Master Harold... and the Boys” (Athol Fugard, writer; Gilbert McCauley, dir. Rehearsals begin May 11; runs June 16-27). All auditions will be done virtually. No live auditions will take place at this time.

• Company: Syracuse Stage. Staff:

Robert Hupp, artistic dir.; Kyle Bass, assoc. artistic dir.

• The remainder of Syracuse Stage’s

20/21 season will be fully produced and available via recorded broadcast platforms.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from NY. • For consideration, submit audition,

headshot, and resume via a google form located on our website - https:// syracusestage.org/play- submissions. php. Video submissions should be unlisted (not private) YouTube links.

Submissions deadline is Feb. 18. Submit no more than two minutes of content of your choosing. A preference would be for the spoken word: a monologue, scene or poetry. You may submit existing material; you don’t have to create work specifically for this video audition.

If the work you submit is longer than two minutes, indicate which two minutes you prefer we view.

• Pays $885/wk. Equity LORT D Contract.

‘Mud Season Mystery: The Lodger,’ Photo & Resume Request • Casting Equity actors for roles in

“Mud Season Mystery: The Lodger.”

Synopsis: It’s 1920’s London and a murderer is on the loose, killing innocent young women. Daisy, an VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

BACKSTAGE 02.18.21

TV & Video

Commercial

Modeling

Variety

Voiceover

Gigs

Events

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. aspiring young actress and her aunt, struggling to make ends meet, take in a mysterious lodger. Will the murderer be caught before it is too late? Note: No roles will be understudied. Actors must have access to a secure internet connection. This will be an interactive experience with the audience. Actors should be comfortable with at least some mild improvisation.

Casting picks of the week

BY LISA HAMIL

stage

• Company: Northern Stage Company.

‘Mud Season Mystery: The Lodger’ Catch a killer in this Equity production produced over zoom

Staff: Brenda Withers, playwright; Carol Dunne, artistic dir.; Jess Chayes, dir.; Karie Koppel (Koppel Casting), casting dir.

• Rehearsals begin Mar. 30, 2021; runs

Apr. 14-May 2. Note: Actors will rehearse and perform remotely from their homes over Zoom. Performances will be presented to a live Zoom audience.1.

tv

‘Awkwafina Is Nora From Queens’ Explore the most underrated borough in NYC for this Comedy Central series

• Seeking—Ronnie: all genders, 20-49,

all ethnicities. Daisy: female, 20-39, all ethnicities. Mrs. B: female, 50-59, all ethnicities. Mr. Sleigh: male, 40-59, White / European Descent. Joe Chandler: male, 30-39, all ethnicities.

reality tv & documentary

• Seeking submissions from NY. • Auditions will be held by appointment

‘LBJ’ Hail to the chief in this presidential docuseries shooting in Austin, TX

only Feb. 25 in NYC. For consideration, email picture and resume to kcactorsubmissions@gmail.com with subject “ATTN: Mud Season Mystery Role of _________. “ Note: Equity Members Only. Submissions received after Feb. 19 will not be considered.

film

• Pays $739/wk. Equity LORT D Non-Rep

‘Lock The Door’ Stay locked up at home in Los Angeles, CA

Contract.

Feature Films

stage

‘Block Association’ Join this Equity live-performance production in Louisville, KY

‘The Whale,’ Photo Double • Casting a photo double for “The

Whale,” a feature film starring Brendan Fraser based on the acclaimed play by Samuel D. Hunter.

Synopsis: “The Whale” tells the story of a reclusive English teacher suffering from severe obesity who attempts to reconnect with his estranged daughter.

• Company: Protozoa Pictures. Staff:

Hilary Greer, HBG Casting LLC.

• Shoots one-seven days between Mar.

8-Apr. 9 in Newburgh, NY (Hudson Valley area).

• Seeking—Large Man (Photo Double):

male, 29-55, White / European Descent, 500 lbs or over. 5’10”-6’2”.

Pale skin. For on-camera inserts of entire body--hands, arms, torso, etc.

No nudity is required. Role may require being shirtless; must be comfortable with this. Small cast and crew. Face will not be on camera.

• Seeking submissions from NY. • For consideration, submit a cover note

that includes your current height, weight, city, state, and if you have a car to self-report to HBGCasting@ gmail. com.

• SAG-AFTRA Photo Double rate: $209/8

hrs. Lodging may be provided depending on talent’s location.

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Scripted TV & Video ‘Awkwafina Is Nora From Queens’

• Casting background actors for the

Comedy Central series “Awkwafina Is Nora from Queens”.

• Company: Grant Wilfley Casting. Staff:

Emily GWC, casting assoc.

• Shoots TBD in the NYC area and

Bethpage, NY.

• Seeking—SAG-AFTRA Featured Male

Asian Auditioner: male, 25-35, Asian, seeking SAG-AFTRA to portray Asian American Auditioner at a Casting Call.; tentative work: Mar. 1, in Bethpage, NY; interior work; possible testing date: Feb. 26; must follow studio COVID protocols when working; note all of your sizes. SAG-AFTRA Featured Older Couple: all genders, 65+, seeking SAGAFTRA to portray Older Couple; tentative work: Mar. 1, in New York City area; exterior work; possible Testing date: Feb. 26; must follow studio COVID protocols when working; note all of your sizes.

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

• Pays SAG BG rate $178/8hrs.

‘The Bad Witch’

• Casting “The Bad Witch.” Synopsis:

Reboot of a popular TV series centering on a new generation of New York private school teens using social media to spread gossip.

• Company: Grant Wilfley Casting. Staff:

Allison Hall, casting dir.

• COVID testing Feb. 19 and 22; shoots

Feb. 23 in and around the NYC area.

Note: Mandatory COVID testing is required and provided by production and masks must be worn on set at all times other than when shooting on camera. COVID testing is paid. In person fitting date may be needed prior to work date.

• Seeking—Club Patrons: all genders,

18-35, all ethnicities, seeking SAGAFTRA, all genders and ethnicities, to portray club patrons. SAG-AFTRA or Nonunion Female High School Student Type for CORE work in Series: female, 18-28, Asian, female high school student type to work as ongoing Core in the series. Core will be covid tested weekly and will be kept on ongoing payroll even when not needed for the day. Mandatory testing provided by production and backstage.com

S:10.25”

Pictured: American Airlines team members surviving and co-surviving cancer with SU2C ambassador, Tim McGraw

Join American Airlines and Stand Up To Cancer in our mission to help make everyone diagnosed with cancer a long-term survivor. Donate $25 or more and you’ll receive 10 American Airlines AAdvantage® Miles for every dollar you give.

Visit StandUpToCancer.org/AmericanAirlines to learn more.

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casting California masks must be worn at all times when not on camera. If you are NU and submitting please know your current SAG status/amount of waivers you have on file. Testing/filming starts 2.22 and work is ongoing through Fall of 2021. Thanks.

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

com.

• SAG-AFTRA background rate.

clothes from your own wardrobe and do own hair and makeup.

• Pays $250 for four hours.

E-Learning (Voiceover) Remote Training Video

if submitting for this role, also submit for corresponding performance role.

Greg: male, 25-40, Black / African Descent, strong and confident character; charming.

• Company: Biola University. Staff: Nicole

Meals will be provided. Talent cast in the trailer will be considered for the feature.

• Seeking—Lukas: male, 18-28, Black /

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

• Pays $100 for the day (up to 12 hours).

• Casting an actress (about 50 years old

Demo & Instructional Videos Moroccanoil, Hairstyling Models

• Casting three female hairstyling mod-

els for a video shoot for Moroccanoil, a leader in oil-infused beauty.

or older) in a training video. Talent will need you to memorize and recite lines for the video. This will be recorded in your home and will need to have a circle light and microphone when the recording takes place.

• Company: All Things Media. Staff:

Brandon K., coord.

• Records Mar. 4 or 5 remotely. Two half-

hour sessions. One session will be the day before to just go over everything then the next day will be the actual recording.

• Company: Moroccanoil. Staff: Jamie

• Seeking—Training Video Role: female,

• Shoots Mar. 8 and 9 (8 a.m.-4 p.m.;

• Seeking submissions from NY. • Send submissions to brandon.ken-

Marcelo, education coord.

dates flexible based on availability) at office on 57th St. and Lexington Ave. in NYC. • Seeking—Hairstyling Model: 18+, for

hairstyling only.

