Backstage Magazine Digital Edition: March 4, 2021 by Backstage

03.04.21

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Indelible

From “All That” to “SNL” to a new self-titled sitcom, proves his staying power

Kenan Thompson

Rupert Grint

talks tapping into the horror of “Servant”

Viggo Mortensen’s

tips for making a behind-the-camera debut to remember

SAG Awards 2021 Breaking down your ballot’s 24 male performers

5+ Pages OF CASTING NOTICES

O UTSTAN D I N G CAST

CHADWICK BOSEMAN JONNY COYNE VIOLA DAVIS COLMAN DOMINGO MICHAEL POTTS GLYNN TURMAN

BEST ACTOR CHADWICK BOSEMAN

GOLDEN GLOBE® NOMINATIONS BEST ACTRESS BEST ACTOR VIOLA DAVIS

(DRAMA)

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

CHADWICK BOSEMAN

BEST ACTRESS VIOLA DAVIS

CRITIC S’ CHOICE AWARD NOMINATIONS INCLUDING

BEST ACTING ENSEMBLE BEST ACTOR

CHADWICK BOSEMAN

BEST ACTRESS VIOLA DAVIS

“★★★★

Viola Davis is unforgettably powerful. Chadwick Boseman’s best work and one of the most transcendent performances of the year.” CHICAGO SUN-TIMES

“AN EXTRAORDINARY ENSEMBLE OF PERFORMANCES.

Viola Davis and Chadwick Boseman make the most of absolutely every second they’re on camera, but this is just as much a showcase for the talents of the always-brilliant Colman Domingo and the legendary Glynn Turman. The performances are stunning.” THE WRAP

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

FILM.NETFLIXAWARDS.COM

Contents

vol. 62, no. 07 | 03.04.21

Cover Story

Story TheCover Last Laugh Prospecting for Gold Between “Saturday Night Live” and the premiere of his selfYour guide to the titledofficial network sitcom, 2020 Oscar nominations Kenan Thompson is page taking what’s his 16 page 18

The Green Room 6 NY PopsUp aims to jump-start pandemic-era in NYC The Greentheater Room

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 Rupert Grint talks “Servant” and casting what starring whom creating your own subtext

10 Annie Murphy reflects on

“Schitt’s Creek” Advice 14 Advice NOTE FROM THE CD

Meet the prop master

13 CRAFT 16 #IGOTCAST Survive and thrive Bryanna Campbell

13 #IGOTCAST 16 SECRET AGENT MAN Mark Beauchamp How to stand out

14 SECRET AGENT MAN

The power of intention Features

4 BACKSTAGE 5 WITH...

Features Matthew Rhys

4 BACKSTAGE 5 WITH... 12 MEET THE MAKER

David Alan Grier Viggo Mortensen, and director 12 “Falling” MEET writer THE MAKER Cathy Yan, “Birds of Prey” 14 THE ESSENTIALISTS director Kairo Courts, background stylist THE ESSENTIALISTS 17 14 IN THE ROOM WITH

Jeremy Woodhead, Maribeth Fox hair and makeup designer 23 MEN OF THE MATCH 15 For INyour THEvoting ROOMconsideration: WITH Victoria Thomas the 2021 SAG Award–nominated male performers 21 OUR DREAM BALLOT And 2020 Oscar SHOULD 32 ASK ANthe EXPERT have Umberger gone to… on Jeffrey understanding talent agencies 32 ASK AN EXPERT Amy Russ on principal and Casting background work

26 New York Tristate

Casting

28 California 22 New York Tristate 28 National/Regional 27 California Kenan Thompson photographed by Chris 28 National/Regional Haston/NBC on Jan. 19 at Universal Studios in Los Angeles. Wardrobe by Eric Archibald. Makeup Kathy Santiago. designed Coverby illustration by JohnCover Jay Cabuay. by Cover Ian Robinson. designed by Ian Robinson.

