02.25.21
SAG Awards 2021
The 15 film + TV ensembles you need to know
Jared Leto believes in the power of hard work
BACKSTAGE.COM
Gillian Anderson Leans Into the Unknown
“If it’s meant for you, it will be yours”
Aaron Sorkin
talks “The Trial of the Chicago 7” + bringing true stories to the screen
6+ Pages OF CASTING NOTICES
Contents
vol. 62, no. 06 | 02.25.21
Cover Story
Cover Story A Woman of Character Prospecting for Gold Nearly 30 years after landing her breakout role on “The X-Files” Your guide to the andofficial fresh off playing 2020 Oscar nominations Margaret Thatcher page 16 on “The Crown,” Gillian Anderson keeps surprising us—and herself page 18
The Green Room 6 The 2021 SAG Award
nominations are Room in The Green
8 This week’s roundup of who’s 6 Broadway’s audience boom casting what starring whom
8 This week’s roundup of who’s 10 Olly Alexander “It’s a Sin” casting whaton starring whom and going from frontman to
10 Annieman Murphy reflects on leading “Schitt’s Creek”
Advice Advice
14 CRAFT 13 Finding CRAFT your sitcom rhythm Survive and thrive
16 #IGOTCAST 13 Sonja #IGOTCAST Ann Jones
Mark Beauchamp
16 SECRET AGENT MAN One knight AGENT in Hollywood 14 SECRET MAN
The power of intention
Features Features 4 BACKSTAGE 5 WITH...
Leto 4 Jared BACKSTAGE 5 WITH... David Alan Grier
12 MEET THE MAKER Sorkin, “The Trial of the 12 Aaron MEET THE MAKER
Chicago 7” writer and Cathy Yan, “Birds of director Prey” director 14 THE ESSENTIALISTS Bruce 14 THEPandolfini, ESSENTIALISTS chess consultant Jeremy Woodhead, makeup 17 IN hair THEand ROOM WITHdesigner Kerry Barden 15 IN THE ROOM WITH Victoria 23 STEP INTOThomas THE VOTING BOOTH Your guide to the 2021 SAG Award–nominated ensembles And the 2020 Oscar SHOULD have to… 32 ASK ANgone EXPERT Natalie Roy on overcoming 32 ASKfright AN EXPERT stage Amy Russ on principal and background work
21 OUR DREAM BALLOT
Casting 25 Casting New York Tristate
New York Tristate 27 22 California California 29 27 National/Regional
28 National/Regional
Gillian Anderson photographed by Liz Collins/Trunk Archive. Cover designed by illustration by John Jay Cabuay. IanCover Robinson. Cover designed by Ian Robinson.
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“THE BEST FILM OF THE YEAR” “LESLIE ODOM JR. IS ASTONISHING”
FOR YOUR CONSIDERATION
OUTSTANDING MALE SUPPORTING ACTOR LESLIE ODOM JR.
OUTSTANDING CAST KINGSLEY BEN-ADIR • BEAU BRIDGES • LAWRENCE GILLIARD JR. ELI GOREE • ALDIS HODGE • MICHAEL IMPERIOLI • LESLIE ODOM JR. JOAQUINA KALUKANGO • LANCE REDDICK • NICOLETTE ROBINSON
Backstage 5 With...
Jared Leto By Benjamin Lindsay
Jared Leto is a multihyphenate performer who, for years, has done it all. Since his breakout role on “My So-Called Life” in 1994, he’s starred in indies like “Dallas Buyers Club” (which won him an Oscar) and genre tentpoles like “Suicide Squad” and “Blade Runner 2049.” The throughline is simple: Leto always goes all in. The latest is his Golden Globe– and SAG-nominated turn in John Lee Hancock’s “The Little Things.”
How did you first get your SAG-AFTRA card? I was living in New York, and I’d just dropped out of film school. I was studying to be a director. And I believe I got it from a commercial. I did a few commercials early on, and it was a godsend, because you would shoot one day and then you would get residual checks through the year.
What’s one piece of advice you would give your younger self? I would probably say to not worry so much [and] that things are going to work out, for better or worse. Maybe that’s a terrible thing to say. I think the stress that we put on ourselves is probably a good thing; I don’t understand why they don’t talk about that more. They should talk about that in acting class and schools. The trick is that fear and that stress that you feel is a great motivator. Fear is a great motivator. I had a lot of fear and still have my fears, but it really drove me to work—and then work some more. And if I look at my younger self, maybe I wouldn’t change it. I didn’t grow up well off. I took great pride in not having a Plan B. I didn’t want to give myself any opportunity to fail, and I was a big believer in hard work being the salvation. Everything went back to working hard. And I still believe that if you’re willing to do the work, you’re going to see great results.
What’s the wildest thing you’ve done for a role? Generally, I guess I do—I don’t use this term—but what other people would say is “character work,” which I always find is a little bit harder. When I get offered a film, it takes me months; the difference from what I would do on the day that I got the call of interest to what I do when I walk on set is so dramatic, and it changes so completely. What is one screen performance you think every actor should see and why? “Amadeus,” I think, is a brilliant, brilliant
“I had a lot of fear and still have my fears, but it really drove me to work—and then work some more.”
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ILLUSTRATION: NATHAN ARIZONA/PHOTO: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM
movie to watch for performances. I mean, talk about the physicality of a role; talk about the freedom in a role; talk about that laugh. Any movie where you can remember someone’s laugh is probably interesting to look at.
Do you have an audition horror story you could share with us? I had one movie that I auditioned for where they had turned the desk on its side, and we were supposed to hide behind it and shoot fake bullets at another casting director. It was so awkward and so bad, I literally stood up in the middle of it and I said, “I just have to stop. I can’t do it. It’s like this is a high school play that I never was in.” I just couldn’t do it. I ended up getting the job. [Laughs] But it wasn’t because of the audition.
FOR YOUR CONSIDERATION
2 SAG AWARDS NOMINATIONS OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A DRAMA SERIES ®
OUTSTANDING ACTION PERFORMANCE BY A STUNT ENSEMBLE IN A DRAMA SERIES
8 NAACP IMAGE AWARDS NOMINATIONS OUTSTANDING DRAMA SERIES ®
OUTSTANDING ACTOR IN A DRAMA SERIES
JONATHAN MAJORS
OUTSTANDING ACTRESS IN A DRAMA SERIES
JURNEE SMOLLETT
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
MICHAEL KENNETH WILLIAMS
WGA AWARDS NOMINEE
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
AUNJANUE ELLIS
OUTSTANDING GUEST PERFORMANCE IN A DRAMA SERIES
COURTNEY B. VANCE
GOLDEN GLOBE AWARDS NOMINEE ®
NEW SERIES
BEST TELEVISION SERIES (DRAMA)
OUTSTANDING DIRECTING IN A DRAMA SERIES
CHERYL DUNYE
OUTSTANDING DIRECTING IN A DRAMA SERIES
MISHA GREEN
AFI AWARDS WINNER TELEVISION PROGRAMS OF THE YEAR
5 CRITICS CHOICE AWARDS NOMINATIONS BEST DRAMA SERIES BEST ACTOR IN A DRAMA SERIES
JONATHAN MAJORS
BEST ACTRESS IN A DRAMA SERIES
JURNEE SMOLLETT
“ ambitious, audacious &
ABSOLUTELY ASTOUNDING” U PROX X
“ jonathan majors is
A STEADY, SLOW-BURNING LEADING MAN” THE HOLLY WOOD REPORTER
BEST SUPPORTING ACTOR IN A DRAMA SERIES
MICHAEL K. WILLIAMS
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
WUNMI MOSAKU
“ IT COULD NOT
BE A BETTER REPRESENTATION of navigating a racist America– past and present ” THE A.V. CLUB
“ jurnee smollett’s performance is as
RIVETING AS IT IS CATHARTIC” ROLLING STONE
“A MASTERPIECE” NPR
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Viola Davis, Taylour Paige, and Dusan Brown in “Ma Rainey’s Black Bottom” Awards
Your 2021 SAG Nominees Are…
Netflix once again pushes to the front in this highly unusual awards season By Jack Smart
THE TIME HAS COME FOR actors to celebrate the best their craft has to offer. Unveiled Feb. 4 by Lily Collins and Daveed Diggs, the 27th annual Screen Actors Guild Awards nominees include some of today’s buzziest stars of the big and small screen. The nominees for SAG’s top film award, the outstanding cast in a motion picture prize, are the ensembles of Netflix’s
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“Ma Rainey’s Black Bottom,” “Da 5 Bloods,” and “The Trial of the Chicago 7”; Amazon Studios’ “One Night in Miami”; and A24’s “Minari.” Netflix led the nomination tally with 13 film and 17 TV nods overall, echoing last year’s SAG results and the Feb. 3 Golden Globe nods announcement. Chadwick Boseman, who passed away last year, is now
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DAVID LEE/NETFLIX
the record holder for most film SAG nominations in a single year with four, honored as an individual and ensemble actor in both “Da 5 Bloods” and “Ma Rainey.” His co-star in the latter, Viola Davis, is also double-nominated in film categories, as are Sacha Baron Cohen of “Chicago 7,” Leslie Odom Jr. of “One Night in Miami,” and Steven Yeun and Youn Yuh-jung of “Minari.” In the television races, freshman series will compete alongside 2020 SAG and Emmy Award winners: Netflix’s “The Crown” and “Ozark” dominated drama categories, with one race coming down to three “Crown” stars (Olivia Colman, Gillian Anderson, and Emma Corrin) and two “Ozark” stars (Laura Linney and Julia Garner). Joining those shows in the
drama ensemble category are HBO’s “Lovecraft Country,” AMC’s “Better Call Saul,” and Netflix’s “Bridgerton.” The TV comedy categories showed love for the final season of CBC and Pop TV’s “Schitt’s Creek,” with reigning Emmy winners Catherine O’Hara, Eugene Levy, Dan Levy, and Annie Murphy each earning individual nods in addition to comedy ensemble. That race also includes Netflix’s “Dead to Me,” HBO Max’s “The Flight Attendant,” Hulu’s “The Great,” and Apple TV+’s “Ted Lasso.” Limited series and TV movie category nods, which offer only individual prizes and none for ensemble, include Cate Blanchett for FX’s “Mrs. America,” Michaela Coel for HBO’s “I May Destroy You,” Nicole Kidman and Hugh Grant for HBO’s “The Undoing,” Anya Taylor-Joy and Bill Camp for Netflix’s “The Queen’s Gambit,” Kerry Washington for “Little Fires Everywhere,” Daveed Diggs for the filmed stage version of “Hamilton” on Disney+, Ethan Hawke for his Showtime series “The Good Lord Bird,” and Mark Ruffalo for HBO’s “I Know This Much Is True.” The SAG Awards this year spanned an eligibility period from Jan. 1, 2020, to Feb. 28, 2021, reflecting an unusual awards season impacted by the COVID-19 pandemic. The guild’s 15 categories represent the entertainment industry’s only honors given to and decided upon by actors; if you are a working SAG-AFTRA member, you are eligible to vote! The 27th annual ceremony will be held on April 4, 2021, and will be simulcast live on TNT and TBS. More details are forthcoming.
FOR YOUR CONSIDERATION
2 SAG AWARDS NOMINATIONS ®
OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A COMEDY SERIES
KALEY CUOCO
2 GOLDEN GLOBE
®
AWARDS NOMINATIONS
BEST TELEVISION SERIES (MUSICAL OR COMEDY)
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES (MUSICAL OR COMEDY)
KALEY CUOCO
2 CRITICS CHOICE
AWARDS NOMINATIONS BEST COMEDY SERIES
WGA AWARDS NOMINEE NEW SERIES
BEST ACTRESS IN A COMEDY SERIES
KALEY CUOCO
‘‘THRILLING AND FUN’’ USA TODAY
STAR ‘‘ATURN
‘‘A CAREER-BEST PERFORMANCE
FROM KALEY CUOCO...