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

• Reply with the hairstyle you’re inter-

ested in. Hairstyle reference images attached.

• Pays $300 flat rate.

Online Commercials & Promos International Clothing Brand Commercial • Casting three models for an online

50-60.

nedy@alllthingsmedia.com.

• For consideration, record yourself

doing a small snippet in regards to being a care partner which would be the role you would play. If you could say something along these lines: “I’d say she definitely believes some things that aren’t true. Like every so often she accuses me of stealing from her. A few weeks ago we had a big fight about a piece of jewelry, and I had to get it out of her jewelry box and show it to her, to convince her I didn’t take it. But then the next week, she was insisting that I stole it again.”

• Pay TBD.

Southern California

commercial for an international fashion brand.

• Company: Silverfilm. Staff: Bo, produc-

tion mgr.

• Shoots late Mar.-early Apr. (dates TBD)

in NYC.

• Seeking—Male Model in NYC 1: male,

18-35, White / European Descent, playing in a V-log, daily life in NYC. Might wear a beanie. Male Model in NYC 2: male, 18-35, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, playing in a V-log, daily life in NYC. Might wear a beanie.

Female Model in NYC: female, 18-35, Asian, playing in a V-log, daily life in NYC. Might wear a beanie.

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

• For consideration, submit a self-tape.

with a full shot and close-up and a picture or a video of yourself wearing a beanie. Auditions dates TBD. Wear VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

BACKSTAGE 02.18.21

Feature Films ‘Lock The Door’

• Casting the concept trailer for “Lock

the Door,” a feature film. Synopsis: When a young mother loses herself after the birth of her second child, a devoted husband finds himself wedged between love and life as he struggles to save his family from the monster she’s become.

• Company: Media Heist. Staff: C. Green,

Short Films ‘God’s Gift’

• Casting “God’s Gift,” a Chapman MFA

thesis.

• Company: Chapman University. Staff:

Jasmine Siddall, writer-dir.; Yuqi An, prod.; Dayna Li, casting dir.

• Shoots Apr. 2-11, 2021 in Los Angeles,

CA.

• Seeking—Willow: female, 25-35, Black /

African Descent, a quiet, intuitive young woman who uses her green thumb to grow and sell marijuana; former business partner and ex-fianceé to Sean, uses Cassidy to do her dirty work; her cold demeanor is a result of her dysfunctional relationship, but she’s not the victim that she appears to be.

Cassidy: female, 18-25, Black / African Descent, sweet, sensitive, quick on her feet drug dealer who gets caught between Willow and Sean’s mess; masculine and dominant, yet naive in the most unsuspecting of ways. Sean: male, 25-35, Asian, Black / African Descent, Half black, half Asian. Willow’s ex-fiancé, hell bent on making sure his ex continues to share the weed business with him; abusive, but aloof and not the kingpin that sees himself as.

Willow’s Mother: female, 50-70, Black / African Descent, seen through video chat only; everything you would expect from a mom - critical ofWillow’s hair and her inability to answer the phone. Sean’s Grandmother: female, 60+, Asian, preferably of Cambodian descent; only interested in the TV and making sure the donut shop is spotless; very aware of her grandson’s ignorance.

• Seeking submissions from CA. • Send submissions to daynamerrilli@

gmail.com.

• For the roles of Willow, Cassidy, and

Sean, include a pre-screening tape.

• Pays $100-125/day, including gas and

meals. Safety COVID protocols will be those mandated by Dodge College, with COVID Officer on set. Rehearsals will be remote.

coord.

Student Films

/ African Descent, must be able to speak with a Latin American accent; no unnatural looking wigs, extensions, or hair pieces; natural texture strongly preferred; must have ability to play a wide range of emotions with minimal prep; if submitting for performance role, also submit for corresponding voiceover role. Lauren: female, 25-40,

‘Better’

• Shoots Mar. 20 in the L.A. area.

• Seeking—Lauren: female, 25-40, Black

• Casting a music video to the song

“Better” by Declan J. Donovan. Logline: A couple realizes they have reached the end of their relationship and we see how they are handling it. This video will cut between acting scenes and dance interludes. Performers must be able to act and dance.

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Henderson, dir.-casting.

• Dance rehearsals (two total) in early

March in the Orange County, CA area; shoots Mar. 19-21, where two days will be at one location in Fullerton, CA and one day will be at a location in a studio in Los Angeles.

African Descent, White / European Descent, a man with the biggest heart but is reserved. He is the first to realize the relationship is at its end. He knows they are both at different places in their lives now. Lukas loves Natalie and knows she wants to fight for them, but he wishes to move on. He struggles seeing Natalie in pain. Natalie: female, 18-26, White / European Descent, wants nothing more than to be with Lukas.

Through the ups and downs she wants to make it work. Heartbroken by the breakup she starts to struggle with the real life truth Lukas won’t be around anymore. Natalie has to come to terms with that she can not be in his life but still wish him the best.

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

• For consideration, attach a resume and

include a dance reel preferably of contemporary or partner work. Note: Strong technique, flexibility, and acro skills are a plus.

• Credit and meals provided.

‘Birthday Loser’

• Casting “Birthday Loser,” a short stu-

dent film. Synopsis: After the death of her mother Alex is left feeling utterly alone. To not feel this way on her birthday she invite some guests over, but things go from bad to worst before her very eyes. Production states: “All submissions are accepted, but would be interested in casting a real life mother and daughter.”

• Staff: Briauna Draper, dir.

• Shoots Mar. 6-7 in Los Angeles, CA. The

set will follow all LMU safety procedures. Face-covering required (except for when the actor is on screen), social distancing between the cast and crew, constant sanitation, COVID test taken prior to showing up on set, etc.

• Seeking—Alex: female, 20-27, Black /

African Descent, quiet and mysterious.

Despite seeming very mature she hasn’t lost the childlike sense of wonder and possibility. She deals with anxiety and depression, but doesn’t let that stop her from trying to make strong connections with people. Mom: female, 37-57, Black / African Descent, gentle, goodnatured, friendly, considerate and caring. Despite her daughter’s challenges she always saw the best in her. She sacrifices her own well-being so the people around her can have a good life.

• Seeking submissions from CA. • Send submissions to bdraper@lion.lmu.

edu.

• For consideration, include a headshot

and demo reel with your submission.

• Meals, copy, credit provided

‘Chef’s Kiss’

• Casting “Chef’s Kiss,” a California State

University Northridge (CTVA 442 Television Production) senior thesis student short film. Synopsis: Celebrity backstage.com

California casting chef Pancrasio’s reputation is threatened by an online scandal. Tammy must decide if contradicting her values is worth saving their careers.

• Company: California State University

Northridge. Staff: Nicole Mairose, Ian Cabelo, prods.; Marci Lara, showrunner.

• TBD. • Seeking—Pancrasio del Trigal: male,

28-35, Latino / Hispanic, a misogynistic, self-obsessed, attention seeking, lonely 32 y/o chef who’s only redeeming quality is his amazing cooking skills. This Role requires Partial Nudity (shirtless scenes). Early to mid 30’s, can even push to late 20’s (32). Hispanic (Spanish is needed). Conventionally attraction.

Pretty fit. Facial hair (Not needed but preferred). Located in LA. Need to have cooking skills. Tammy Johnson: female, 20-25, Black / African Descent, a strong minded, behind the camera, feminist, 24 y/o who works for a shitty boss becasue she needs the money; youthful look. Spanish isn’t required but it is a bonus. Located in LA. Alejandro Pits: male, 30-35, Latino / Hispanic, White / European Descent, a ratty talent agent who pretends to be Pan’s friend to make money; he can be more racially ambiguous. Early to mid 30’s (32).

Maria: female, 50-55, Latino / Hispanic, Tammy’s mom who gives her tough love and taught her feminist beliefs.

George: male, 60-65, White / European Descent, a tv executive who backs up Pan and Alejandro’s misogynistic beliefs. Xochil: female, 45-49, Hispanic (Spanish is needed). Latina. Amber: female, 20-25, White / European Descent, Tammy’s ditzy friend who doesn’t really listen to Tammy and supports her compromising her morals.

• Seeking submissions from CA. • For consideration, submit reel and

cover letter to nicole.mairose.879@my. csun.edu. Auditions via Zoom.

ory and the subsequent conflict she must face; by fixing the projector and facing her traumatic past, she will learn to forgive herself so that she may move on peacefully.