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03.04.21 BACKSTAGE

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BACKSTAGE, vol. 62, no. 07 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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“THE BEST FILM OF THE YEAR” “A BRILLIANT ENSEMBLE” “LESLIE ODOM JR. IS ASTONISHING” BEST SUPPORTING ACTOR

BEST SUPPORTING ACTOR

NEW YORK FILM CRITICS ONLINE AWARDS

ONLINE FILM CRITICS SOCIETY

UTAH FILM CRITICS ASSOC

BLACK FILM CRITICS CIRCLE

BEST ENSEMBLE BLACK FILM CRITICS CIRCLE

BEST SUPPORTING ACTOR

HOUSTON FILM CRITICS SOCIETY

KANSAS CITY FILM CRITICS CIRCLE

WASHINGTON, DC AREA FILM CRITICS ASSOC

LESLIE ODOM JR.

BEST ENSEMBLE

FOR YOUR CONSIDERATION

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

OUTSTANDING MALE SUPPORTING ACTOR

LESLIE ODOM JR.

Backstage 5 With...

Matthew Rhys By Allie Volpe

Last summer, two years after the series finale of FX’s “The Americans,” which earned him an Emmy for his portrayal of Russian agent Philip Jennings, Welsh actor Matthew Rhys returned to television to put a new spin on famed fictional private investigator Perry Mason. On the HBO series of the same name, which he also executive produced, Rhys brought tragedy and black humor to the character, netting a Golden Globe nomination for his performance.

What advice would you give your younger self? In my 20s, I spent so much time worrying about decisions that I had absolutely no influence or input [on]. I wish I could’ve told my younger self to enjoy a lot more about it, because I was so angst-laden. they were looking for young Welsh lads around 20 years of age. There wasn’t a huge number of us in London at the time, and I was lucky [that,] while at drama school, I got this part in this film. That was my Equity card. The first job I got after the year where I couldn’t get work was this limited series with Bob Hoskins and Peter Falk, “The Lost World.” At the end of it, Peter Falk said, “I’m gonna do a ‘Columbo’; do you want to play the bad guy?” Two weeks later, my agent got a call and said, “Peter Falk’s been on the phone, and they want to offer you a part in a ‘Columbo’ TV movie.” He was true to his word. He met me at LAX and picked me up. He got me my SAG card.

What’s the wildest thing you’ve ever done to get a role? I lack the originality that some actors have in going, “Oh, I know an interesting way that will get this director’s attention.”

What’s one performance every actor should see and why? A movie [performance] that really fired me [up] to want to become an actor was Richard Burton in “Look Back in Anger.” I encourage anyone to watch his performance in that—just someone who was in command of his talent and his understanding and masterfulness of language.

How did you first get your Equity and SAG-AFTRA cards? When I was in drama school, there was a film being cast, and

“There are moments now that I find myself in middle age and going, ‘Oh, my God, I’m still doing this. I’m still dressing up for a living.’ ”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: DFREE/SHUTTERSTOCK.COM

What is your worst audition horror story? I remember I went into a very famous casting director’s office, and I could hear her on the phone. I sat there for quite a long time, and I could hear her having this heated discussion. Eventually, the assistant came out of the office and said, “Come in.” I gingerly follow the assistant as I’m still listening to the casting director talking with someone on the phone. I walk in, and the casting director looks me up and down, then looks at the assistant and shakes her head. Then the assistant goes, “Thank you so much for coming in,” and ushers me out. I literally hadn’t taken a breath.

WINNER

NY FILM CRITICS ONLINE

TORONTO FILM CRITICS ASSN.

SEATTLE FILM CRITICS SOC.

ATLANTA FILM CRITICS CIRCLE

HOUSTON FILM CRITICS SOCIETY

SF BAY AREA FILM CRITICS CIR.

TORONTO FILM CRITICS ASSN.

NATL. SOCIETY OF FILM CRITICS

CHICAGO FILM CRITICS ASSN.

BOSTON SOCIETY OF FILM CRITICS

Riz Ahmed

Paul Raci

Best Actor

Best Supporting Actor

“Riz Ahmed is superb.