HIGHLY ENTERTAINING’’
FOR KALEY CUOCO
’’
THE HOLLYWOOD REPORTER
ROGEREBERT.COM
‘‘
KALEY CUOCO’S PERFORMANCE IS A
PITCH-PERFECT COMBINATION OF HIGH-ENERGY FRANTICNESS & REAL EMOTIONAL INSIGHT VULTURE
FUN ‘‘ENORMOUSLY ...DARKLY HUMOROUS’’ VANITY FAIR
‘‘ADDICTIVE ...A TRIUMPH’’ DECIDER
’’
Doublure,” the two will come together in the interest of comedy. Co-written and co-directed by Bob Fisher and Rob Greenberg, the story follows a parking valet who must fake a romance with a fashion model in order to cover for a relationship with a married man. In doing so, he finds his 15 minutes of fame and becomes visible to the masses for the first time in his life. McCarthy/Abellera Casting will find the ensemble for the film, which has already attached Mexican actor-comedian Eugenio Derbez. Production is scheduled to start in April in Los Angeles and Atlanta.
What’s Casting
The Return of ‘The 4400’ The CW is reviving the cult USA series By Rebecca Welch
STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles! Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.
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“The Valet” There are celebrities and there are those who work for them, and in “The Valet,” a remake of the 2006 French film “La
TELEVISION
A ‘Mr. & Mrs. Smith’ for a New Era 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 WINNERS (AND ENTERtainment royalty) Donald Glover and Phoebe Waller-Bridge are teaming up for a reboot of “Mr. & Mrs. Smith.” The 2005 film, which starred Brad Pitt and Angelina Jolie, will be rejiggered as a series for Amazon as part of Waller-Bridge’s overall deal with the streamer. The duo, who both created and starred on their own series—Glover’s “Atlanta” and Waller-Bridge’s “Fleabag,” respectively—will create and star in the project, which will premiere at some point in 2022. Francesca Sloane will serve as co-creator and showrunner.
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MARGAUX QUAYLE CANNON
Get cast!
For more upcoming productions and casting news, visit backstage.com/news/casting
“The 4400” The CW is revisiting cult favorite “The 4400.” The original 2004 series aired for four seasons on USA before its untimely cancellation, ending on a cliffhanger. Now, a straight-toseries reimagining has been picked up at the CW to be written by Ariana Jackson, who also works on the network’s popular “Riverdale.” The show will follow 4,400 people, all of whom suspiciously disappeared at some point in the last century, when they reappear in 2019 in the same spots where they vanished. None of them have aged or recall where they went, and they’re forced to
grapple with their new present. Casting crew Stordahl/Terry will find actors for the sci-fi drama. While no names have been officially announced, the search has reached the pages of Backstage in an effort to build a fully rounded cast. Production is scheduled to start in June in a yet-to-be determined location in the United States.
“Maggie” Based on the 2019 short film of the same name by Tim Curcio, the series “Maggie” will follow the titular character as she grapples with newfound psychic abilities. Though she can see the futures of those around her, her life in the present is a complete mess. Casting on the comedy pilot, penned by Maggie Mull (“Family Guy,” “Life in Pieces”), is going through Atomic Honey, but no actors have been formally attached. Additionally, no shooting location or start date has been announced for the project, which has been in development at the network.
G I L L I A N A N DE R S ON
G O L D E N G L O B E® N O M I N A T I O N S OLI V I A COL M A N
BEST ACTR ESS EMM A COR R IN
BEST ACTOR
(DRAMA)
BEST ACTR ESS
(DRAMA)
INCLUDING
JOSH O’CON NOR
BEST SUPPORTING ACTR ESS GILLI A N A NDER SON
E M M A C OR R I N
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OU TSTA NDING M A LE ACTOR JO SH O’C ON NOR
C R I T IC S ’ C HOIC E AWA R D N O M I N A T I O N S INCLUDING
BEST ACTR ESS OLI V I A COL M A N
BEST ACTR ESS
BEST ACTOR
EMM A COR R IN
BE ST SU PPORT ING AC TR E SS
JOSH O’CON NOR
GILLI A N A NDER SON
PE RFO R M ANCE S “ THE ARE NE X T-LEVE L.” ENTERTAINMENT WEEKLY
Colman and Gillian Anderson deliver “ Olivia A MASTERCLASS IN AC TING. ” ABC NEWS
TR IUMPHANT. “ Josh O’Connor and Emma Corrin’s
”
CHEMISTRY IS EXCELLENT. IGN
FYC.NETFLIX.COM
F O R Y O U R S A G A W A R D S® C O N S I D E R A T I O N
(DRAMA)
OL I V I A C OL M A N
OU TSTA NDING FEM A LE ACTOR
IN A DR A M A SER IE S
(DRAMA)
OU TSTA NDING FEM A LE ACTOR
(DRAMA)
OU TSTA NDING FEM A LE ACTOR
(DRAMA)
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OU TS TA N DI NG E NSE M BL E
(DRAMA)
5
S C R E E N A C T O R S G U I L D A W A R D® N O M I N A T I O N S
Olly Alexander
The Slate
Leading the Pack
From Years & Years to “It’s a Sin,” Olly Alexander is the frontman we need By Jenna Fanelli
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. RUSSELL T. DAVIES’ “IT’S A Sin’’ highlights the lives of LGBTQ+ characters living in London at the height of the AIDS epidemic. The five-part miniseries premiered on HBO Max on Feb. 18 following a hit run across the pond. Taking on the starring role of Ritchie Tozer is British actor and musician Olly Alexander, who chatted with Backstage on Instagram about his part in the series, advice for his fellow performers, and how fronting his band, Years & Years, made him a better actor. Alexander relates to his character on many levels. “I related to Ritchie because [he’s] 18 years old, he moves to London, [and] he told his family he’s studying law, but he instantly changes to drama. He has these big, big dreams of being a famous actor, of being someone, you know? I instantly related because that was me at 18 years old. I moved to London [and] I was like, ‘I’m gonna be a star.’ So I really got that determination.”
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He is extremely grateful to have intimacy coordinators for Ritchie’s sex scenes. “It was a revelation for me…. The intimacy coordinator’s just there to facilitate that whole process, make everybody feel good, [and] make everyone know that they know what they’re doing. So that was amazing, because I was just like, ‘How on earth do you do a sex scene?’ and then there are actual people who guide you through it, who show you how to do it, [and] choreograph it like [a] dance. It just took away all
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the anxiety and all the fear that I had. They’re there on set to just make sure it’s all good.” He encourages others to embrace the things that set them apart as people and performers. “I gave myself a very hard time, wishing I was different because I felt like I stood out in a way that I didn’t like. Like, people could tell I was different
TELEVISION
‘Normal People’ Lovers, Rejoice By Casey Mink
somehow because I was gay. I wasn’t comfortable enough with myself at that point. The stuff that you really feel ashamed of or you wish was different—hold onto that, ’cause that really is what makes you special.” Want to hear more from Alexander? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
HULU’S UPCOMING ADAPTATION OF Sally Rooney’s “Conversations With Friends” has announced casting. The book-turned-miniseries’ four pivotal roles will be played by Sasha Lane (Bobbi), Joe Alwyn (Nick), Jemima Kirke (Melissa), and newcomer Alison Oliver (Frances). Following the success of their work on “Normal People,” Hulu’s 2020 adaptation of Rooney’s second novel, Lenny Abrahamson and Alice Birch will again collaborate on the creative front. The 12 episodes will begin shooting around Europe this year, with a premiere to come in 2022.
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HUGO YANGÜELA
Acting on camera and performing as a musician created a “weird blend of identities.” “I really felt like I was trying to use all the kind of stuff I had learned from being in Years &
Years, because there’s a confidence I had learned from being on the stage and fronting a band and just applying that to different situations. That’s a character too, you know? Like, that’s obviously a performance. Ritchie needed a lot of confidence, and I’m not the most natural, confident performer. It’s taken me a long time to get here. So I was like, OK, I understand this character; I know how to pull off someone that wants to be confident, at least, and I have the vulnerability, I think, for free, because that’s Olly. So I have all of that in my head and the rest of it is just like: Know your lines and say the words, and just listen and be present in the situation.”
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5
“
SCREEN ACTORS GUILD AWARD NOMINATIONS ®
INCLUDING
BEST PERFORMANCE BY A CAST IN A MOTION PICTURE YAHYA ABDUL-MATEEN II, SACHA BARON COHEN, JOSEPH GORDON-LEVITT, KELVIN HARRISON JR., MICHAEL KEATON, FRANK LANGELLA, JOHN CARROLL LYNCH, EDDIE REDMAYNE, MARK RYLANCE, ALEX SHARP, JEREMY STRONG
GOLDEN GLOBE NOMINATIONS ®
INCLUDING
BEST SUPPORTING ACTOR SACHA BARON COHEN
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BEST SUPPORTING ACTOR SACHA BARON COHEN
CRITICS’ CHOICE AWARD NOMINATIONS INCLUDING
BEST ENSEMBLE | BEST SUPPORTING ACTOR SACHA BARON COHEN
THE BEST PICTURE OF THE YEAR.
“A
”
KNOCKOUT. THE ENSEMBLE IS SUPERB.”
FILM.NETFLIXAWARDS.COM
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Meet the Maker
Aaron Sorkin, “The Trial of the Chicago 7” writer and director By Casey Mink
Yahya Abdul-Mateen II in “The Trial of the Chicago 7”
BACKSTAGE 02.25.21
conspiracy for protesting at the 1968 Democratic National Convention. When it debuted late last year, following a summer of uprisings denouncing police brutality against Black Americans, it seemed it could not have been more relevant. Speaking nine days after an attempted insurrection at the U.S. Capitol, Sorkin acknowledges it now somehow is. “I did want to make it about today, as opposed to 1968—I just didn’t know how much about today it was going to end up being,” he says. “Trump started running for president, and at his rallies, when there’d be a protester, he would be getting nostalgic about the old days, when ‘we’d carry that guy out of here on a stretcher.’ We didn’t need it to get more relevant.” Though depicting real events
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and, therefore, real people, Sorkin was unconcerned with casting actors who bore a physical resemblance to their historical counterparts in the film. “All that was intentional was the great actors part,” he says. However, with an ensemble that includes Sacha Baron Cohen, Jeremy Strong, Mark Rylance, Frank Langella, and Yahya Abdul-Mateen II, Sorkin did worry about clashing performance “textures.” “I thought it was going to be a challenge for me as the director to make sure they were all in the same movie,” he says. Luckily, “the chemistry was there at the table read, and we were all on the same page in terms of what we were going for.” The real challenge, he learned once on set, was how to tailor his approach to each actor.
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NIKO TAVERNISE/NETFLIX
AFTER COMPLETING HIS FIRST screenplay based on a historical event, 2007’s “Charlie Wilson’s War,” Aaron Sorkin swore off writing nonfiction. “And then I wrote five nonfiction movies in a row,” he quips, with trademark lightning speed. Though the “confines of the truth” can be limiting, he acknowledges what many great storytellers have before him: Real human beings are often more interesting than fictional ones. “It’s not that I gravitate toward real stories,” he adds, “it’s just that they happen to be really good stories, and I want to tell them.” His latest, “The Trial of the Chicago 7,” is proof of that. The Netflix feature, which the Oscar winner wrote and directed, details the trial of the activists charged with
“I’m not going to name names, but there were some actors who, if they got stuck, they just wanted me to do it for them,” he says. His greatest piece of advice for directing was actually one he received from an actor, “The Newsroom” and “To Kill a Mockingbird” star Jeff Daniels. “I asked Jeff, ‘Once shooting starts, how much do you want the director to come to you? How much do you want him to say between takes?’ ” Sorkin recalls. “He said, ‘During rehearsal, say as much as you want. Once we start shooting, say it in five words or less.’ “If you’ve rehearsed enough and you’ve cast the right actors,” Sorkin continues, “once you’re shooting, you want to get it down to: ‘A little faster. A little slower. Hit the last word in that line.’ That kind of thing. You don’t want to be in a discussion about what the scene’s about.” Though “Chicago 7” was only his second directorial outing, Sorkin prefers the autonomy of wearing both hats. However, he’s clear that “I don’t really see it as switching hats when going from writing to directing. I feel like it’s the same hat, and I’m just seeing it through. When I write a screenplay or an episode of television or a play, I’m hyper-aware of the fact that I’m not writing something that’s meant to be read; I’m writing something that’s meant to be performed.” Asked if he has any advice for filmmakers of either discipline, he says he does. “But it isn’t a short sentence, unsurprisingly, coming from me,” he says with a laugh, before making his best attempt at concision. “Drama is intention and obstacle. Somebody wants something; something’s standing in their way of getting it. Cling to that, and you’ll do well.”