• Company: California State University,

Monterey Bay.

• Shoots Mar. 13 ( Saturday) in West Los

Angeles, CA.

• Seeking—Elaine: all genders, 18-28, all

ethnicities. Marco: 18-28, all ethnicities.

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

• For auditions of both Elaine and Marco

please submit an audition video of you reading dialogue from a romance film of your choice. Max: 1:30 min. In addition to the dialogue reading, auditions for Elaine please send a singing submission of Ella Fitzgerald’s “Let’s Fall In Love.” If you are auditioning for Marco please send a singing submission of Selena’s “I Could Fall in Love.”

• Company: Independent. Staff: Ashley

Beuhler, prod.

• Rehearses via Zoom; shoots March

(three days) in Los Angeles, CA.

• Seeking—Mason: male, 18-24, Latino /

Hispanic, White / European Descent, bad boy with a soft heart who main character “Alex” meets at the party.

Represents lust, first times, growing up.

Hallie: female, 18-22, one of Alex’s closest friends. Adventurous, a happy free spirit, wants to celebrate her best friend’s birthday. Alice: female, 35-50, model for photo. No performance. Alice is having an affair with Alex’s father.

They both plan to leave their spouses for the other. Alice sends Jeremy a photo of the two of them which Alex accidentally sees. Party Guest: all genders, 18-23, high school kids at a party.

University. Staff: Daniel Colella, writerdir.-prod.; Mary Pumper, actor; Red Jitar, dir. of photography; AJ Davis, editor.

College of Film and Media Arts). Staff: Alexander Edep, dir.; Samantha Kurtz, prod.; Isabel Stallings, CD.

backstage.com

the role of ‘Elaine,’ an aspiring computer scientist who is optimistic about finding a true love and believes in the wedding vows. Also casting ‘Marco’ an aspiring chef who is pessimistic about finding love one day and doesn’t believe in the wedding vows In Sickness & In Health.

Synopsis: On her 18th birthday, Alex sneaks out to go to a party with her best friends. After realizing she’s gone, her father tracks her down, but Alex reveals a secret that only she knows-her father’s affair.

• Copy/credit/meals and gas stipend

European Descent, Carol’s personality is quiet and contained; a devout catholic; Carol is overjoyed at the sight of the memories from her past; however, when the memories turn tragic, she must face the trauma of her past; her whole demeanor will aggressively switch at the sight of this tragic mem-

• Casting “In Sickness & In Health,” for

• Casting “Eighteen,” a short film.

graduate student production through Loyola Marymount University’s School of Film and Television. Note: Filming will take place over a weekend in March.

Proper health and safety precautions will be followed and a supervisor will be on set. Meals provided. Synopsis: An elderly woman wakes up in a surreal world watching a playback of her life on a film projector. When the projector’s lightbulb burns out, she must find a way to turn it back on and save the memories of her past, both the good and the bad, before it is too late.

• Seeking—Carol: female, 55-75, White /

‘In Sickness & In Health’

‘Eighteen’

• For consideration, include a video if

Angeles, CA area.

provided.

• Copy, credit, and meals provided.

‘Don’t Let The Light Go Out’

• Shoots Mar. 19-21 in the Greater Los

• Compensation for gas and meals will be

you have any. Auditions will take place on Feb. 13 and Feb. 19. Callbacks will be on Feb. 20. A decision will be made on Feb. 22. All communication, including auditions, will take place virtually. If you have a conflict on the audition days, feel free to reach out and a different time can be made at both party’s convenience.

• Seeking submissions from CA. • Send submissions to ashleyb950@

• Company: Loyola Marymount

resume to stallings@chapman.edu and audition materials will be sent to you.

• Apply on Backstage.com.

• Strongly recommend sending reels if

• Pay is TBD.

• Casting “Don’t Let The Light Go Out,” a

• For consideration, submit picture and

• Meals are provided. Costume/Makeup

will be provided. The filmmakers plan to submit this to film festivals upon completion.

‘Now You Know’

• Casting “Now You Know,” a virtual stu-

dent film (scene) that will be filmed completely remotely through Zoom for senior level directing class. It will also include a workshop date. Casting states: “Looking for two talented actors to collaborate and create with. This scene is about two friends of eight years, Michael and Ty, have an eyeopening conversation that places pressure on their relationship. After hearing some degrading comments, Michael decides to share some private information about himself - in hopes to change the perspective of Ty.”

gmail.com. possible.

provided.

‘Forget Me Not’

• Casting “Forget Me Not,” a thriller/

• Company: Columbia College of

drama for Chapman University. Logline: A young man suffering from frequent anxiety-induced dissociation is thrust into a strange, ethereal void where he experiences a horrific retelling of his family’s forgotten past - but also the trauma that he still unknowingly carries.

Inspired by a true story of the Armenian Genocide.

Hollywood. Staff: Dylan Rusniak, dir.

• Scene workshop day Mar. 10 (manda-

tory from 2-6 p.m.). Casting states: “The casting (self-taped auditions and Zoom interviews), rehearsals (via Zoom), and filming (via Zoom) will all take place online and in the safety of our homes.

At the end of the quarter, actors will receive an edit of the final scene we created.”

• Company: Chapman University (Dodge

• Seeking—Michael: male, 20-25, all eth-

nicities, a character who has been having a hard time dealing with his sexuality. Not only his sexuality, but one of his friends (Ty) has been continually making comments degrading gay people. Michael gains the courage to finally confront him and makes the decision to end their friendship. Ty: male, 20-25, all ethnicities, a character who is close friends with Michael. He doesn’t seem to have much respect or understanding about his friend’s true feelings. As he is oblivious to Michael’s situation or sexuality, he continually made comments

• Shoots Mar. 5-7 and 12-14.

• Seeking—Turkish Soldier: male, 20-32,

Middle Eastern, a apparition that appears as a permanent scar in this family’s traumatic history. Responsible for burning a little girl alive back in 1915.

Fueled by his own beliefs that lead to hatred of the Armenian people, he finds joy in this moment of assaulting the family and ripping this child from her mother.

• Seeking submissions from CA.

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degrading who are gay. He soon comes to understand his friend is gay and and is ending their friendship.

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

• No pay.

‘Saigu’

• Casting “Saigu,” a student short film.

Synopsis: Set during the 1992 riots in L.A., the story follows an AfricanAmerican teen named Jaime, who gets trapped in a Korean store with the owner’s niece, Grace.

• Company: Azusa Pacific University.

• Shoots Mar. 7-14 in LA County, CA. • Seeking—Uncle Han: male, 30-40,

Asian, the owner of the local convenience store in Korea Town; within the story, he represents his older generation and years of Korean traditions; he often gets into petty arguments with his niece who helps him run the store; cigarette after cigarette, he smokes the days away while reminiscing on fighting in the war. Rioters (Extras): all genders, 18-40, all ethnicities, to play rioters that break-in and rade a convenience store.

Shoots Mar. 8-12 in the LA area.

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

• No pay. Copy, credit, meals provided.

‘Stain’

• Casting “Stain,” a Chapman Graduate

Thesis Project.

• Company: Chapman University. Staff:

Shirley Zhang, prod.

• Rehearsal TBD; shoots TBD in Los

Angeles, CA.

• Seeking—George: male, 35-50, Asian,

an introvert janitor with OCD who cleans public restrooms at the beach; he’s relatively thin and quiet, almost invisible, a low sense of presence; he’s bashful and not much a people person; he just wants everything around him to be clean and nothing to interrupt his world; he keeps a goldfish named Anna to keep him accompanied; pays $120/ day. Mr. Big Sh*t: 35-50, all ethnicities, a large, hairless chunky man in a cheap white suit and ill fitting slacks held up with a black and gold belt; he’s talkative and loud; he can’t be quiet for even just one second; a self-centered man who considers himself superior than others; he ‘’claims’’ himself to be a yacht broker; and he has no respect for George when it comes to how he “act” in the public restroom; pays $100/day.

Chinatown Aquarium Shop Owner/Old Cleaning Lady: female, 50-65, Asian.