Best Supporting Actor

“Paul Raci in one of the truest, shrewdest supporting performances of 2020”

‘Sound of Metal’ is profound, innovative, heartbreaking, uplifting and even a little breathtaking”

“Lou is played with piercing sensitivity by Olivia Cooke”

F O R Y O U R C O N S I D E R AT I O N I N A L L C AT E G O R I E S I N C L U D I N G

BEST ACTOR Riz Ahmed

BEST PICTURE

BEST SUPPORTING ACTOR Paul Raci

BEST SUPPORTING ACTRESS Olivia Cooke

Best Supporting Actor

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

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Theater

New York Theaters Still Slow to Raise the Curtain

Gov. Andrew Cuomo aims to lead the charge with the NY PopsUp fest— and many safety stipulations By Diep Tran

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The news came as the governor released more details about the New York Arts Revival, which he called “the first initiative in the nation that will accelerate the restoration of the arts and performances and creative energy.” Cuomo confirmed in a press briefing that Feb. 20 marked the start of more than 300 free live pop-up performances around the state under the umbrella of NY PopsUp. These events won’t all be announced in advance so as not to draw large crowds. They will be performed outside in locations including transit stations, parks, subway

platforms, museums, skate parks, street corners, fire escapes, parking lots, storefronts, and upstate venues. “We want to be aggressive with reopening the state and getting our economy back on track, and NY PopsUp will be an important bridge to the broader reopening of our world-class performance venues and institutions,” said Cuomo. “New York has been a leader throughout this entire pandemic, and we will lead once again with bringing back the arts.” These events will begin outside, and, as coronavirus restrictions loosen, some events

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NEW YORK GOVERNOR Andrew Cuomo said on Feb. 8 that specific multidisciplinary, flexible venues in the state will have the chance to reopen by Labor Day as part of the NY PopsUp festival. Reopening permissions are dependent on COVID-19 infection and hospitalization rates continuing to trend downward, rapid testing implementation for audiences, and a greenlight from the New York State Department of Health. Cuomo added that he doesn’t have a timeline for the return of Broadway theaters, despite Broadway producers setting May 30 as a reopening date.

will be held indoors at select theaters. These flexible venues do not have fixed seating, so they can be adapted for social distancing. The venues that Cuomo predicts could reopen include the Shed, the Apollo Theater, Harlem Stage, La MaMa, and the Glimmerglass Festival’s Alice Busch Opera Theater. The venues will work with the Department of Health to make sure that their spaces meet COVID-19 safety protocols. These reopenings are contingent upon New York perfecting its mass rapid-testing system. Cuomo seemed optimistic, saying that a recent Buffalo Bills game that tested 7,000 people, with no evidence of community spread afterward, was a good sign that rapid testing is doable and that it works. “You have venues like the Shed, the Apollo, Harlem Stage, [and the] Alice Busch Opera Theater that we can start to reopen with testing,” he said. “So we’ll start with the popups; we’ll then move towards reopening venues with testing on a limited basis.” When asked about his plans for Broadway, Cuomo said that he doesn’t have a timeline. But he said reopening is possible with limited capacity and testing. “You can open a Broadway stage with a set percentage of occupants, where people have tested prior to walking into that Broadway theater,” he said. Cuomo recently approved weddings with up to 150 guests starting in March, and he said he didn’t see a difference between that and live theater. “Would I go see a play and sit in a playhouse with 150 people if the 150 people were tested and they were all negative?” he posited. “Yes, I would do that.”

graduating from New York’s Geneva Medical College in 1849, Elizabeth Blackwell became the first woman in the country to receive a medical degree. She worked to better women’s medicine and populate the medical world with more female doctors. Jamie Anderson is set to write the film, which will take a comedic approach to the historical tale in the vein of “Legally Blonde.” Wendy Weidman will be assembling the ensemble, but no actors are yet attached to the project. The period piece is planning to start production this summer in New York.

What’s Casting

of the Democratic National Committee. The project, cast by McCarthy/Abellera, has already brought on Julia Roberts and Sean Penn to star as Martha and John Mitchell. Production is scheduled to start in Los Angeles in April.

Old Scandal, New Treatment Starz Takes on Watergate with “Gaslit”

“Good Egg” The feminist movement is often attributed to the women who laid the foundations of the modern equality movement. But then there are stories, like that of the first female doctor in the United States, that bring new shades to the fight. After

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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TELEVISION

‘The Vanishing Half’ Inches Closer to HBO 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!

ONE OF LAST YEAR’S BIGGEST BOOKS is shaping up to become a major upcoming miniseries. HBO has enlisted playwrights Aziza Barnes (“BLKS”) and Jeremy O. Harris (“Slave Play”) to adapt Brit Bennett’s bestselling novel “The Vanishing Half” for the small screen. The duo will additionally serve as executive producers alongside Issa Rae (“Insecure”) and Academy Awards producer Stephanie Allain. As the project is still in the developmental phase, no casting has been announced.