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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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Craft
Finding Your Sitcom Rhythm
THE ESSENTIALISTS
BRUCE PANDOLFINI chess consultant
By Corey Ralston
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rhythm and pacing, and they carry that live theater quality. I’ve worked with actors on these scenes and asked them how often they think the audience laughs in a particular scene. Shockingly, their answers are usually way off. After playing a video clip and having the actor pay attention to the laughter, they’re surprised. Every line is a device to get a laugh or set up the next line to get a laugh. There is a punchline—or multiple punchlines—in any given line of dialogue. Once you’re aware of that delivery, the scene starts to fall into place. An exercise that can help you find the rhythm in a scene you’re working on is to imagine a sitcom character you know well and have watched often playing your part. Since
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The actors were made to look like chess experts. “The key thing is making sure they grab the pieces and move them in a natural manner. You don’t want to load too much information on the actor, because he or
she has to be able to feel natural, and they don’t want to be distracted from acting. If you give them too much, that will pull away from their performance. I would meet with them and give them software for their phones so they could follow the chess positions.” Every chess sequence had a dramatic purpose. “First, I read the script carefully to see how the chess in the script is described and if we could come up with chess positions to correspond to the situations in the series. I did that, and, initially, I developed 92 key positions to
“Friends” debuted more than 25 years ago, it has a pretty wide reach with actors of every age, and the characters are clearly identifiable. One trick I use to help actors understand how to play a sitcom scene is to read it as a “Friends” character. For this exercise, I tell the actor to hear the character in their head and go ahead and do a sort of impersonation of them. It’s scary how easily that happens, and that’s where the magic starts. The character Monica Geller, for example, has never read this particular scene I’m studying with an actor, but her line delivery is predictable. It can take as little as one pass at a scene for the sitcom rhythm, appropriate style of acting, and awareness of comedy to begin to take shape. The dialogue begins to have punchlines, and scenes start to become entertaining.
reflect various dramatic situations. I also had to train the actors, not so much so that they knew how to play chess— that’s not relevant. But they have to look like they can play chess, so in order to do that, you have to make the actors feel comfortable [and] assure them they can do it. And they can.”
By hearing a character like Joey Tribbiani in your head, it’s clearly understood what’s funny in the scene; Joey guides you to the rhythm and goofiness of the portrayal. This fun technique can be used with any sitcom character, or even any comedic performer for whom you have a strong frame of reference. In a sense, it’s like having a master class with the TV comedy greats in your head. I’m always amazed at how it improves a sitcom read so quickly and how it puts the mind in the right setting to deliver a specialized performance in that genre. So the next time you’re struggling to work on a sitcom scene, try this exercise, and see if these characters can help you find your rhythm. Ralston is a talent manager and Backstage Expert.
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“FRIENDS” SET: KRZYSZTOF STEFANIAK/SHUTTERSTOCK.COM; “THE QUEEN’S GAMBIT”: PHIL BRAY/NETFLIX
UNDERSTANDING HOW TO perform in a scene for television or film can sometimes be a confusing task for actors. Generally, actors who come from a stage background are told that their reads need to be toned down or be more grounded. This is a great general rule because often there is no need to be big, as there’s no audience to reach. The camera and a sophisticated sound system allow the actor to just exist. But what about a multicamera sitcom? These types of shows are historically shot in front of a live audience, are written to get laughs, and have zany characters. In this case, one of your duties is to reach that live audience, and this is where being bigger isn’t such a negative performance trait. Sitcoms have their own
The list of those who didn’t binge Netflix’s “The Queen’s Gambit” late last year is a lot shorter than the list of those who did. To make sure its leading lady, Anya Taylor-Joy, was believable as a chess prodigy, the series enlisted real-life chess prodigy BRUCE PANDOLFINI to consult.
By Casey Mink
In The Envelope The Actor’s Podcast
Recent guests include: Hugh Grant, John Boyega, Nicole Byer, Aidy Bryant, & Maya Rudolph
For intimate, in-depth conversations with today’s most noteworthy film, television, and theater actors and creators, subscribe now wherever you listen to podcasts!
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“To keep faith” I’m pretty sure that’s meant to be religious, but here’s how I see it: The life of an actor is exhausting. You have to audition over and over with no immediate gratification. Catching an actual break is very difficult. At some point, you can get so overwhelmed with frustration that you start thinking about throwing in the towel. This is when I remind clients that we’re in it together. I let them know I’m still excited about their future. I explain how everything can change with one audition. Demonstrating genuine faith in their abilities helps them regain their own faith, and that’s the mindset actors need to move forward and become successful.
Secret Agent Man
One Knight in Hollywood
“To protect the weak and defenseless” Actors need representation because we protect our clients from the treachery that permeates this industry. Actors will
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say yes to any offer that comes their way, because they’re desperate to work. That’s where agents step in, sword in hand and ready for battle. One of my clients, a young man named Kyle, received an offer on an independent film that was destined for greatness. The script was daring, and the director’s last project had done well on the festival circuit. The producers offered me scale plus 10 (which means they throw in another 10% to cover my agent fee) for a week of work, which was fine, considering the small budget. But they refused to give Kyle a credit in the main titles. They wanted to bury his name at the end of the film. When I told Kyle, he was too excited to think clearly and he begged me to just take the offer. I tried to explain how better billing would get him
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“To live by honor and for glory” I once signed a young lady from Seattle who moved to Los Angeles with nothing on her résumé and was having trouble finding representation. A year later, she booked her first TV role. It was just three lines. A year after that, she scored a recurring arc on a network show. And two years after that, she became a series regular on a one-hour drama that ran for three seasons. I took a chance on this actor when no one else would, and I was thrilled by her success. Knights aren’t the only ones who love to win battles. So while Camelot might be entirely fictional, the code is real, and nothing pleases me more than using those beliefs to help my clients achieve their dreams.
Sonja Ann Jones By Jalen Michael With 14 years of acting experience under her belt, SONJA ANN JONES knows what it means to grind till you shine.
Nothing worthwhile comes easy. “Never give up! If you want it bad enough, you have to keep working hard. Try new things, learn your craft, and keep reinventing yourself. My success has come from learning to never give up and my ability to remain persistent.” This industry is about who you know, and Backstage can help you meet them. “I love Backstage! [I’ve used it] every day for over 14 years. I have met a lot of casting directors, actors, and filmmakers through Backstage, and I actively keep up with my relationships. For example, a big project I booked on Backstage was a pilot over five years ago. I still keep in touch with everyone from the project.” There’s a role out there for everyone if you know where to look. “I look for comedy and drama acting roles in movies and TV shows. I also look for commercials and voiceover work.”
TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.
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ILLUSTRATION: SPENCER ALEXANDER; JONES: THEO & JULIET
BACK IN HIGH SCHOOL, I was fascinated by the legend of King Arthur and the Knights of the Round Table. These were men from a different time. They lived by a code. I used to wonder if I could do that in the modern world. As an agent in the kingdom of Hollywood, there are parts of the knight’s code that aren’t very practical. I wouldn’t be good at my job if I “at all times spoke the truth.” And I’ve never been asked to “give succor to widows and orphans.” I’m not even sure what that means. But there are parts of the code that have served me well.
#IGOTCAST.
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more attention, but the kid was terrified I would blow the deal. Well, nothing got blown. I swung my sword, the dragon fell, and Kyle’s name is now front and center.
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In the Room With
Kerry Barden
The CD had to find new talent to fill the 1960s NYC of “Sylvie’s Love.” He shares where he looks and how he builds an ensemble By Elyse Roth
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; JONES: THEO & JULIET
IF CD KERRY BARDEN AND HIS CASTING PARTNER, PAUL Schnee, are known for anything, it’s that they work on just about any type of project. From indie favorites like “Short Term 12” to hit franchises like “Pitch Perfect” and television from “The Last O.G.” to “Jessica Jones,” you’d think they’d have met every actor in the country. Yet when Barden began casting Amazon Studios’ “Sylvie’s Love,” a 1960s-set love story starring Nnamdi Asomugha and Tessa Thompson, there were many small but important roles that introduced him to new actors in the audition process. Barden shares why this film felt special to cast and where he looks for people to invite into the audition room—or, for now, into the Zoom room. Describe the casting process for “Sylvie’s Love.” Nnamdi and Tessa were already attached, and we had discussions about the tone and how we wanted it to look, because it’s this period in New York. The rhythms of language were specific to that
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time period, so that was one of the things that was important to everyone. Finding those rhythms in the audition process was key to making it feel as authentic as we could. We did sessions at my office, so we’d give notes to the actors, and
then we’d send the tapes off and get notes back from the director and Nnamdi and have callbacks and do more work with the actors. It was a pretty interesting process because we didn’t have director sessions, which is rare for film. We got to really be hands-on with the actors. That’s one of the joys of casting; you get to find specific things that are part of the beats of a scene [and] part of the transitions in the language itself, and it’s a thrill to be able to do that with actors. How does the ensemble aspect of the film impact casting? The character descriptions are
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just a blueprint; it’s something that we work from. When we have an actor cast, it’s making sure that all the puzzle pieces fit together. You can always file down a puzzle piece and ram it into the puzzle, but it’s better if it fits in a perfect way that makes it seamless. I find that when you start throwing ideas at actors, they start coming up with ideas that are even more rich than the script or the description, and it brings it alive. Most of my directors in the audition process will find stuff in the script that they didn’t see before because an actor brings in an idea or says something with a different inflection or a different rhythm. Even if we don’t cast that actor, they’ll incorporate that note into the final product, because it’s a little layer or element that maybe the writer or director didn’t see initially. An actor’s connection is with the life that that person is living outside the scene, if that makes sense. How was casting this project different for you? We cast completely in our office on tape and sent the tapes; that was unique for film. There were so many roles and so many important small characters that we saw a lot of actors we hadn’t met before, which was phenomenal. It was so much fun to meet a whole new pool of talent that I was not familiar with. When I get a script that has this many characters and is specific to this time period, it’s like, Oh, now we have to really dive in and find some new talent, or talent that’s new to me.
Want more?
Read the full interview at backstage.com/magazine
02.25.21 BACKSTAGE
A Woman of Character
Nearly 30 years after landing her breakout role on “The X-Files” and fresh off playing Margaret Thatcher on “The Crown,” Gillian Anderson keeps surprising us—and herself By Elyse Roth - Photographed by Liz Collins/Trunk Archive
“GROWING UP IN FRONT OF MILLIONS OF people, and the intensity of nine years of being on a series—what actually happened was not what would necessarily normally follow,” Gillian Anderson says of ending her time on the prime-time must-watch series “The X-Files.” And while she ultimately did use her breakout screen role at age 25 to build a lasting career in the arts, she says her experience at the time with stardom and the loss of privacy made her question what to do next when the series’ first run wrapped in 2002. “What actually happened was [that] I didn’t know if I ever wanted to step foot on set again,” she continues. “The first thing that I wanted to do was theater.” And so she picked up and left Los Angeles for London and made it happen.
“Had that not been my state of mind, I probably would’ve hired a publicist who would’ve been pushing me out there in Los Angeles as me, separate from [Dana] Scully,” Anderson says in hindsight of her role as the beloved FBI agent. Instead, she was performing on the West End just a few months after arriving, in productions of “What the Night Is For” and “The Sweetest Swing in Baseball” that carried her through 2004. In another world where she had succumbed to that uniquely Hollywood “use it or lose it” pressure, she says, “I would’ve had a version of my career that would have been very, very different than the career that I’ve had. I definitely wouldn’t have been in ‘Bleak House’ or ‘Great Expectations.’ It had a big impact on the choices that I made, because I was burnt out.”
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Margaret Thatcher is such a complex and divisive individual. You get used to digging your teeth into characters like that, and it does shift your perception of what a ‘stretch’ is or what a ‘challenge’ is.