Note: Chinatown Aquarium Shop Owner and the Old Cleaning Lady will be played by the same person. Old Cleaning Lady (female, 60s, Asian American); a janitor who also works in the same park near the beach as George; she’s peaceful and calm, a low sense of presence; nothing happens outside will affect her almost her Zen state; she likes to look at the ocean while drinking her tea. Chinatown Aquarium Shop Owner (Female, 60s, Asian American); she owns a little VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

02.18.21 BACKSTAGE

casting National/Regional Aquarium Shop in chinatown; she wears a typical eastern auntie outfit; she’s kind and easygoing; her shop is a little old and messy but in an acceptable way; English is her second language, and her words are full of wisdom of life; pays $100/day.

• Seeking submissions from CA. • Send submissions to fazhang@chap-

man.edu.

• Pay is different for different roles. See

roles for specific rates.

‘Twenty Three Cents’

• Casting “Twenty-Three Cents,” a drama

set within a local business in Los Angeles. During a produce delivery with his uncle, a Latinx teen comes to learn about his family’s outdated ideologies.

A run-in with a Black customer in the store teaches the teen about his family’s reprehensible views on race.

• Company: University of California -

Irvine. Staff: Alan Mendoza, dir.; Albert Le, prod.

• Rehearsal/table read Feb. 21; shoots

within weekend of Mar. 6 (one day) in Lomita or Riverside, CA (tentative).

• Seeking—Tio: male, 30+, Latino /

Hispanic, a middle-aged Latinx delivery man for his family business, and uncle to Jaime. Speaks English, but not his first language. Wants to teach Jaime the value of hard labor, though is held back by his prejudiced views of other races. Customer: male, 18-26, Black / African Descent, a young Black adult.

He’s a customer trying to make a simple visit to the store, but is challenged with another example of racial prejudice.

Market Owner: male, 25-60, Latino / Hispanic, a young-middle aged Latinx male shopkeeper. Well known associate of Tio and Jaime’s family business.

• Seeking submissions from CA. • Send submissions to leat3@uci.edu.

• Submit your reel/past works.

• Pays $50, plus travel reimbursement,

on-set meals, and credit in film provided

Scripted TV & Video ‘Solar Eclipse’

• Casting “Solar Eclipse,” a scripted

series. Synopsis: In the future, a new orbiting amusement park advertises itself by creating Solar Eclipses over cities. Between computerized rides that interact with guests and fully functional androids, the political machinations of the global government, and teams of droid inspectors keeping the order, Solar Eclipse is a sensation-drenched romp full of romance, intrigue and high adventure.

• Company: FilmNet Studios San Diego.

Staff: Karl Weiss, creator-dir.

• Shoots in mid-March in San Diego, CA. • Seeking—Sierra: female, 18-36, trusted

member of Orion Circuiter’s team of droid designers; recruited to supervise

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

BACKSTAGE 02.18.21

Online Commercials & Promos

the fleet of fully functional, humanlike androids assigned to the grand opening of the orbiting amusement park The Solar Eclipse. Orion: male, 23-40, White / European Descent, Orion Circuiter (30s) comes from a long line of android designers and is excited to be chosen along with his team to be a droid inspector for the grand opening of The Solar Eclipse. When a certain droid starts acting out of the ordinary, Orion investigates, but then he tries to rendezvous with movie star Belinda Fawn in the ride The Psyche and gets trapped in the dramas of his unconscious.

Belinda: female, 18-36, glamorous but shy movie star sings a duet with a droid at the opening ceremonies for the orbiting amusement park The Solar Eclipse.

Belinda tries to set up a rendezvous with hunky droid inspector Orion, but accidentally traps him in his own mind in the crazy ride The Psyche. Socrates: 28-50, the world’s most popular philosopher, Socrates Salvatore (40s); an esteemed guest at the Solar Eclipse opening. He and Sierra launch into a debate about whether the droids, with their six distinct models, are individuals and deserve their own civil rights. The odd behavior of Arch 209 changes the equation in favor of individual rights.

Arch: male, 20-40, (27, ageless); one of the six android models in the Solar Eclipse fleet, which means there are 2000 identical Arches. At least until the Ministers of Industry and Finance feed 209 a virus that compromises one of his safety mechanisms to carry out their sinister plot. Suddenly the damaged droid starts acting a little too human.

Another Arch, its safeguards still intact, performs a musical number with Belinda at the park’s opening ceremonies.

Andrea: female, 18-36, After the malfunctioning Arch 209’s scan is put into the mother computer, random androids start behaving oddly, including Andrea (ageless), who becomes a champion for female droid rights. On Elwin Hillard’s talk show, she meets Arch 209 and they develop an immediate digital attraction. Phoebe: female, 25-40, Celebrated author Phoebe Myrtle (30ish) has been asked to narrate the ride Creation, where stories unfold in a realtime interaction with writer, computer, guests and androids. When Arch 209 gets sent into one of her tales, she takes an interest in him and things get very personal. Little does she know that she’s being manipulated by the Ministers of Industry and Finance in their plot to assassinate the Minister of the Arts.

Elwin: male, 25-45, everyone’s favorite talk show host, has got the sweet seat on The Solar Eclipse’s Zero Gravity Show.

Calhoun: 30-52, a droid inspector but also a hired thug, determined to carry out the bloodthirsty aims of his bosses. Alf: 30-52, a droid inspector but also a hired thug, determined to carry out the bloodthirsty aims of his bosses.

Software Commercial

• Casting a lightly humorous software

Plays

• Company: Kyro Digital. Staff: Justin S.,

American Players Theatre 2021 Season

commercial. For a large company that specializes in software for marketers. prod.; Luke M., dir.; Taylor C., DP.

• Shoots mid-February (one day) in South

Orange County, CA.

• Seeking—Nerdy Couch Potato: male,

18-35, all ethnicities, this character is really into nerdy things; his living room is covered in anime figurines, posters and superhero comics; he loves shopping online and has a friendly face. Software Spokesperson: female, 20-35, Asian, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, a confident, beautiful young lady who is passionate about her software and who deeply cares about her clients; friendly and has a beautiful smile.

“Shopaholic”: female, 35-55, all ethnicities, passionate about two things; flashy fashion and shopping; cares deeply about her outer appearance and is always looking for the next hot outfit to wear.

• Seeking submissions from CA. • Send submissions to studio@kyrodigi-

tal.com.

• Include your email and/or phone num-

ber for ease of contact. Must have headshot.

• Pays $100-250/day.

Audiobooks & Podcasts ‘Nickels’

• Casting “Nickels,” a family/drama pod-

cast series. Synopsis: A middle-aged man reunites with his reincarnated brother thirty years after his brother’s tragic death.

• Company: Spudnik Media. Staff: Tim

Tuchrello, prod.; Luisa QuinterosWessel, assist.

• Records remotely and locally in L.A. • Seeking—Tom Monroe: male, 40-45,

dad/husband. Liz Monroe: female, 40-45, mom/wife. Troy Monroe: male, 16-20, White / European Descent, late teens, high school student, male. Deb Monroe: female, 48-55, Tom’s sister, independent psychic. Mitch Diller: male, 20-25, Bill and Lorraine’s spirited son. Bill Diller: male, 50-60, conservative dad/husband. Lorraine Diller: female, 50-60, gentle mom/ wife. Rachel: female, 18-25, studious asst, female. Shelly: 50-60, gruff neighbor, female.

• Send submissions to litseriessd@gmail.

com.

• Auditions via Zoom, mainly on

Wednesday, Thursday and Saturday.

• Visit www.solareclipseone.com for

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

• Compensation TBD based on session

characters and scripts.

• Pay $100 for a half day, $150 for a full

day with a daily contract.

length.

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National/ Regional

• Seeking understudies for the American

Players Theatre 2021 season. Season includes “The Mountaintop” (Malkia Stampley, dir. Runs May 6-June 19); “Improbable Fiction” (Tim Ocel, dir.

Runs May 20-June 26); “An Illiad” (John Langs, dir. Runs June 17-Aug. 15); “Rough Crossing”’ (William Brown, dir.

Runs June 24-Aug. 7); “Cymbeline” (Marti Lyons, dir. Runs July 6-Sept. 11); and “A Phoenix Too Frequent” (Keira Fromm, dir. Runs July 27-Oct. 3).

• Company: American Players Theatre.

Staff: Carey Cannon, assoc. artistic dir.; Jake Penner, artistic assoc.

• Season rehearses and performs in

Spring Green, WI.

• Seeking—Understudies: males and

females, 18+, all ethnicities.

• Seeking submissions from WI. • For consideration, prepare one

Shakespeare monologue and one additional piece of your choice not to exceed a total of three minutes and email to casting@americanplayers.org.

Submissions deadline is Mar. 1.

• Pays $899/wk. Equity LOA ref. LORT

Contract.

‘Block Association’

• Casting Equity actors for roles in “Block

Association.”

• Company: Actors Theatre of Louisville.

Staff: Michael Crowley, playwright (he/ him/his); Michael Rau, dir. (he/him/his); Reed Flores, assist. dir. (he/him/his); Chloe Chow, assist. to the dir. (she/her/ hers) Emily Tarquin, artistic prod., CSA (they/them/theirs) Sujotta Pace, professional training company & casting coord. CSA (she/her/hers) Kay Nilest, prod.-casting apprentice (she/her/ hers).

• Rehearsals begin Mar. 23; tech/in-

house test audiences begin Mar. 30; runs Apr. 6-18 (specific dates and times tbd).

• Seeking—Rachel: 40-49, she/her/hers,

40s, White, well-off and successful consultant, great at making speeches and PowerPoint decks. Believes people are fundamentally good and wants to be a unifier. Two kids. Overworked, but is still going to show up at your door with muffins when you move in. Elena: 40-59, she/her, Latinx, successful real estate agent who focuses on her appearance. Outgoing, engaging, problem solver, extrovert who can make others feel comfortable in any situation.

Charming and likeable antagonist to Rachel. Aneta: 30-49, all ethnicities, she/her, scientist and professor.

Curious, socially awkward, blunt. She doesn’t catch social cues and has a very literal and cerebral approach to the world. (Seeking actors with deft navigation of humor and comedic timing). backstage.com

National/Regional casting Ryan Lee: 18-39, all ethnicities, he/him, gay, charming, you want to “punchhim-in-the-face” kind of handsome, Canadian, bike lover, happily married.

Emma: 18-29, all ethnicities, she/her, they/them, recent college grad pursuing a masters degree in Gender andSexuality. Gentle, compassionate, earnest, states her opinions, and tirelessly disrupts problematic circumstances. From a wealthy family and carries class privilege.

• Seeking submissions from KY. • For consideration, visit https://www.

dropbox.com/sh/s99hzx7lgpbkn2v/ AAAXoDvFy0tePTpAObPh0Noya?dl=0 to view script, character breakdown, and audition sides. Prepare sides for the character(s) you most identify with.

Before your audition, slate your name and character name of the side what you’re auditioning with. Submit all selftape submissions via this following Airtable form https://airtable.com/ shrX8427C7BEPZMtD. Submissions deadline is Feb. 18. Callbacks will be held Feb. 20, noon-7 p.m. (break 3-4 p.m.). If needed, additional callbacks will be held Mar. 1.

• In reference to the descriptions below –

these are descriptions of the characters as identified in the script and in collaboration with the creative team. They are not meant to be exhaustive of who should play these roles and we seek to cast as expansively and intentionally with consideration of race/ethnicity, gender, body type, and ability. Note: All actors should have strong improvisational skills.

• Pays $764/wk. Equity LORT Non-Rep D

Contract.

‘Constellations’

• Casting scene from the play

“Constellations” by Nick Payne.

• Company: The Texas University at

Austin. Staff: Aisha Sultanbekova, graduate RTF student at UT Austin.

• Rehearses mid-February; shoots early

March.

• Seeking—Marianne: female, 25-40, all

ethnicities, a cosmologist. Roland: male, 30-40, all ethnicities, a beekeeper.

• Seeking submissions from TX. • Send submissions to aishasultan-

bekova@utexas.edu.

• Copy of final edited product

‘History of Theatre’

• Casting three actors to play multiple

roles of potentially all ages and genders in world premiere of “History of Theatre.” The play is an ensemble piece about the history of African American theatre, from the days of The African Company 200 years ago in New York to modern day Seattle. All actors will play multiple characters, specific roles to be assigned once casting is complete.

• Company: A Contemporary Theatre

Inc. Staff: Valerie Curtis-Newton, dir.; Regiald André Jackson, playwright; Margaret Layne, casting dir. (at large) for ACT - A Contemporary Theatre.

• Rehearsal & filming (via Zoom using

actor webcams*) will be held Mon.-Fri. Mar. 22-Apr. 2 from 10 a.m.-4 p.m. PT. Distribution (released to stream on demand via ACT website): May 14-June backstage.com

6, 2021. Note: ACT will supply additional equipment as needed/ necessary for lighting, etc.

transgender, and non-binary actors to submit for the roles they most identify with.

Student Films

Black / African Descent. Male Actor 2: male, 60+, Black / African Descent.

Female Actor: female, 25-40, White / European Descent.

Contract.

• Casting “Portrait of My Father.”

• Seeking—Male Actor: male, 30-50,

• SPT Pays $425/wk. Equity SPT

‘Mud Season Mystery: The Lodger’

• Seeking submissions from WA. • For consideration, submit self-tape of

• Casting Equity actors for roles in “Mud

Season Mystery: The Lodger.” Note: No roles will be understudied. Actors must have access to a secure internet connection. This will be an interactive experience with the audience. Actors should be comfortable with at least some mild improvisation.

two contrasting contemporary monologues & upload with headshot/resume to this link: https://www.dropbox.com/ request/Jg8ga4Stn Gb9NCAZ4tPF Use this file-naming format: LastnameVideo-Date, Lastname- Headshot-Date, etc. Material from the script will be provided for callbacks. Submissions deadline is Feb. 22.

• Company: Northern Stage Company.

Staff: Brenda Withers, playwright; Carol Dunne, artistic dir.; Jess Chayes, dir.; Karie Koppel (Koppel Casting), casting dir.

• Callbacks will be held Feb. 24-28 via

Zoom. You will be contacted if you receive a callback and to schedule a Zoom appointment.

• Rehearsals begin Mar. 30, 2021; runs

Apr. 14-May 2. Note: Actors will rehearse and perform remotely from their homes over Zoom. Performances will be presented to a live Zoom audience.

• ACT welcomes submissions from actors

of all races and ethnicities, neuro-diversities, and disabilities, for available roles. Gender nonconforming, genderqueer, transgender, and non-binary actors are invited to submit for the roles they most identify with. Race/ethnicity is indicated only when specified by the playwright as integral to character and/or narrative.

• Seeking—Ronnie: all genders, 20-49,

all ethnicities, must feel comfortable improvising banter with the audience.

Non-binary and trans actors particularly encouraged to submit for this role.

Daisy: female, 20-39, all ethnicities, British. Speaks with an RP accent. Mrs. B: female, 50-69, all ethnicities, British.

Speaks with an RP accent; should be comfortable with some light improvisation. Mr. Sleigh: male, 40-59, White / European Descent, British. Speaks with an RP accent. Joe Chandler: male, 30-39, all ethnicities, British; speaks with a Cockney accent.

• Pays $739/wk. (filming), $150/wk (dis-

tribution). Equity LORT Non-Rep Contract.

‘Let Her Rip’

• Casting “Let Her Rip.” • Company: Cincinnati Shakespeare

Company. Staff: Brian Isaac Phillips (he/ him/his), prod. artistic dir.; Jeremy Dubin (he/him/his), dir. of education; Maggie Lou Rader (she/her/ hers),playwright; Lindsey Mercer (she/ her/hers), dir.

• Seeking submissions from VT. • For consideration, select one of the

provided sides at https://bit.ly/3rEjhs8 for the role you are auditioning for. Your video should include a slate of your name, height, role you are auditioning for, and current location. Attach a current picture and resume with contact information along with your video submission to kcactorsubmissions@gmail. com with the subject line “ATTN: Mud Season Mystery Role of _________”

• This workshop and reading to be con-

ducted entirely through Zoom. First rehearsal will be Feb. 22; final reading will be recorded and available to view Feb. 26-28. There are no live performances.

• Seeking—Hunna (Nana): 17-25, Black /

African Descent. Liza: 40-65. Em: 25-40.

• Pays $739/wk. Equity LORT D Non-Rep

Contract.

• Seeking submissions from OH. • For consideration, prepare and video

record two contrasting pieces, at least one of them Shakespeare (combined length less than three minutes). Slate at the beginning of the video, stating your name and the pieces you’ll be doing. Email video via a YouTube, Vimeo or Google Drive link (make sure privacy settings allow access), Attach a digital headshot and resume. Send audition video link, along with above materials attached, to jeremy.dubin@cincyshakes.com with subject line: “CSC Workshop Submission.” Submissions deadline is Feb. 23.