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Anderson’s story is proof that burnout doesn’t always mean the end of something. In fact, it sometimes can be the beginning of something burning anew, a gift that helped her strengthen her craft while continuing to challenge herself. “I think there have certainly been stepping stones along the way where either the things that have come to me or the things that I’ve chosen have gotten harder and harder,” she says with a laugh. The latest such effort is why the SAG Award, Golden Globe, and Emmy winner is calling in by Zoom from her home in London on a mid-January evening. We’re discussing her acclaimed portrayal of Prime Minister Margaret Thatcher on “The Crown” Season 4, a performance that once again has her in the awards conversation, with SAG and Golden Globe nominations. It’s her latest career move that only became possible because all those years ago, she homed in on exactly what she wanted as a performer. Despite her consistent work across mediums in the U.K. and U.S. in the years since Scully (among them runs on “Hannibal,” “The Fall,” and “American Gods”), it was playing Blanche DuBois in Tennessee Williams’ “A Streetcar Named Desire,” first on the West End in 2014 and then again OffBroadway in 2016, that signaled Anderson’s entry into what could be considered a new era for her in terms of character choices. “Once you get an opportunity to play a character like that, or experience Tennessee Williams’ writing, in terms of theater, where do you go after Blanche?” she muses. Onscreen, that has translated into playing characters like Jean Milburn, a sex therapist on Netflix’s titillating hit “Sex Education,” a role she initially turned down, and now the U.K.’s first female Prime Minster, a role she wouldn’t have thought of playing were it not for the suggestion from series creator Peter Morgan. “I’ve been blessed with the opportunity [to play] some incredibly complex women in the last few years, so it’s hard to top that,” Anderson says, adding, “Not that you necessarily have to ‘top’ anything, but even sometimes to match them. I mean, Thatcher is such a complex and divisive individual. You get used to digging your teeth into characters like that, and it does shift your perception of what a ‘stretch’ is or what a ‘challenge’ is.” Anderson prepared for a year to play Thatcher, poring over research, recordings, and videos. She then did the cosmetic work of disappearing into the hair, makeup, and costumes with specific mannerisms, a deliberate style of walking, and, of course, an unforgettable voice. “The stakes were particularly high for a show like ‘The Crown,’ but also for a character that so many people have a vested interest in either liking or disliking,” she acknowledges. Those familiar with the ambitious drama that chronicles the personal and political events that take place under the reign of Queen Elizabeth II know that while the prime backstage.com
minister of the time is always an important character, they are not at the center of the show. (It is, after all, called “The Crown.”) Season 4 covers Thatcher’s time in office from the late 1970s through 1990. The audience gets a glimpse into the home and work life of the new head of government, but the focus is really on the contrast between the newly elected Thatcher and Queen Elizabeth in her third and fourth decades on the throne, as played by Olivia Colman. This meant that Anderson’s research into Thatcher’s larger “offscreen” life served as the backstory and development for what we ultimately see onscreen. “There was definitely a point where I was looking through the six of 10 episodes I was
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in as Thatcher, and it started to dawn on me that so many of the things that I was studying about her journey as prime minister would be best suited for a biopic. They were not addressed at all in the stories that were being told, which is totally fine, because that will all inform who a character is,” she says of her process. “My job is to ask: To what degree can you, as an actor, react to situations based on the fact that, even though you haven’t seen them onscreen, they still would have been there as part of her history? That becomes how one can choose to work on the scenes that you do see.” Anderson found the process of getting into the skin of a prominent historical figure
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not dissimilar to the one she has employed for fictional people. “The thing about historical characters is that it’s all mapped out for you, so you don’t have to do any of the work of trying to figure out who the parents were and how they would react and all that,” Anderson explains. “It is not unlike a Tennessee Williams play, where there is so much layering and depth and so many things referenced in the present about the past. Even though we don’t learn about it until later, the character has to be carrying it when she comes in the door. They’re different ways into essentially the same thing.” In this way, “The Crown,” “Sex Education,” and others have all been a continuation of Anderson’s acting education. Born in Chicago and raised between London and Grand Rapids, Michigan, Anderson attended the Theatre School at DePaul University before moving between New York City, L.A., and now London, where she resides with her children. While she carries her training with her, these days, her education continues by way of projects that don’t seem like an obvious fit—ones that challenge her and make her better. “I tend to say yes to things and then think about it,” she admits. “I jump first, because if it’s something that I think I can do, I don’t want to talk myself out of it by thinking about it too much.” That mindset will continue to influence her career going forward. “There are things that, pre-Thatcher, I might have said yes to that, post-Thatcher, I wouldn’t,” she says. “I might even pursue things I normally wouldn’t, because I wouldn’t think in a million years that they would imagine I could.” So, just as the question arose after Blanche DuBois, Anderson is again asking: Where to go from here? In a literal sense, she is preparing to leave the week after our conversation for a shoot in Prague. But in a general one, she’s been using her time in quarantine to read the influx of scripts that have come her way since “The Crown” Season 4 premiered in November 2020. There is still plenty of territory she wants to explore. “I do feel like there are a lot of things I haven’t had an opportunity to do yet, and some of that is in the realm of film, specifically. I’m a bit of a cinephile, so I really would love for that to be a big part of this next period, and I’m focusing quite a lot on that.” For someone who at one point had burnout-induced doubts about ever returning to the screen, Anderson has found a way to keep working while avoiding arriving back at that place. “One needs perseverance in this business,” she stresses. The method for that perseverance is specific to each individual, but one way Anderson suggests moving forward as an actor is universal: “Find a way to not take anything personally. If taking it personally means that it’s a valuable lesson and it’s helpful in order to say, ‘Do better next time,’ or, ‘Work harder next time,’ it’s OK. But don’t beat oneself up,” she advises. “Go in prepared, and feel like BACKSTAGE 02.25.21
you’ve done everything that you could do, even if that means that you only had half an hour, but you worked your ass off. If you feel like you went in there and you did the best that you could do, then the result is none of your business, and it’s certainly out of your hands. If it’s meant for you, it will be yours. And if it is not meant for you, it won’t be.” It’s easy to say that as someone who’s had successes like Anderson’s, but even she had her fair share of struggles before landing “The X-Files.” She waited tables and shuffled between auditions. Her agents even came close to dropping her. “There was a production I was auditioning
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for, and I got really, really close to getting it. Apparently, the producer called my agents and said, ‘You can’t drop her.’ He saw something in me even though I didn’t get the job, and he convinced them to keep me on. Two or three months later is when I got the ‘X-Files’ script.” But looking back, especially on difficult times like that, she insists, will never make you content; the only way is forward. “It’s an easier life to live to not dwell on what one didn’t get and should have got. If you go in doing the best you can, then you’ve got something to feel good about, and sometimes feeling good about that can be enough.” backstage.com
Step Into the Voting Booth Your guide to the 2021 SAG Award–nominated ensembles
By Backstage Staff COME APRIL 4, THE 27TH ANNUAL SCREEN ACTORS GUILD AWARDS will crown the year’s best performances of the big and small screen. As working SAG-AFTRA members everywhere consider their favorite examples of acting excellence, both individually and collectively, Backstage is once again here to guide you. Read on for a cheat sheet to the 2021 film and television ensemble SAG Award nominees!
“DA 5 BLOODS”: NETFLIX; “THE TRIAL OF THE CHICAGO 7”: NIKO TAVERNISE/NETFLIX; “MINARI”: JOSH ETHAN JOHNSON/A24
Outstanding Performance by a Cast in a Motion Picture “DA 5 BLOODS” “I see ghosts,” says Delroy Lindo’s PTSD-triggered Paul. In today’s Ho Chi Minh City, Vietnam War veterans Paul, Eddie (Norm Lewis), Melvin (Isiah Whitlock Jr.), and Otis (Clarke Peters), plus Paul’s son David (Jonathan Majors) have gathered to recover the remains of their fallen squad leader, Stormin’ Norman (Chadwick Boseman, in one of his final screen performances). Director and co-writer Spike Lee’s complex story pulls back the curtain on these characters’ hidden fears, gifting us a talented ensemble with revelatory subtext. “MA RAINEY’S BLACK BOTTOM” Taking place over a single day of recording at a studio in 1927 Chicago, this August Wilson screen adaptation is led by a tempestuous Viola Davis as the titular real-life musician. Her band is rounded out by Glynn Turman’s bleary-eyed Toledo; the always
Isiah Whitlock Jr., Norm Lewis, Delroy Lindo, and Clarke Peters in “Da 5 Bloods”
reliable Colman Domingo as Cutler; Michael Potts’ enveloping Slow Drag; newcomer Dusan Brown, who is wrenching as the stuttering Sylvester; and the late Chadwick Boseman as Levee, turning in what may be the finest performance of his career. “MINARI” Korean American parents Jacob and Monica Yi, played by the magnetic Steven Yeun and Yeri Han, will feel relatable to any immigrants who have experienced the pitfalls and fleeting hopes of providing for one’s family. As son David (Alan S. Kim), daughter Anne (Noel Cho), and irreverent grandmother Soonja (Youn Yuh-jung) adjust to life on an Arkansas farm, Lee Isaac Chung’s autobiographically inspired story is a reminder that everyone measures life, liberty, and the pursuit of happiness differently. “ONE NIGHT IN MIAMI” Regina King’s feature film directorial debut, adapted by Kemp Powers from his stage play, draws Black icons Cassius Clay
aka Muhammad Ali (Eli Goree), Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Malcolm X (Kingsley Ben-Adir) together for a tumultuous, illuminating evening in 1964 Miami. The film gets to the rich, human center of these very public figures, examining the threads of the tapestry that held them together as history-making contemporaries and peers. “THE TRIAL OF THE CHICAGO 7” Every actor in this Aaron Sorkin historical drama plays such a pivotal role in the film’s success— and has carved out such a lived-in performance—that it’s impossible to rank one character as more
Yeri Han and Steven Yeun in “Minari”
Sacha Baron Cohen and Jeremy Strong in “The Trial of the Chicago 7”
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instrumental to the storytelling than any other. Sacha Baron Cohen, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Mark Rylance, Jeremy Strong, and Yahya Abdul-Mateen II bring to life the true (and urgently relevant) story of the 1969 trial of a group of activists charged with conspiracy by the federal government.
Outstanding Performance by an Ensemble in a Comedy Series “DEAD TO ME” Jen Harding, played by Christina Applegate in the performance of her career, is deep in the throes of grief following the sudden death of her husband; Judy Hale, played by the perpetually glassy-eyed Linda Cardellini, is grieving in a more metaphysical sense. Neither woman knows it yet, but the other will complete her, at times ruin her, and become her family. Joining them are James Marsden, Natalie Morales, Diana Maria Riva, and more, all right at home on Liz Feldman’s killer comedy.
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Outstanding Performance by an Ensemble in a Drama Series
Adjoa Andoh and Regé-Jean Page on “Bridgerton”
“BETTER CALL SAUL” Peter Gould and Vince Gilligan’s hit prequel to “Breaking Bad” uses the origin story of Bob Odenkirk’s fast-talking lawyer as its jumping-off point; before he was Saul, he was Jimmy McGill. Across the drama’s five seasons, Odenkirk’s chemistry opposite Rhea Seehorn as fellow attorney and love interest Kim Wexler remains unmatched. Supporting them are Jonathan Banks as Mike Ehrmantraut, Tony Dalton as Lalo Salamanca, Michael Mando as Nacho Varga, and Giancarlo Esposito as Gus Fring, and they’re all superbly enthralling.
Peter III. Other members of the court, including Phoebe Fox, Sacha Dhawan, Charity Wakefield, Gwilym Lee, Adam Godley, Douglas Hodge, and more, together weave a tonal tapestry of irreverent comedy and historical gravitas.
Kaley Cuoco on “The Flight Attendant”
“THE GREAT” Long live Catherine the Great— Elle Fanning’s portrayal of the Russian empress, that is. Funny, complex, surprising, and entertaining, Tony McNamara’s Hulu dramedy works because of, not despite, its historically inaccurate flourishes. Fanning finds a formidable scene partner in Nicholas Hoult’s nasty (but, admittedly, hilarious) Emperor
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“TED LASSO” Jason Sudeikis puts his everyman aptitude and whip-fast comedy chops to glass-slipper use—or leather-cleat use—on this Apple TV+ comedy he co-created, playing an American college football coach hired by an English Premier League team to coach the other kind of football across the pond. Thanks to its ensemble (including Phil Dunster, Brett Goldstein, Brendan Hunt, Nick Mohammed, Jeremy Swift, Juno Temple, and Hannah Waddingham), “Ted Lasso” may be our favorite comfort binge of the pandemic era.
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“THE CROWN” Ever since Peter Morgan’s royal drama was announced back in 2014, fans have been waiting for Season 4’s introduction of Diana Spencer. Emma Corrin doesn’t disappoint; her portrayal
“LOVECRAFT COUNTRY” No expense was spared on Misha Green’s HBO adaptation of Matt Ruff’s novel “Lovecraft Country,” a story of segregated 1950s America that both draws inspiration from H.P. Lovecraft’s world of literary horror and grapples with its creator’s racism. Led by Jonathan Majors and Jurnee Smollett as the romantically entangled Tic and Leti, the ensemble (including Aunjanue Ellis, Jada Harris, Abbey Lee, Wunmi Mosaku, and Michael Kenneth Williams) believably swings between moments of painful intimacy, epic action, and hilarious B-movie jump scares. “OZARK” While this Bill Dubuque and Mark Williams crime drama begins with Jason Bateman’s Marty as its protagonist, it gradually recenters on Laura Linney’s matriarch, Wendy. By Season 3, she’s calling the shots, and the cast is just along for the bumpy ride. Julia Garner is as surly as her hair is curly, but never unlovable; Janet McTeer is lithe like a cheetah and just as dangerous; and Tom Pelphrey stuns as Wendy’s agonizing brother.
Naomi Mack, Jurnee Smollett, Wunmi Mosaku, Keon Rahzeem Mitchell, and Jonathan Majors on “Lovecraft Country”
backstage.com
“BRIDGERTON”: LIAM DANIEL/NETFLIX; “THE FLIGHT ATTENDANT”: PHIL CARUSO/HBO MAX; “LOVECRAFT COUNTRY”: ELI JOSHUA ADÉ/HBO
“THE FLIGHT ATTENDANT” HBO Max’s first big hit, a comedythriller–character study about an alcoholic flight attendant entangled in a gruesome murder, is surprising for more than just its absurdly entertaining plot twists. Just when you think it’s too silly to feel substantial, producerstar Kaley Cuoco unveils another authentic, poignant layer to her Cassie, raising the emotional stakes amid all the mayhem. It’s the cast, including Michiel Huisman, Zosia Mamet, Michelle Gomez, and the fabulous Rosie Perez, that makes this series’ tonal whiplash work.
“SCHITT’S CREEK” Father-son duo Dan and Eugene Levy’s sleeper hit of a series distinguished itself over six seasons with a sense of humor that was both arch and loving— biting but not bitter, sweet but not saccharine. From established legends (Eugene Levy, Catherine O’Hara, Chris Elliott) to relative newcomers who knocked it out of the park (Dan Levy, Annie Murphy, Emily Hampshire, Noah Reid), “Schitt’s” succeeded largely on the bonds that its ensemble forged along the way.
“BRIDGERTON” Shonda Rhimes was crowned Hollywood’s producing queen with her first Netflix hit, adapted by Chris Van Dusen from Julia Quinn’s pulpy tales of Regencyera London. The gorgeous period drama runs on the chemistry of its equally gorgeous cast: Phoebe Dynevor and Regé-Jean Page sizzle as the buzziest couple of the 1813 social season, while Adjoa Andoh, Ruth Gemmell, Jonathan Bailey, Ruby Barker, Nicola Coughlan, Claudia Jessie, Golda Rosheuvel, Polly Walker, and the voice of Julie Andrews as the mysterious Lady Whistledown make this freshman series iconic.
of the princess’ public-private dichotomy steals her every scene. Equally compelling is Gillian Anderson as 1980s Prime Minister Margaret Thatcher, who blends seamlessly with the ensemble of Windsors: Tobias Menzies as Prince Philip, Helena Bonham Carter as Princess Margaret, Josh O’Connor as Prince Charles, Erin Doherty as Princess Anne, and, of course, the magnificent Olivia Colman as Queen Elizabeth II.
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Student Films Character-Based Improv Short Thesis Film
• Casting a short character-based improv
short thesis film for Hofstra University. Director’s statement: “Collaborating with the writer-director in scheduled improv sessions, each actor develops a persona that is based on ‘someone or people they know.’ After a series of improvised conversations between these characters, of which the actors themselves have had a hand in creating, the writer will use this material to devise a script that includes and effects them. It is important to note that once the script is written, the actors must memorize their lines for the filming, and should not rely on their improvisational prowess. That being said, we are entirely open to any suggestions and discussions regarding the script. We are looking for anyone and everyone who is skilled at improvisation and has the time to do exploratory character work. 2-4 applicants will be accepted. The nature of this assignment is unusual, but we believe it will yield great, lasting results for director and performer alike. • This method has been used by the
Academy-Award-nominated director Mike Leigh for over half a century, across theater, film, and television. Under ‘Additional Materials,,’ you’ll find a clip from ‘Mike Leigh Making Plays,’ a documentary that demonstrates the process in action. The full documentary is also available on YouTube and linked here, should you be interested. You can also read the approved Hofstra University thesis proposal for more information, attached as a PDF.” • Company: Hofstra University. Staff:
Michael Acciarino, writer-dir.; Anthony Tisi, assist. dir.
• Rehearses in March 2021 in Hempstead,
NY. Shoots April 2021, location TBD in and around the New York area. • Seeking—Character 1: all genders,
18+, actor will mold a character through a series of improvisational sessions. After the characters have backstage.com
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. improvised several conversations, a script will be written that includes and effects them. Character 2: all genders, 18+, actor will mold a character through a series of improvisational sessions. After the characters have improvised several conversations, a script will be written that includes and effects them. Character 3: all genders, 18+, actor will mold a character through a series of improvisational sessions. After the characters have improvised several conversations, a script will be written that includes and effects them. Character 4: all genders, 18+, actor will mold a character through a series of improvisational sessions. After the characters have improvised several conversations, a script will be written that includes and effects them.
Casting picks of the week BY LISA HAMIL
tv
‘Billions’ Invest in your future on this Showtime drama shooting in NYC
audio/podcasts
‘Nickles’ Reunite with your family in this mystical Los Angeles production
• Seeking submissions from NY. • Send submissions to characterbased-
tv
improv@gmail.com.
• The application is improvisational itself.
‘4400’ Snag your series regular role on this series reboot for CBS/CW
For consideration, include a video in which you mimic someone or a combination of people that you know, through any desired means. Speak in their voice, tell a story as if you are that person, etc. An exemplary monologue is required (preferably in that person(s)’s voice, but this aspect is not required). An additional self-tape audition may be requested before acceptance.
stage
‘Julius Caesar’ Beware your trusted allies in this Equity production in MA
reality tv & documentary
• For questions email characterbasedim-
prov@gmail.com or respond via Backstage.
‘Shattered’ Pick up the pieces in ID Network series in the Tri-State area
• Transportation reimbursement and
food will be provided for the rehearsal period and on set.
‘Doubles’
• Casting “Doubles,” a seven-minute
short film about old friends who reunite over a tennis match. While one intends to propose to his longtime girlfriend, the other uses a secret about the past to win a substantial bet.
• For consideration, indicate your experi-
Vincent Mocco, writer-dir.
about a loyal and determined street skater, Julie, who must continue her college dreams alone after her best friend, May, goes missing and her body is discovered in the Harlem river three days later.
ence playing tennis in your submission. • Travel and lunch provided.
‘Skater Girl’
• Company: NYU Tisch Grad Film. Staff:
• Casting “Skater Girl,” a short film
• Shoots Apr. 9-11 in Bernardsville, NJ. • Seeking—Samuel: male, 18-30,
Ethnically Ambiguous / Multiracial, White / European Descent, visiting his wealthy friends from prep school. He comes from a working-class background but has been highly educated through scholarships. 1972 period piece.
• In-person rehearsal/ photo-shoot Mar.
20 or 27; shoots Apr. 3 and/or 4.
• Seeking—Julie: female, 16-20, Black /
African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, SpanishCaribbean, Black, or Hispanic. Leader of an all-girl skate crew. May’s best
• Seeking submissions from NJ and NY. • Send submissions to vincent.mocco@
libertyharbor.com.
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friend. She’s shy and more reserved than May. She knows how to have fun but always stops herself from having too much fun. She’s about working hard for her grades and getting into a good school; LEAD. May: female, 16-20, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Spanish-Caribbean, Black, or Hispanic. Leader of an all-girl skate crew. Julie’s best friend. Poverty holds May back from participating in a professional Skate camp. She takes a job at a supermarket to save money. May doesn’t think she can survive college, she believes more in Julie than herself. She’s looking for any opportunity to get out of her home; LEAD. Miguel: male, 34-41, all ethnicities, charming, handsome, a little too friendly. Always taking pictures w/ his phone of girls at the park and observing them from a distance. Usually wearing his work uniform, even when not on duty. Ms. Cruz: female, 40-55, female, late 40s, Spanish-Caribbean, Black, Hispanic. Heavy accent. May’s mom. She doesn’t believe that people have good intentions. She thinks everyone is out to get her and her family including Julie. Note: Must be able to provide a clear recording; pays $65 for this role. • Seeking submissions from NY. • Send submissions to mirta.desir@
feirstein.film.
• For consideration, include in your cover
letter, note if you are a proficient skateboarder and if you have your own skateboard. Also, share a link to your skateboarding if it is available (this is not necessary to be considered for the role). • Pays $125 flat rate. The producers plan
to apply for a SAG-AFTRA Micro Budget Project Agreement
‘Superblonde’
• Casting “Superblonde,” a student film
being shot two days during Apr. 15-18 in NYC. Synopsis: “SuperBlonde,” a comic coming of age story, is an undergraduate NYU student film. After realizing its racism against his own asian identity, a die hard teen fan of the sci-fi animation “Superblonde” seeks revenge against the show that introduced his once beloved hero. • Company: NYU Tisch. Staff: Sam
Kumiko Sheridan, writer-dir.; Clint Pang, DP. • Shoots Apr. 15-18 for two days in NYC. • Seeking—Superblonde: male, 18+,
voice actor; Superblonde - (20 - 30) male; will be playing lead’s favorite
02.25.21 BACKSTAGE
casting New York Tristate superhero, athletic build; charming, all American; will be animated, may base animation off of appearance. Webby: male, 18+, Asian, Ethnically Ambiguous / Multiracial, to play 13-16; socially awkward/inept teen who does not have much luck with people in the real world; escapes to a fantasy one in his favorite superhero series, Superblonde; lighthearted and sweet, blissfully ignorant until his world forever changes when he realizes the truth about his adored superhero; must be comfortable bleaching hair blonde; must look younger than 18. Grandparent: all genders, 47+, Asian, Ethnically Ambiguous / Multiracial, Grandma/Grandpa Webby’s Asian grandparent, wise, stern. Comfortable with comedic scene. Japanese descent preferred. • Seeking submissions from NY. • Send submissions to superblondecast-
ing@gmail.com.
• Auditions will be held virtually on Mar. 2
and 9, but will create more audition dates if necessary. Will provide talent with scene to read. • SAG/AFTRA Student/Short Film.
Agreements will be obtained for union actors. This is a non-paying job, but actors will be provided with a copy of the film and will be provided with meals.
Scripted TV & Video Showtime’s ‘Billions,’ Recurring Featured BG Role • Casting a recurring featured back-
ground role for seasons 5 and 6 of the hit Showtime drama series “Billions.”
• Company: Grant Wilfley Casting. Staff:
Nikita GWC, senior casting assoc.
• Seasons shoot Mar.-Nov. 2021 in the
NYC area.
• Seeking—Featured Attractive
Receptionist: female, 21-38, all ethnicities, SAG-AFTRA to portray Featured Attractive Receptionist. This is background work at a higher rate of $250/8 hrs. Recurring background role on the show. This role will work multiple days within each filming block (each block lasts about a month). COVID protocols will be strictly enforced on set. The majority of the work will be without masks on camera, but PPE must be worn at all times while off camera. • Seeking submissions from NJ and NY. • Apply on Backstage.com. • Do not submit if you’ve ever worked on
the show in previous seasons. • Pays $250/8 hrs.
‘The Bad Witch’
• Casting “The Bad Witch,” a new
HBOMax television series.
• Company: Grant Wilfley Casting. Staff:
Rachel Scola, casting assoc.
• Shoots in the NYC area. • Seeking—Club Goers: male, 18-33, all
ethnicities, non-union men to portray club goers. This is an LGBTQ friendly club.
• Seeking submissions from NY. • Send submissions to submit@gwcnyc.
com.
BACKSTAGE 02.25.21
• If interested send the following to sub-
mit@gwcnyc.com with the subject line “Backstage Club.” • Include: name, union status, cell num-
ber, availability for filming and covid testing, recent photos of yourself, and do you have any visible tattoos? • SAG-AFTRA rates apply to SAG actors
for work dates and COVID testing. NonUnion pay rate is $165/10. COVID testing is $60/4.