• As an ADA compliant organization, we

Short Films ‘Rigoletto’

• Casting “Rigoletto,” an independent

neo-noir short film with no dialogue based on a 1950s mob motif.

• Company: Orangutan Creative.

• Shoots one-two days in Nashville, TN. • Seeking—Lead Male: male, 25-40,

welcome actors of all abilities and will make all reasonable accommodations in order to cast actors, regardless of disability, in any available role. We also recognize that most characters are written on the binary (use he/him or she/her pronouns) and we invite gender nonconforming, genderqueer,

White / European Descent, a little built/ rugged with a hint of Bond. In another reality he could be a father. Think Josh Brolin in “No Country for Old Men.” Lead Female: female, 18-30, all ethnicities, tall with a strong bone structure.

Preferably blonde with fuller lips.

‘50/’60s flare. Think Kim Novack in “Vertigo.”

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

• Pays $400/day. Nonunion.

29

‘Portrait of My Father’

Synopsis: A young father, who has just experienced a significant loss, contemplates how to react to his child son exhibiting interest in something traditionally feminine.

• Company: University of Texas at

Arlington. Staff: Analiese White , dir.; Zahra Ghoncheh, prod.

• Shoots mid/late March in DFW. • Seeking—Ben: male, 25-45, a single

father in his early 30s. He is on the timid side and carries some trauma from his childhood. Cameron: male, 5-9, a stubborn child that likes to question rules. Donna: female, 48-60, a mother in her late 50s; a wise, no-BS woman with more than a few regrets. Bruce: male, 40-52; very traditional and can be hottempered at times. Young Ben: 5-11, the 6-9 year old version of Ben, small and meek. Like Cameron, Young Ben also likes to experiment with things that can land him in trouble with his father.

• Seeking submissions from TX. • Auditions will be held Feb. 20 via Zoom.

For consideration, submit your resume along with your headshot to zahra. ghoncheh@mavs.uta.edu.

• Credit, copy, and meals provided.

‘Stigma’

• Casting “Sigma,” a short three minute

student film. Synopsis: Facing a challenging situation, detective Johnathan Haeg battles his emotions as he struggles with flashbacks from a call gone wrong.”

• Company: Flashpoint Chicago. Staff:

Mary Hess, dir.

• Shoots Feb. 19-Mar. 6 in Chicago, IL. • Seeking—John: male, 30-40, all

ethnicities, a detective who went through a traumatic experience and is battling with a decision to seek professional help; his appearance is starting to show lack of self care. John is also a smoker; he smokes a cigarette through the opening portion of the film; actor must be ok with smoking for this role. Desk Clerk: female, 21-30, all ethnicities. Angela: female, 20-30, all ethnicities, a trouble young woman on the verge of ending her life by jumping off a bridge; she is persuaded to come down, but slips in the attempt and falls to her death; we will not be shooting the actor actually falling for this role; it will be a combination of close up shots and voice over for facial expressions and audio reaction through the fall. Kelly: female, 25-35, all ethnicities, John’s partner, small but a firecracker who doesn’t take crap from anyone and who everyone knows not to mess with; this role requires voice over as well as interaction on screen (maintaining safe distance) with John and Rick. Rick: 30-40, all ethnicities, an egotistical and arrogant detective with a superiority complex.

• Seeking submissions from IL. • For consideration, provide your avail-

ability between Feb. 19 and Mar. 6 along with your submission to m.hess@ columbiacollege.edu. We will be providing a copy of the script and ask you to submit a recorded audition.

• No pay.

02.18.21 BACKSTAGE

casting National/Regional

Reality TV & Documentary Kids Baking Competition Show

• Casting a kids show about creating

amazing cakes, using fondant and icing.

Fun learning show.

• Company: Tastemade. Staff: Tracy

Sinclair, casting prod.

• Shoots April-June (only on the week-

ends, if team is chosen they will only be needed for one weekend) in Burbank, CA. • Seeking—Baker: 8-14, all ethnicities,

teams of two - siblings, family, neighbors, school mates, good energy and personality, must be able to bake a cake from scratch and be creative with decorating using fondant.

• Seeking submissions nationwide.

• Send submissions to tracy.sinclair@

tastemade.com.

• Interviewing teams of two kids via

Skype or Zoom. Must be local or willing to drive will be filming in Burbank, CA. • Winning team receives prize.

‘LBJ’

• Casting a four-episode docuseries

about the presidency of LBJ. Seeking Austin, TX locals for all roles. These are all nonspeaking roles, for recreation scenes for a documentary.

• Company: Kerry Barker Casting. Staff:

Kerry Barker, casting dir.

• Shoots Mar. 29-Apr. 10 in Austin and

Johnson City, TX. Note: Production will be following all of the latest COVID-19 guidelines outlined by the State of Texas.

• Seeking—Judge Sarah T. Hughes:

female, 60-65, White / European Descent, around 5’1”, 100 lbs., swears in LBJ on Air Force One after JFK is assassinated. Should resemble reference photo (https://en.wikipedia.org/wiki/ Sarah_T._Hughes); pays $250/day (works approx. 1 day). Sid Davis: male, 30-35, White / European Descent, around 5’10”, lean build. White House correspondent during LBJ’s presidency.

Should resemble reference photo (https://uknow.uky.edu/campus-news/ reporter-kennedy-assassination-lbjoath-sid-davis-speak-today). Pays $250/day (works approx. 2-4 days). Dr. Martin Luther King Jr.: male, 35-39, Black / African Descent, around 5’7”, 150 lbs. Civil rights leader. Should resemble reference photo (https://en. wikipedia.org/wiki/Martin_Luther_ King_Jr.); pays $250/day (works approx.

2 days). Clarence B. Jones: male, 30-35, Black / African Descent, around 5’10”, average/lean build. Personal counsel and speechwriter for MLK. Should resemble reference photo (https:// seniorplanet.org/clarence-jones-thelong-perspective/); pays $250/day (works approx. 2-3 days). Robert F. Kennedy: male, 38-42, White / European Descent, around 5’9”, 150 lbs, reddish-brown hair. Attorney General and younger brother of JFK. Should resemble reference photo (https://en. wikipedia.org/wiki/Robert_F._ Kennedy); pays $250/day (works approx. 1 day). Richard Russell: male,

BACKSTAGE 02.18.21

65-70, White / European Descent, around 5’10”, average/lean build.

Democratic senator from Georgia, mentor to LBJ, but also led Southern opposition to the civil rights movement.

Should resemble reference photo (https://en.wikipedia.org/wiki/Richard_ Russell_Jr.); pays $250/day (works approx. 1 day). Bill Moyers: male, 30-35, White / European Descent, around 5’10”, lean build. LBJ’s domestic policy advisor and press secretary. Should resemble reference photo (https:// www.britannica.com/biography/BillMoyers); pays $250/day (works approx. 1 day). Joseph Califano: male, 30-35, White / European Descent, around 5’8”, average build. LBJ’s chief aide for domestic affairs. Scene takes place in a pool - must be comfortable swimming.

Should resemble reference photo (http://www.lbjlibrary.org/lyndonbaines-johnson/perspectives-andessays/ seeing-is-believing-the-enduring-legacy-of-lyndon-johnson); pays $250/day (works approx. 1 day). Lynda Johnson Robb: female, 22-27, White / European Descent, around 5’10”, lean build. LBJ’s elder daughter. Will appear pregnant in scene (via prosthetics). Should resemble reference photo (https://gw.geneanet.org/tdowling?lang=en&n=johnson &oc=0&p=lynda+bird); pays $250/day (works approx. 1 day). Tom Johnson: male, 25-29, White / European Descent, around 5’10”, lean build. LBJ’s aide who handed him the news that MLK had been shot. Should resemble reference photo (https://commons.wikimedia. org/wiki/File:LBJ_with_Tom_Johnson,_ Peter_Ligasor.jpg); pays $250/day (works approx. 1 day). Larry Temple: male, 30-35, White / European Descent, around 6’0”, lean/average build. Special counsel to LBJ. Should resemble reference photo (https://en.wikipedia.org/ wiki/Larry_E._Temple#/media/ File:President_Johnson_posing_with_ staff_1969.jpg); pays $250/day shoot (works approx. 1 day). Jim Jones: male, 27-32, White / European Descent, around 5’9”, average build. LBJ’s chief of staff. Should resemble reference photo (https://twitter.com/ BeschlossDC/status/1300232385565536258/photo/1); pays $250/day (works approx. 1 day).