Reality TV & Documentary ‘Shattered,’ Episode 414
• Casting episode 414 of “Shattered,” a
crime recreation show for ID Network. • Company: Red Marble Media. Staff: S.
Jeanty, casting dir.
• Shoots Feb. 23-26 in Poughkeepsie, NY.
Note: We will be filming in a nearby isolated location. COVID safety precautions will be in full effect during filming. Production will also have a COVID compliance officer on set. Must be able to self report to Poughkeepsie in your own vehicle or have access to one. No public transportation to set to help limit possible COVID exposure from public transportation. Should be able to work as a local hire/local to the area. • Seeking—Lisa: female, 30-35, Black /
African Descent, African, Black, West Indies/Caribbean; average height and average - curvy build; black hair and brown eyes; a single mother of 3 who wants a husband, someone who can help raise her 3 children and be a good role model to them. Despite her best intentions, Lisa doesn’t always make the best choices. Her relationships start out happy but quickly take a turn for the worse. Her kids can’t understand why their beautiful mother would lose herself in relationships with men who would tear her down; supporting role; pays $210/day + $105/covid testing. Warning: This episode has/depicts domestic violence. his role has simulated violence (actor will wear a “cast” and pretend their arm was broken in a fight). A safety meeting and stage rehearsal will happen on set. Justin: male, 9-13, Black / African Descent, average height and build; short black hair (fade style) and brown eyes. Justin and his siblings loved spending quality time with their mom. They loved how she was always happy and kind to others. What they didn’t understand was why Lisa, their mother would lose herself in relationships with men who would treat her terribly. Justin’s new stepfather was the worst of them all; lead role; pays $210/day + $105/covid testing (Parent/guardian will need to be tested as well.)Warning: This episode has/depicts domestic violence (child actor will listen and see parents arguing and fighting). A safety meeting and stage rehearsal will happen on set. Joey: male, 8-11, Black / African Descent, average height and build; short black hair (fade style) and brown eyes. Joey and his siblings wanted to see their mother happy and that’s why
they were excited for her when she met Henry, their new stepfather. Henry was nothing like Joey’s mom, he was strict and scary. Their household dynamic changed drastically after Henry moved in with the family. Henry’s toxic energy becomes way too much for the whole family to bare and they will all suffer the consequences of his actions; lead role; pays $210/day + $105/covid testing (Parent/guardian will need to be tested as well.) Warning: This episode has/ depicts domestic violence. This role has simulated violence (actor will pretend like they were stabbed. This action will not be filmed. The actor will wear a t-shirt with prop “fake” blood on it while holding their stomach and running to get help.) A safety meeting and stage rehearsal will happen on set. Henry: male, 35-45, Black / African Descent, African, Black, West Indies/Caribbean; tall (large in height and in frame/ Intimidating presence), short black hair ( fade style), with brown eyes, and a goatee or can grow or shave facial hair into a goatee. When Henry and Lisa met it was love at fight sight. He loved how happy Lisa made him feel. But all the happiness went away when the pair got married and Henry moved in with Lisa and her 3 kids. He was a strict stepfather and demand to be respected by the children and his wife. The tension in the house was apparent and Henry’s need to control the entire family wasn’t what Lisa and her kids were used to. At first, Lisa tried to humor Henry and all his new house rules. But the toxic energy was proving to be too much for Lisa and her kids. Henry wasn’t ready to lose Lisa and he would do anything to stop her from leaving him; lead role; pays $210/day + $105/covid testing. Warning: This episode has/depicts domestic violence. This role has simulated violence (Actor will threaten family member’s with knives). Must be comfortable handling prop knife. A safety meeting and stage rehearsal will happen on set. Det. Quinn: male, 40-45, White / European Descent, tall, medium to large build, short brown hair or bald, facial hair preferred (3–4-day old beard). Detective Quinn was only a few hours into his evening shift when he got the call to respond to a possible homicide. A neighbor placed a call that her neighbor had been killed. Quinn is on the scene within a matter of minutes. As he walks through the front door, the house appears calm and quiet. But what he finds next, sends chills down his spine. It’s the one case that he will never forget. Note: Requires driving (one scene); supporting role; pays $210/day + $105/covid testing. • Seeking submissions from NY, CT and
NJ.
• Send submissions to sjeanty@redmar-
blemedia.net.
• For consideration, submit online demo
clips along with your submission. Note: All cast and crew are required to get a rapid covid test done 1 day prior to coming to set. Production will also have a COVID compliance officer on set. Masks must be worn at all times. • Pays $210/day + $105 covid testing.
(Parent/guardian will need to be tested as well.)
26
Demo & Instructional Videos Moroccanoil, Hairstyling Models
• Casting three female hairstyling mod-
els for a video shoot for Moroccanoil, a leader in oil-infused beauty. • Company: Moroccanoil. Staff: Jamie
Marcelo, education coord.
• Shoots Mar. 8 and 9 (8 a.m.-4 p.m.;
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.
National Commercials Pizza Delivery App TVC
• Casting two-three TVCs for a Pizza
Delivery App.
• Shoots end of February or early March
in the Greater NYC area.
• Seeking—Cool Mom: female, 40-50.
Twins (Children): all genders, 5-10. Delivery Driver: male, 20-25. Everyday Guy: male, 30-40. Customer: female, 25-35. • Seeking submissions from NY. • Apply on Backstage.com. • Pays $200-$400, depending on role.
Online Commercials & Promos International Clothing Brand Commercial • Casting three models for an online
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. • Submit a self-tape. Submit a full shot
and close-up. Send a picture or a video backstage.com
New York Tristate casting
of yourself wearing a beanie. Auditions dates TBD. Wear clothes from your own wardrobe and do own hair and makeup. • Pays $250 for four hours.
E-Learning (Voiceover) Remote Training Video
• Casting an actress (about 50 years old
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 you 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.
• Seeking—Training Video Role: female,
50-60.
• Seeking submissions from NY. • Send submissions to brandon.ken-
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
• Seeking—Actors: 30+. • Seeking submissions from CA. • Send submissions to casting@pcpa.org. • For consideration, email a link to a
video of a short monologue. YouTube on the unlisted setting or Vimeo works best. Also attach a PDF of picture and resume. Submissions deadline is Feb. 26.
• Equity’s contracts prohibit discrimina-
Plays
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
PCPA 2021 Interplay Reading Series
Note: Theater is planning for approximately 5 Equity contracts.
• Seeking video submissions from actors
of all ethnicities for the PCPA 2021 Virtual Interplay Zoom Reading Series. Series includes “The Mountaintop” (fully cast); “Into the Breeches” (Andrew Philpot, dir. Rehearsals begin Mar. 2; runs Mar. 5-6); “Two Degrees” (Roger DeLaurier, dir. Rehearsals begin Mar. 9; runs Mar. 12-13); “13 Fade” (Christian Arteaga, dir. Rehearsal begins Mar. 16; runs Mar. 19-20). Note: LatinX actors who are strong Spanish speakers particularly encouraged to submit.
• Pays $801/wk. Equity URTA Contract.
Student Films ‘Better’
• Casting a music video to the song
Theatre. Staff: Erik Stein, casting dir.
“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.
Zoom.
Henderson, dir.-casting.
• Company: Pacific Conservatory
• Season rehearses and performs via
• Company: Biola University. Staff: Nicole
• 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. • Seeking—Lukas: male, 18-28, Black /
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. • Attach a resume. Include a dance reel
preferably of contemporary or partner work. Looking for 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,
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casting New York Tristate but things go from bad to worst before her very eyes.
• Production states: “A chance to work
on a fun set and bring to life a unique story. One character is Alex (as she navigates the recent death of her mother and tries different ways to fill that void) and the other is Mom (the main character mother and seen as a guiding figure in her daughter’s eyes). 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 proce-
dures. 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, she is gentle, good-natured, 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
‘Eighteen’
• Casting “Eighteen,” a short film.
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. • 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. • Seeking submissions from CA. • Send submissions to ashleyb950@
gmail.com.
• For consideration, include a video if
possible.
• Copy/credit/meals and gas stipend
provided.
‘In Sickness & In Health’
• Casting “In Sickness & In Health,” for
the role of ‘Elaine,’ an aspiring com-
BACKSTAGE 02.25.21
puter 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.”
Staff: Karl Weiss, creator-dir.
team of droid designers, Sierra (20s), along with her other three team members, is recruited to supervise 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 ling 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 Belinda Fawn (20s) 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), is 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, Arch (27, ageless) is 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 real-time 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, Elwin Hillard (30s) has got the sweet seat on The Solar Eclipse’s Zero Gravity Show. Calhoun: 30-52, He’s a droid inspector but also a hired thug, determined to carry out the bloodthirsty aims of his bosses. Alf: 30-52, He’s a droid inspector but also a hired thug, determined to carry out the bloodthirsty aims of his bosses.
Trusted member of Orion Circuiter’s
com.
• 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
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.” • Meals are provided. Costume/Makeup
will be provided. The filmmakers plan to submit this to film festivals upon completion.
‘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, 0+, 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.
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.
• Shoots in mid-March in San Diego, CA. • Seeking—Sierra: female, 18-36,
• Seeking submissions from CA. • Send submissions to litseriessd@gmail.
28
• Auditions via Zoom, mainly on
Wednesday, Thursday and Saturday.
• For characters and scripts, visit www.
solareclipseone.com.
• Pay $100/half day, $150/full day with a
daily contract.
Music Videos ‘Spirit’ Music Video
• Casting “Spirit,” a music video by
Austin Dean Ashford.
• Production states: “Seeking back-
ground actors for multiple scenes. Wardrobe and makeup taken care of by us. BIPOC to the front. Lyric video already have 30,000 views so music video is expected to blow up! Lyric video: https://youtu.be/l7SyfY9-hPk.” • Company: Austin Productions. Staff:
Alba Roland Mejia and Bianca Beyrouti, co-prod.; Austin Dean Ashford, artist; Alexa Rocero, dir. • Shoots Mar. 5-8 in Oakland, CA. • Seeking—Cypher Crowd: all genders,
18-40, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, high energy background actors for a hip hop cypher scene. BIPOC to the front. Portrait Shots: all genders, 18+, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, standing portrait shot of talent. Featured Bedroom Extra: female, 18-30, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, featured extra to star in a solo scene. Laying on comfy bed watching and interacting with a live cell phone performance of the song “Spirit.”Note: No nudity PG13. Featured Janitor Extra: 18+, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, featured extra position as a janitor watching/interacting with a live performance on a cell phone while in a janitor’s closet. • Seeking submissions from CA. • Send submissions to albarolandmejia@
gmail.com.
• Zoom call audition. • Unpaid. Credit, meals, great network-
ing opportunities.
Online Commercials & Promos Dr. Squatch Natural Soap Online Video Ads • Casting several ongoing projects
throughout the year promoting Dr. Squatch, a natural soap company. backstage.com
New York Tristate casting
Talent must be capable of self-filming on iPhone or be available for small scale in-person shoots (3-4 personnel) in L.A. Note: Must be comfortable with partial nudity (shirtless for guys, or above shoulders for women, willing to show bare arms and legs) for moments filmed with soap in the shower.
National/ Regional
• For consideration, include a cover let-
ter with your email and/or phone number for ease of contact. Must have headshot. • Pay is $100-250/day. Shoot is a one
shoot day sometime in February. Date is still to be determined.
• Pays $364. Equity SPT Agreement.
Plays
• Company states: “At Dr. Squatch we’re
really about product forward, so our ads will feature excited people using our products (soap, deodorant, shampoo). We’re not looking for overtly commercial performance. We’re looking for content that makes you seem like a real user who’s genuinely interested in the product (vs. reading off a well-memorized script).”
Audiobooks & Podcasts
• Seeking—Male Lead: male, 18-45, all
Tuchrello, prod.; Luisa QuinterosWessel, assist.
primarily in the L.A. area or for selfshooters more flexibility as to where.
ethnicities. Female Lead: female, 18-35, all ethnicities. • Seeking submissions from CA. • Apply on Backstage.com. • For consideration, submit a video audi-
tion using reference script. Feel free to use props for “soap.” Seeking people who can pull off strong reactions that are inspired by the product. • If you’re interested in self shooting,
production will also be looking at your camera work and lighting ability (iPhone is acceptable but important that we can see your face clearly). See the following reference videos: https://f.io/24lW8aXJ; https://f.io/WACMaKzd. • Pays $200/video. Projects will either be
self shot (Production will send a short script, you film yourself, and send us the footage) or small scale productions (In-person shoot with crew of 2-3 people. No longer than one day of production; under 10 hours).
Software Commercial
• Casting a lightly humorous software
commercial. For a large company that specializes in software for marketers.
• Company: Kyro Digital. Staff: J. Sherman,
prod.; L. Melrose, dir.; Taylor C., DP.
• Shoots mid-February 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; she is friendly with 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.
backstage.com
• Casting scene from the play
“Constellations” by Nick Payne.
• Company: The Texas University at
Austin. Staff: Aisha Sultanbekova, graduate RTF student at UT Austin.
• Casting “Nickels,” a family/drama pod-
• Ongoing productions throughout 2021,
coord.
‘Constellations’
‘Nickels’
cast series. Synopsis: A middle-aged man reunites with his reincarnated brother thirty years after his brother’s tragic death.
• Company: Dr. Squatch. Staff: Suraj,
• Rehearses mid-February; shoots early
March.
• Seeking—Marianne: female, 25-40, all
ethnicities, a cosmologist. Roland: male, 30-40, all ethnicities, a beekeeper.
• Company: Spudnik Media. Staff: Tim
• Seeking submissions from TX. • Send submissions to aishasultan-
• Records remotely and locally in L.A. • Seeking—Tom Monroe: male, 40-45,
bekova@utexas.edu.
Mid 40s, dad/husband. Liz Monroe: female, 40-45, 40, 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, 20, Bill and Lorraine’s spirited son. Bill Diller: male, 50-60, Late 50s/60, conservative dad/husband. Lorraine Diller: female, 50-60, Late 50s/60, gentle mom/wife. Rachel: female, 18-25, 20s, studious asst, female. Shelly: 50-60, 50s gruff neighbor, female.
• Copy of final edited product
‘Julius Caesar,’ Equity Video Submissions • Casting Equity actors for “Julius
Caesar.”
• Company: THT Repertory. Staff: Troy
Siebels, president and CEO, The Hanover Theatre and Conservatory for the Performing Arts; Livy Scanlon, Artistic Director, THT Rep-dir. of Julius Caesar; Kathryn Moncrief, assoc. dir.dramaturg, Julius Caesar. • Rehearsals begin June 28, 2021; tech
week (due to the show being outdoors, we will tech at night for a week, instead of over two long days); runs July 27-Aug. 22, 2021 in Worcester, MA. Note: We are requesting the option to extend through the week of Aug. 23, 2021.
• Seeking submissions from CA. • Apply on Backstage.com. • Compensation TBD based on session
length.
• Seeking—Equity Actors: 18+. • Seeking submissions from MA. • To submit a video, follow the prepara-
Stage Staff & Tech PCPA 2021 Interplay Reading Series, Stage manager
• Seeking stage managers for future con-
sideration for the PCPA (Pacific Conservatory Theatre). All stage manager positions are filled for the 2021 series. Those interested may be submit for future consideration. Interplay reading series includes “The Mountaintop” (fully cast); “Into the Breeches” (Andrew Philpot, dir. Rehearsals begin Mar. 2; runs Mar. 5-6); “Two Degrees” (Roger DeLaurier, dir. Rehearsals begin Mar. 9; runs Mar. 12-13); “13 Fade” (Christian Arteaga, dir. Rehearsal begins Mar. 16; runs Mar. 19-20). • Company: Pacific Conservatory
Theatre. Staff: Erik Stein, casting dir.
• Rehearses and performs in Santa Maria,
CA.
• Seeking—Stage Manager: 18+. • Seeking submissions from CA. • No openings for stage managers at this
time, but those interested in the future should contact PCPA Production Manager, Jeff Allen at productionmanager@pcpa.org. Submission deadline is Feb. 26. • Pays $801/wk. Equity URTA Contract.
Franklin St / Worcester, MA 01608. Learn more at TheHanoverTheatre.org/ THTRep. Note: Our ability to move forward with the production will remain dependent on how COVID-19 evolves.
tion guidelines and submit your audition via https://forms.gle/ M1UEFg7hbxfv1Zhw6. Submissions will be accepted until 9 p.m. EST on Feb. 26. Callbacks will be held Mar. 1, 2021 from 6-9 p.m. ET. Due to the pandemic, we are accepting video submissions. Alternately, actors are welcome to audition via Zoom or FaceTime. An initiative of The Hanover Theatre and Conservatory for the Performing Arts, THT Rep engages, entertains and energizes audiences with dynamic theatrical events made in and for Worcester’s BrickBox Theater, with a focus on classics, modernclassics and classics inspired works. At THT Rep, we acknowledge that all our work and play takes place on the unceded land of indigenous people. We affirm that hate has no home in our house, that harassment of any kind will not be tolerated, that Black lives matter, that love is love, that gender is a spectrum, that science is real, and that the arts are vital. If you have questions or need assistance, contact auditions@thehanovertheatre. org. THT Rep’s administrative offices are located at 2 Southbridge St / Worcester, MA 01608. We perform at the Worcester BrickBox Theater in the Jean McDonough Arts Center, 20
29
‘Pipeline’
• Casting all roles for “Pipeline,” by
Dominique Morisseau (not including roles noted already cast with Resident Acting Company). Note: Actors from the Baltimore/Washington, DC/ Northern Virginia area are strongly encouraged to submit video. Synopsis: Nya, an inner-city public high school teacher, is committed to her students but desperate to give her only son Omari opportunities they’ll never have. When a controversial incident at his upstate private school threatens to get him expelled, Nya must confront his rage and her own choices as a parent. But will she be able to reach him before a world beyond her control pulls him away? • Company: Everyman Theatre. Staff:
Vincent M. Lancisi, artistic dir.; Paige Hernandez, dir.-assoc. artistic dir.; Noah Himmelstein, assoc. artistic dir.; Kyle Prue, prod. dir. • Rehearsals begin Mar. 30; filming for
video stream ends Apr. 25; streaming period is currently scheduled for May 31-June 11.
• Seeking—Jasmine: female, 18+, Black /
African Descent, Latino / Hispanic, late teens. Black or Latinx woman. Sensitive and tough. A sharp bite, a soft smile. Profoundly aware of herself and her environment. Attends upstate private school but from a so-called urban environment. In touch with the poetry of her own language. Omari: male, 18+, Black / African Descent, late teens; smart and astute. Rage without release. Tender and honest at his core. Something profoundly sensitive amidst the anger. Wrestling with his identity between private school education and being from a so-called urban community. Nya’s son. Nya (Cast): female, 30-39, Black / African Descent, single mother. Public high school teacher. Trying to raise her teenage son on her own with much difficulty. A good teacher inspiring her students in a stressed environment. A struggling parent doing her damnedest. Strong but burning out. Smoker. Sometimes drinker. Holding together by a thread. Note: The role is cast with resident acting company. Performers will be considered as possible replacements should any become necessary. Laurie (Cast): female, 50-59, White / European Descent, pistol of a woman. Teaches in public high school and can hold her own against the tough students and the stressed environment. Doesn’t bite her tongue. A don’t-fuck-with-me chick. Note: The role is cast with resident acting company. Performers will be considered as possible replacements should any become necessary. Xavier (Cast): male, 30-39, Black / African Descent, single father - struggling to connect to his own son. Marketing executive. Wounded relationship with his ex-wife, Nya. Financially stable. Emotionally impoverished. Omari’s
02.25.21 BACKSTAGE
casting New York Tristate father. Note: The role is cast with resident acting company. Performers will be considered as possible replacements should any become necessary. Dun (Cast): male, 30-39, Black / African Descent, public high school security guard. Fit and optimistic. Charismatic with women. Genuine and thoughtful and trying to be a gentleman in a stressed environment. It’s not easy. Note: The role is cast with resident acting company. Performers will be considered as possible replacements should any become necessary. • Seeking submissions from MD. • For consideration, prepare one con-
temporary monologue of approximately 2- 3 minutes. Introduce yourself with your name and what you’re going to perform at the start of your video. You can submit a video of up to 10 mb, or a private video link via YouTube or Vimeo. Submit video to EmanCasting@ everymantheatre.org. Submissions deadline is 5 p.m. EST on Mar. 3.
• Everyman embraces identity conscious
casting with an intentional eye on gender non binary, diversity, and abilityconscious casting. We believe in fair pay for all guest artists and will continue our transparent practice of compensating for additional commitments as these events occur. We aspire to become an artistic home that is multicultural in representation and centered on anti-racist and anti-oppression practices. Read more through our Statement of Solidarity at everymantheatre.org. • Pays $717/wk. Equity LORT D Non-Rep
Contract.
Student Films ‘Expecting’
• Casting “Expecting.” Synopsis: In the
COVID era, a distraught ex-girlfriend reaches out in need and a man is forced to search through a terrifying labyrinthlike building where he faces the nightmarish consequences of his toxic relationship. • Company: Columbia University MFA.
Staff: Jungyoon Kim, prod.
• Shoots Mar. 12-14 in Atlanta, Georgia. • Seeking—Will: male, 20-30, all ethnici-
ties, lead; grounded, withdrawn, quietly caring; though he feels deeply and is quite melancholic, he keeps many things to himself, not wanting to burden others; sometimes, this causes him to lash out and hurt those around him; empathetic and can’t let go of those who need him. Ana: female, 20-30, all ethnicities, lead; sensitive, loving, gentle; gives much of herself to those she loves and has difficulty letting go of the past; has intense highs and lows; vulnerable, highly emotional, and self-sacrificing. Lauren: female, 20-30, all ethnicities, supporting; cool, competent, put together; confident in her career and herself; laid back, grounded, witty, independent. • Seeking submissions from GA. • Apply on Backstage.com. • Must be available for shoot dates. 1st
round - self tape. 2nd round - Zoom audition.
BACKSTAGE 02.25.21
• Pays $125/day. SAG-AFTRA Micro bud-
get Agreement.
Scripted TV & Video ‘4400’
• Casting two series regular roles for
“4400,” a one-hour episodic series for the CW. • Company: The CW /CBS Studios/
Pursued by a Bear. Staff: Ariana Jackson, Anna Fricke, Laura Terry, exec. prods.; Ariana Jackson, writer; Barbara Stordahl, Angela A. Terry, casting dirs.; Jason Crow, casting assoc.; Élan Ousley, casting assist. • Tentatively shoots June 2021 at a loca-
tion TBD.
• Seeking—Dr. Andre: transgender male,
20-39, all ethnicities, courteous, intelligent, proud, impeccably dressed in a wool suit from the early 20th Century. Andre is another of the people who have shown up all of a sudden on Belle Isle. Andre went missing in 1919, where he was a doctor studying the new field of anesthesiology. A good man, compassionate, he doesn’t hesitate to use his doctor skills to help out those in the crowd who seem injured. Andre first befriends Claudette, a woman from the 1950s whose wounds mysteriously heal very quickly, a fact Andre notes with interest. Andre is confounded and fascinated, but astute and adaptable to the brave new world he finds himself in; Series Regular ASP. Mildred: female, 15-25, all ethnicities, Note: Seeking performers with disabilities. Character as currently written uses a wheelchair. As with all roles, writer plans to adjust and tailor character to the actor. Young, smart, and observant, Mildred is one of the people who awaken on Belle Isle, Detroit, without having any idea of how they got there. Dressed in a pair of bellbottoms and flowery peasant top of the 1970s, though the last thing she remembers is moving to Oakland, California, with her mother. Befriended by Shanice and then Hayden, Mildred seems to have been through some hard times in her life, because she doesn’t understand why everyone is so upset at being held at the hotel: “This place is nice and they feed us”; Series regular; possibly fractional. • Seeking submissions nationwide. • For consideration, submit pic/resume
to sandtcasting@gmail.com. • SAG AFTRA Contract.
‘Euphoria’ Season 2
• Casting one role, a season lead, in the
second season of HBO’s “Euphoria.” • Company: HBO/A24. Staff: Sam
Levinson, writer-creator; Kevin Turen, Ravi Nandan Executive Producers: Ron Leshem, Daphna Levin, Hadas Mozes Lichtenstein, Mirit Toovi, Tmira Yardeni, Yoram Mokady, exec. prods.; Jennifer Venditti, NY casting dir.; Alan Scott Neal, NY casting assoc. • Production begins Apr. 5 in L.A. • Seeking—Jamieson: 18-25, Black /
African Descent, Ethnically
Ambiguous / Multiracial, season lead. 18+ to play 17. Male. Black. An outsider. Might have a drug problem, might not. Mischievous. Funny. Unafraid. Sensitive. Note: This role entails sexual situations and nudity (18+ actors only). • Seeking submissions nationwide. • Apply on Backstage.com. • Note: Talent can be based anywhere in
the U.S. If not American, must have a visa/greencard.