Military Officer: male, 35-45, Black / African Descent, meets with Clarence Jones at the Pentagon to discuss Vietnam fatalities; pays $150/day (works approx. 1 day). Secret Service Agent: male, 35-45, White / European Descent, after JFK is shot, he breaks the news of his death to LBJ at the hospital; pays $150/day (works approx. 1 day).

Government Staff & Reporters: all genders, 30-60, various figures working in and around the White House during LBJ’s presidency; pays $150/day (works approx. 1 day). Lyndon B. Johnson: male, 55-65, White / European Descent, around 6’4” and 200 lbs. The 36th president of the United States.

Should have a tall imposing stature and be comfortable with pacing and gesturing. One scene will take place in a pool must be comfortable swimming. Should resemble reference photo (https://en. wikipedia.org/wiki/Lyndon_B._

Johnson); pays $250/day shoot (works approx. 12 days).

• Seeking submissions from TX. • Send submissions to kerrybarkercast-

ing@gmail.com.

• Audition via self-tapes/reels. Include

reels with submission if available.

Selected talent may be requested to self-tape or do a callback via video conferencing.

• Pays between $150-$250/day. See role

• Seeking—Good-Looking “Bro” Type:

male, 25-39, all ethnicities, drunk guy leaving the bar. Will have lines. Police Officer: 39-64, cop eating donuts. Sees guy getting drunk.

• Seeking submissions from FL. • Send submissions to rodrigo@tascastu-

dios.com.

• Final casting via video audition/Zoom.

• Pays $300/day.

description for rate.

‘Love Remembered’

• Casting married couple sharing stories

of wedding proposals and life leading up to the the wedding day “warts and all” ranging from family disapproval, mixed couple situations etc. for “Love Remembered.” Synopsis: Too many lives have been lost to the pandemic and the point is to capture inspiring love stories before it is too late.

• Company: Documented America. Staff: Corinne Jayaweera, prod.-dir.

• Remote filming (date flexible.).

• Seeking—Couple Sharing Stories: 60+, remote filming doc; sharing Love Stories from your past revealing stories of marriage proposals and the engagement leading up to your wedding day.

• Seeking submissions nationwide.

• Send submissions to CJ@documentedamerica.com.

• Open for discussion.

Demo & Instructional Videos ‘Build Your Path’ Web Series

• Casting “Build Your Path,” a web-based

educational series on different trades.

The videos consist of a studio portion for the introduction and are followed by B-roll of on-location talent demonstrations.

• Company: Rock Shore Media. Staff:

Nate Brubaker, creative dir.

• Shoots on dates TBD in Maryland.

• Seeking—Host: all genders, 18-28,

Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander.

• Seeking submissions from MD. • Send submissions to nate@rockshore-

media.com.

• Provide a video submission.

• Pay provided.

Local Commercials ‘Driving & Donuts’

• Casting multiple roles in “Driving &

Donuts,” a local TV commercial.

• Company: Tasca Studios. Staff: Rodrigo

Tasca, dir.

• Shoots first week of March in Weston,

FL.

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Online Commercials & Promos Custom Photo Book, Real Mothers

• Casting real mothers with children of

all ages to choose photos and make a book that you will share in a testimonial style shoot from home.

• Staff: E. Kennedy, coord.

• Shoot date is TBD. Shoots from home

with the assistance of a remote director.

• Seeking—Lead Person in Mother-

Grown Daughter Team: female, 18+, all ethnicities, mother, 35+, of a grown daughter; must have a real scrapbook.

Daughter, 18+, who has young child or children, or is expecting a baby. Either person may submit for the team. Both will discuss the pros and cons of scrapbooks and having hard copies of photos versus digital pictures. Real Moms Who Want to Preserve Family Photos in a Book: female, 30-70, all ethnicities, real mothers who are willing to go through the process of choosing family photos to make a hard cover book.

• Seeking submissions nationwide.

• Apply on Backstage.com • Pays $250 flat rate per individual.

Nonunion, all media buyout. We pay for the cost of the product, you choose the photos.

Game App Project, Fun Outgoing Real Life Comedic Couples

• Casting game app project. Production

states: “This is an ongoing project. We are looking for fun couples that interact well together to play a game app and give reaction shoots and play off each others energy. These projects can be shot in our studio in Downtown Los Angeles, and also as director assisted remote shoots, anywhere in the US.” • Company: TubeScience. Staff: Sarah

Furlong, testimonial casting prod.

• Shoots in February and March .

• Seeking—Female With Fun Outgoing

Male Partner For Game App Project: female, 18-26, all ethnicities, you must be a real couple with a big personality who can look like you are having fun with your mate on camera. Male with Fun Outgoing Female Partner for Game App Project: male, 18-26, all ethnicities, you must be a real couple with a big personality who can look like you are having fun with your mate on camera.

• Seeking submissions nationwide.

• Send submissions to casting@tube-

science.com.

backstage.com

National/Regional casting • Be over 18 and be a real couple that is

sheltering in place together. You need to be in the same city to shoot this project and also to do a selfie audition.

• Rate is $250 per person per project /

non union/all media buyout

Makeup Application Testimonials

• Casting elegant women, ages 40-70, in

makeup application and testimonial spots.

Print & Digital Modeling Antonio Esposito, prod.

Commercials (Voiceover)

Middletown, CT.

Farm Commercial

all ethnicities, no fake nails and no fake eyelashes. Comfortable around tools.

40s for a farm commercial. In terms of direction, it should be down to earth, explanatory, pleasant, positive but not over the top -- like you’re having a reassuring conversation with a friend.

a new product.

• Company: Content Pictures. Staff: • Shoots Feb. 25 at One Ten Studio in

• Seeking—Elegant Women 40-70:

• Seeking submissions from CT, NY and

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Pays $300 per project for all media,

• Apply on Backstage.com.

• Must have current selfie, no old head-

non-union buyout.

Online App, People Who Love to Shop Online • Casting people who love to shop for an

online app.

• Staff: E. Kennedy, coord.

• Shoots remotely or in Downtown L.A.

(depending on talent’s location).

• Seeking—Women 18+ Who Love to

Shop Online: female, 18-60, all ethnicities, attractive, charismatic women, 18-60, who love to shop online, to demonstrate and discuss the app. Men 18+ Who love to Shop Online: male, 18-45, all ethnicities, attractive, charismatic men, 18-60, who love to shop online, to demonstrate and discuss the app.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Pays $250 flat. Nonunion, all media

buyout.

Sexy Women With Influencer Vibe • Casting sexy women with an influencer

vibe, 18-40, who either live in LA and are willing to come in to the studio, or who know how to shoot at who have at home set ups and are willing to work with remote directors. Synopsis: We serve a variety of clients and the products range from workout gear to lingerie to beauty and hair products.

• Staff: E. Kennedy, coord.

• No rehearsal; auditions are remote; stu-

dio shoots in LA, or remote shoots for those not in LA. • Seeking—Sexy Women With

Influencer Vibe For LA Studio Shoots: female, 18-40, all ethnicities, sexy women, 18-40, with a pulled together look and an influencer vibe, who live within 90 miles of Downtown LA and can quickly drive in for a shoot. (If not, apply for the other part.). Sexy Women with Influencer Vibe for Remote Shoots from Home: female, 18-40, all ethnicities, sexy women, 18-40, with that very pulled together look, for remote shoots with the help of a director; you need some skill at filming yourself at home and uploading footage.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Pay depends on the job, flat rate range

is $200-$300 for in studio and/or work from home shoots. Non-union, all media, buyouts. backstage.com

• Copy and credit provided.

Dewalt Tools Print AD

• Seeking—Lead Woman: female, 25-36,

female, 40-70, all ethnicities.

audio equipment.

• Casting a print ad for stock imagery of

• Staff: E. Kennedy, coord.

• No rehearsal. Locations are in studio in

L.A. and work from home. Dates TBD.

• Record yourself using your best-quality

• Casting a woman of color in her 30s-

MA.

• Company: Orphan Productions. Staff:

shots. Also submit photo of hands.

R. McCool, coord.

• Buy out: $850/12 hrs. Must be able to

• Records remotely.

• Seeking—VO for Farm Commercial:

self report to set in Middletown, CT.

female, 30-50, read the script in full. In terms of direction, it should be down to earth, explanatory, pleasant, positive but not over the top. Like you’re having a reassuring conversation with a friend.

Old Navy Shoot, Real People Female Casting

• Casting an upcoming Old Navy shoot.

Read all carefully before submitting.

Note: Do not submit if you are currently signed with a modeling agency.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, read the entire

• Company: Stefanie Stein Casting. Staff:

Stefanie Stein, CD.

script. You should have source connect and a mic. You must be able to connect to our mixers studio.

• Fit date Apr. 30; shoots May 11 in NYC or

Los Angeles, CA (must either live in NYC or LA; client can not travel in talent).

• Flat $1200 buyout for 2 years for

streaming, web and social for 1 x :30 spot. Talent will need to record once more after picture lock for final mix.

Must have access to source connect for final VO record.

• Seeking—All Real Women Ages 20-35:

female, all ethnicities, all cultures, colors, beliefs, bodies, background, families, genders, ages, and abilities.

Casting womxn - anyone who self identifies as a woman. All sizes. Going from size 4 to size 30. Priority is really finding great talent in size 14+ range. The same sizes are 4, 10, 12, 14, 16, 18, 20, 24 + 30.

Women with disabilities included.

8-Mar. 6 with a possible extension through Mar. 13) in the 2021-22 season.

• Company: Florida Studio Theatre. Staff:

Richard Hopkins, prod. artistic dir.; Alexa Doggett, casting & hiring coord.

• Season rehearses and performs in

Sarasota, FL.

• Seeking—Stage Manager: 18+, all

ethnicities.

• Seeking submissions from FL. • For consideration, submit resume to

casting@floridastudiotheatre.org or mail to Alexa Doggett, 1241 North Palm Ave., Sarasota, FL 34236. Submissions deadline is Feb. 19.

• For more info, visit www.floridastudio-

theatre.org.

• Florida Studio Theatre is an established

LORT D, Equity regional theatre in Sarasota, FL. Great artistic environment. Equity Contract with competitive, negotiable salaries. Florida Studio Theatre is working towards becoming a more anti-racist and inclusive theatre.

FST is thus committed to developing a work environment that is reflective of the diverse world that it serves. People who share this belief are encouraged to submit.

• Pays $884/wk. Equity LORT D Contract.

‘History of Theatre,’ Stage Manager

• Seeking stage managers for the world

premiere of “History of Theatre.”

• Company: A Contemporary Theatre

Inc. Staff: Valerie Curtis-Newton, dir.; Regiald André Jackson, playwright; Margaret Layne, casting dir. (at large) for ACT - A Contemporary Theatre.

• Rehearsal & filming (via Zoom using

‘Block Association’

actor webcams*) will be held Mon.-Fri. Mar. 22-Apr. 2 from 10 a.m.-4 p.m. PT. Distribution (released to stream on demand via ACT website): May 14-June 6, 2021. Note: ACT will supply additional equipment as needed/necessary for lighting, etc.

Association.”

ethnicities.

Stage Staff & Tech

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

• For consideration, include your

Instagram handle, along with your dress size (i.e. size 10, etc.). If you are selected casting will reach out for additional photos if needed. Note: Do not submit if you are currently signed with a modeling agency.

• Seeking stage managers for “Block • Company: Actors Theatre of Louisville.

Staff: Michael Crowley, playwright (he/ him/his); Michael Rau, dir. (he/him/his); Reed Flores, assist. dir. (he/him/his); Chloe Chow, assist. to the dir. (she/her/ hers) Emily Tarquin, artistic prod., CSA (they/them/theirs) Sujotta Pace, professional training company & casting coord. CSA (she/her/hers) Kay Nilest, prod.-casting apprentice (she/her/ hers).

• Rate is $1500-2500 includes a 12 hr. day

plus a fitting prior to the shoot.

Film & Documentary (Voiceover)

• Rehearsals begin Mar. 23; tech/in-

house test audiences begin Mar. 30; runs Apr. 6-18 (specific dates and times tbd).

‘Entre Los Muros’

• Seeking—Stage Manager: 18+, all

ethnicities.

• Casting “Entre Los Muros,” a poetic

animated and live-action short film that critiques femicide in Mexico.

• Seeking submissions from KY. • For consideration, submit resume to

PWerner@actorstheatre.org or mail to Actors Theatre of Louisville ATTN: Paul Werner 316 W. Main St, KY 40202.

Submissions deadline is Feb. 18.

• Company: USC School of Cinematic

Arts. Staff: Gerardo Garcia, dir.; Kat Skender, prod.

• Voiceovers finalized in late Feb.-early

Mar.

• Pays $884/wk. Equity LORT D Contract.

• Seeking—Female Protestors/Activists:

‘Hi-Hat Hattie!’ & ‘Eleanor’

female, 18+. Radio Hosts: all genders, 18+. Daniela’s Mother: female, 41+.

News Reporter: all genders, 30+.

• Seeking stage managers for “Hi-Hat

Hattie!” (Rehearsals begin May 11; runs June 2-20 with a possible extension through June 27) and “Eleanor” (Rehearsals begin Nov. 16; runs Dec.

• Seeking submissions worldwide.

• Send submissions to entrelosmuros-

film@gmail.com.

31

• Seeking—Stage Manager: 18+, all

• Seeking submissions from WA. • For consideration, submit resume to

Alyssa Montgomery, Production Manager, ACT - A Contemporary Theatre, 700 Union St., Seattle, WA 98101. Submissions deadline is Feb. 22.

• Pays $739/wk. (filming), $150/wk (dis-

tribution). Equity LORT Non-Rep Contract.

‘Mud Season Mystery: The Lodger,’ Stage Manager • Seeking stage managers for “Mud

Season Mystery: The Lodger.”

• Company: Northern Stage Company.

Staff: Brenda Withers, playwright; Carol Dunne, artistic dir.; Jess Chayes, dir.; Karie Koppel, casting dir.

• Rehearsals begin Mar. 30, 2021; runs

Apr. 14-May 2. Note: Actors will rehearse and perform remotely from their homes over Zoom. Performances will be presented to a live Zoom audience.

• Seeking—Stage Manager: 18+.

• Seeking submissions from VT. • For consideration, submit resume to

Northern Stage Company, 76 Gates St., White River Junction, VT 05001.

• Pays $884/wk. Equity LORT D Non-Rep

Contract.

02.18.21 BACKSTAGE

Ask An Expert

Agents

Auditions Film

Headshots

Television

Theater

Unions

Voiceover

Q:

Should you use props in a self-tape?

—Sarah Ray

Our Expert Gwyn Gilliss is an acting and marketing coach.

*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 02.18.21

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; GILLISS: COURTESY GWYN GILLISS

For self-tapes, I advise my all actors to follow the same rules they would for live auditions: If it isn’t essential to the character, scene, and reality you’re trying to create in the monologue, don’t use a prop.

There are exceptions. For example, I have a charming coaching client who does a very funny monologue about a bunny, and she uses a stuffed animal—a very small, fluffy, furry animal held close to her chest—to great comedic effect. She’s been called by agents and casting directors because they remember her. This is a bold choice, but it is consistent with all of her marketing efforts—her headshot, sizzle reel, and website—which all show the same cute, sweet girl. So that specific marketing tactic paid off; they remember her as the cute girl with the bunny.

Generally, because you’re seen in medium close-up on Zoom, Skype, or on-camera (if you tape the audition yourself), you should ask yourself what’s important. What are they looking for? Well, they’re trying to see if you can act. They also want to see what you look like. What kind of roles can you play—your type, marketability, and castability? Are you compelling, exciting, and memorable? Do you have that “it” star energy? That’s a lot to show in a small frame, and you want the focus to be on you, not on a prop.

Most industry pros I’ve worked with decide if they want to audition, cast, and work with an actor in the first few seconds of a self-tape, so first impressions do count. More important than a prop is what you are wearing. Is your look polished and professional? The color and style of clothing you’re wearing tells them immediately how to cast you. For example, a navy blazer or a gray suit might bring a lawyer to mind.

These wardrobe choices suggest what role you’re going for and make you memorable. Casting directors still want to see good work in your audition, but they’ll remember you more often if you make a specific wardrobe or hairstyle choice. Being camera-ready, polished, and professional-looking is more important than holding a prop.

The Slate

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