• Previous reels or self-tapes are encour-
aged with submission, but not required. • SAG-AFTRA. Episodic.
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,
looking for 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.
‘Put A Ring On It’
• Casting 30-50 year-old, unmarried,
long-term couples in the Atlanta area for OWN’s “Put A Ring On It.” Casting asks: “Are you and your live-in partner at a crossroads in your relationship? Struggling with whether or not to get engaged? Will Packer Media and Lighthearted Entertainment (creators of ‘Ready to Love’) wants to help you make the most important decision of your life! Couples will be given a once in a lifetime chance to explore their future by experiencing awesome date nights and meeting with relationship experts. But here’s the kicker-- the lucky couples will also get a chance date other people, to help them figure out if their partner is truly ‘the one’!” • Company: OWN & Lighthearted
Entertainment. Staff: Christine Walsh, sr. casting dir. • Shoots Spring 2021 in Atlanta, GA. • Seeking—ATL Based Couples, Lead
Roles: all genders, 25-50.
• Seeking submissions from GA. • Send submissions to cw.castingpro-
ducer@gmail.com.
• For consideration, include a brief rela-
tionship bio and the best phone number to reach you on. • Pay provided.
30
Music Videos Creative Short, Model
• Casting a featured role in a new music
video from Turquoise Jeep Records. • Company: Turquoise Jeep Records.
Staff: Gregory Winters, casting dir.
• Shoot date(s) TBD in Atlanta, GA. • Seeking—Female Model: female, 21-47,
all ethnicities.
• Seeking submissions from GA. • Send submissions to turquoiseCast-
ing@gmail.com.
• For consideration, submit a photo, a
description of yourself (including your age, height, and weight), your contact info, and your availability. • Pay TBD.
Demo & Instructional Videos Educational Videos, Bilingual Italian-English Speakers • Casting talent bilingual in Italian and
English for educational videos focused on teaching Italian to native English speakers. • Company: WSH. Staff: Anna Maria
Fortner, president.
• Shoots four-five days in March in the
Cincinnati, OH area.
• Seeking—Main (Two Roles): all genders,
18-40, native Italian speaker with clear and fluent English. Very personable. Warm, natural, and energetic presence. Clear and articulate. Grandmother/ Aunt or Grandfather/Uncle: all genders, 60+, Native Italian speaker. • Seeking submissions from KY, OH, IN
and MO.
• Apply on Backstage.com. • For consideration, include a self-taped
video on a mobile phone introducing yourself--30 seconds in each language (English and Italian).
• Pays $500/day for main roles, $250/day
for supporting roles. Travel and per diem may be provided depending on location.
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. • 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. VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
backstage.com
New York Tristate casting
• Seeking submissions from FL. • Send submissions to rodrigo@tascastu-
dios.com.
• Final casting via video audition/Zoom. • Pays $300/day.
Online Commercials & Promos Beauty Product Review
• Seeking five actresses to perform
one-minute anti-wrinkle product reviews.
• Company: Azio. Staff: J. Penna, coord. • Shoots remotely. • Seeking—Female: female, 40+, will
film yourself with your phone trying and reviewing the anti-aging cream. Must have new phone with a highquality camera. • Seeking submissions nationwide. • Send submissions to business.azi-
oskin@gmail.com.
• Pays between £50-£90 per actress.
Actresses will have three days to perform reivew once products are received.
Content Creations, Actors, Influencers & Models
• Seeking actors, influencers, and models
to create content for promotional videos. Company states: “If you are that good creating content...If every time you post a picture or a video you have so many likes and followers that you think you could be as good as any known influencer... We want to know you. We produce content. We ask not one but many videos each week for our top brands. We will choose our Top50 to work on many productions. We are looking for charismatic and confident talent. By the way: better gadgets produce better videos.” • Company: Ready Set. Staff: A S, cast-
ing dir.
• Videos will be self-taped and home
based between February and June.
• Seeking—Follow the Leader, Girl, (18-
28): female, 18-30, all ethnicities. You don’t know if you like to lead, but your words always ignite the hearts of your friends and they will follow you on any adventure. Sometimes you are the voice of reason and sometimes you seem like the best salesperson in the world. You are calm, emphatic and direct, and that is why others always listen to you. My Own Style Girl (18-28): female, 18-30, all ethnicities. You go your own way and that’s why you have your own style. Your determined and different look speaks of you to everyone and your words always say what you think. You are not afraid to express yourself or to impact those around you. Energetic Girl (18-28): female, 18-30, all ethnicities. When you tell a story, it seems like sparks are flying everywhere. Everything you do you live VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
backstage.com
so intensely that when you tell it you influence everyone with enthusiasm. Everything is exciting and amazing, and you want everyone to share that joy. Seduction Skin Boy (18-28): male, 18-30, all ethnicities. You are elegant with words and your tone of voice always seduces the listener. You do not need to use force, your words have the hypnotic and persuasive power that invites others to follow your advice. The Adventurer Boy (18-28): male, 18-30, all ethnicities. You don’t take anything for granted, that’s why you always go further and try everything that catches your attention. You learn from all your adventures and what is best, you share it with everyone and invite them to live these new experiences. The Boss Boy (18-28): male, 18-30, all ethnicities. Because you are very clear about what you want and you speak directly and without fear, you usually get what you want. Your friends ask you to speak for them or invite you to guide them with your determination. You are a born speaker.
• Seeking—Female With Fun Outgoing
set.co.
(depending on talent’s location).
Male Partner For Game App Project: female, 18-26, all ethnicities, part of 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, part of 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.
• Note: Must be 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
Online App, People Who Love to Shop Online
• Casting people who love to shop for an
online app.
• Seeking submissions nationwide. • Send submissions to cast.me@ready-
• Staff: E. Kennedy, coord. • Shoots remotely or in Downtown L.A.
• Talent will be invited to audition for a
• Seeking—Women 18+ Who Love to
Shop Online: female, 18-60, all ethnicities, attractive, charismatic, 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 who love to shop online, to demonstrate and discuss the app.
specific role. Do not apply for more than one role. Include in your submission if you have a ring light, tripod, camera, or two cell phones (to shoot yourself with cell phone in hand), a microphone and / or a reader. • Depending on script.
‘Dynavap: The Journey Starts Here’
• Seeking submissions nationwide. • Apply on Backstage.com. • Pays $250 flat. Nonunion, all media
• Casting artists, musicians, yogis, skat-
ers, etc. between ages 20-35 of all shapes and colors for a lifestyle spot.
buyout.
Sexy Women With Influencer Vibe
• Company: Dynamic, Inc. Staff: Michael
T., coord.
• Shoots two partial days between Mar.
• Casting sexy women with an influ-
1-5. Production will be COVID-safe and follow those guidelines.
encer 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. Casting states: “We serve a variety of clients and the products range from workout gear to lingerie to beauty and hair products.”
• Seeking—Skater: all genders, 21-30,
all ethnicities, looking for someone who can skate. Yogi: female, 21-33, all ethnicities, looking for someone who is a yogi. Artist: all genders, 21-35, all ethnicities. Musician: 18-35, all ethnicities. City Person: all genders, 21-35. Hiker: all genders, 21+, all ethnicities. Gamer: 18+.
• Staff: E. Kennedy, coord. • No rehearsal; auditions are remote;
studio shoots in LA, or remote shoots for those not in LA.
• Seeking submissions from AZ. • Send submissions to mtietjen@
dynamicagency.com.
• Seeking—Sexy Women With
Influencer Vibe For LA Studio Shoots: female, 18-40, all ethnicities, sexy, 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, 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.
• For consideration, note your availabil-
ity in your submission. • Pays $400/day.
Game App Project, Fun Outgoing Real Life Comedic Couples
• Casting an ongoing game app project.
Production states: “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.”
• Seeking submissions nationwide. • Apply on Backstage.com. • Pay depends on the job; flat rate range
• Company: TubeScience. Staff: Sarah
Furlong, testimonial casting prod.
is $200-$300 for in studio and/or work from home shoots. Nonunion, all media, buyouts.
• Project will shoot sometime in
February and March.
31
Print & Digital Modeling Old Navy Shoot, Real People Female Casting • Casting an upcoming Old Navy shoot.
Read all carefully before submitting. • Company: Stefanie Stein Casting.
Staff: Stefanie Stein, CD.
• 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). • Seeking—Real Women: female, 20-35,
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. Note: Do not submit if you are currently signed with a modeling agency. • Seeking submissions from NY and CA. • Apply on Backstage.com. • For consideration, include your
Instagram handle, along with your dress size (ie. size 10, etc.) in your submission. 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. • Pays $1500-2500 includes a 12 hr. day
plus a fitting prior to the shoot.
Stage Staff & Tech ‘Pipeline,’ Stage Manager
• Seeking Equity stage managers for
“Pipeline,” by Dominique Morisseau. • Company: Everyman Theatre. Staff:
Vincent M. Lancisi, artistic dir.; Paige Hernandez, dir.-assoc. artistic dir.; Noah Himmelstein, assoc. artistic dir.; Kyle Prue, prod. dir. • Rehearsals begin Mar. 30; filming for
video stream ends Apr. 25; streaming period is currently scheduled for May 31-June 11. • Seeking—Stage Manager: 18+. • Seeking submissions from MD. • For consideration, submit resume to
Amanda Hall, Director of Production Everyman Theatre 315 West Fayette St., Baltimore, MD 21201. Submissions deadline is Mar. 3.
• Everyman embraces identity conscious
casting with an intentional eye on gender non binary, diversity, and abilityconscious casting. We believe in fair pay for all guest artists and will continue our transparent practice of compensating for additional commitments as these events occur. We aspire to become an artistic home that is multicultural in representation and centered on anti-racist and anti-oppression practices. Read more through our Statement of Solidarity at everymantheatre.org. • Pays $717/wk. Equity LORT D Non-Rep
Contract.
02.25.21 BACKSTAGE
Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover
Q:
What are some good ways to build confidence and get over stage fright?
—@abbyf.1
Our Expert Natalie Roy is an actor.
*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 02.25.21
32
backstage.com
ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; ROY: COURTESY NATALIE ROY
First, I’d love to suggest that you can both feel confident and have stage fright. When we feel nerves, the body is filling with adrenaline that’s waking us up to the task before us. This energy moving through us before a performance or an audition can be seen as a rush of power that we can use, rather than something to repress or make ourselves feel wrong for experiencing. This energy can also be here to remind you how much you love this. It can keep you humble to the work and appreciative of the audience and opportunity. Feel confident knowing that when it is surging in your body, you’re being present and available for the thing you love and value most. Whenever we step in the direction of our dreams or do what we haven’t done before, this energy will be there. The difference between an amateur and a professional is that the professional will use it to create, and the amateur will use it as an excuse not to. Allow it to flow through you instead of trying to change it. A great way to ground yourself with this energy is to draw your attention to your breath and to breathe into the back of your body. Breathe into your lungs and imagine pushing the container of your torso back into the chair you’re sitting in. Feel the chair and the floor rising up to hold you and support you. Feel yourself present to the back of your heart. A few moments of deep breathing into your back can help you join this energy and feel the excitement of the moment rather than the fear of it. Our inherent negativity bias will always search for what could go wrong or what has gone wrong in past performances or auditions, causing us to ruminate about potential negative outcomes. When we can breathe in this way, we can also drum up memories from our past of times when performing has felt fun or transformative, and how well it’s gone before. When we reconnect to our own positive past, moving into the potential present feels much more welcoming.
The Slate
The Actor’s Remote Resource We’re not letting creativity + productivity stop in the face of coronavirus. We’re taking you directly to industry power players through Instagram takeovers and Q&As, YouTube Lives, and most excitingly, Zoom-hosted seminars for interactive group classes! Celebrity guests include: Nicole Kidman, Jodie Foster, Jason Sudeikis, Elle Fanning, Rachel Brosnahan, Alison Brie, Aishe Dee, Ricky Gervais, Anthony Mackie, Bradley Whitford, Nicholas Pinnock, Susan Kelechi Watson and more!
To get all the details and view the full schedule, please visit backstage.com/magazine.
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