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Get cast!

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

“Gaslit” Starz is drawing from the first season of the award-winning Slate podcast “Slow Burn” for its new Watergate drama. The historical series will dive into the Nixon administration and the players big and small surrounding the infamous political scandal. Co-created by Robbie Pickering and Sam Esmail (“Mr. Robot”), the series will follow key players in the events of 1972, including early whistleblower Martha Mitchell, the wife of Nixon’s attorney general, John Mitchell; White House counsel John Dean; and G. Gordon Liddy, who led the break-in into the headquarters

“True Spirit” Jessica Watson, who at the age of 16 became the youngest person to attempt to sail solo nonstop around the world, will be the subject of an upcoming Netflix project. Based on Watson’s memoir of the same name, the film adaptation will chronicle the young adult’s travels as she battles harsh seas and isolation, and takes in the beauty of the open water. Denise Chamian is casting the project, which will be directed by Sarah Spillane and co-written by Spillane and Cathy Randall. Production is scheduled to start in Australia at the beginning of July.

SCREEN ACTORS GUILD AWARD NOMINATIONS ®

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES

NICHOLAS HOULT

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A COMEDY SERIES

GOLDEN GLOBE NOM I NAT ION S

CR I T IC S CHOICE AWA R D N O M I N E E

INCLUDING

BEST TELEVISION ACTOR

BEST ACTOR IN A COMEDY SERIES

NICHOLAS HOULT

MUSICAL/COMEDY

NICHOLAS HOULT

”. s u o i r a l i h s i t l u o H s a l o h c i N “ 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

GOLDEN GLOBE

SCREEN ACTORS GUILD AWARD ® NOMINEE

BEST TELEVISION ACTOR

OUTSTANDING PERFORMANCE

AWAR D NOMI NEE MUSICAL/COMEDY

RAMY YOUSSEF

BY A MALE ACTOR IN A COMEDY SERIES

RAMY YOUSSEF

C R I T I C S C H O I C E AWA R D N O M I N E E

BEST COMEDY SERIES RAMY YOUSSEF BEST ACTOR IN A COMEDY SER IES

“

RAMY YOUSSEF

NO LONGER HAS ANYTHING TO PROVE.”

Rupert Grint on “Servant” of create your own subtext, I think. [Julian] works in the financial district, doing something; I don’t really know that world, so I haven’t really zeroed in on what he does. He probably went to Harvard or something. Class is a huge part of the show, as well; I think he’s from a fairly wealthy family. But really, it’s all in the script. He’s got such a specific way of talking; it came fairly quickly in the pages. I felt like I knew who he was.”

The Slate

Making His Own Magic Rupert Grint talks “Servant” Season 2 and learning his craft while filming “Harry Potter” By Matthew Nerber

The following interview for Backstage’s on-camera series The Slate was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.

BACKSTAGE 03.04.21

Grint and the rest of the “Servant” cast are “dip-fed” the scripts over the course of filming. “We have no idea what’s around the corner. You’d think it’d be kind of frustrating, but it’s actually really not, for me. I kind of enjoy it. I like only knowing as much as the character. Plus, we film these episodes chronologically, which is not the norm, really. [You typically] film based on location availability and everything, so things get completely jumbled up, [and] it’s quite hard to track your journey. But with this, it’s great, because you’re playing it

To build a supporting character like Julian, he created his “own subtext” and relied on the script. “In the context of this show, it’s quite unique. [Julian] has a very different role than everyone else. He can leave [the main setting]. And you don’t really have much of an idea of his life outside of the house and outside of this situation. So it’s fun building a character without a lot of subtext. You kind

TELEVISION

‘The First Lady’ Finds Its Eleanor By Casey Mink

And he has some advice for his younger self. “Just enjoy it.” Want to hear more from Grint? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

SHOWTIME’S UPCOMING ANTHOLOGY series “The First Lady,” which will follow—you guessed it—presidential spouses throughout the decades, has cast Gillian Anderson in the role of Eleanor Roosevelt, the wife of President Franklin D. Roosevelt. Anderson is fresh off playing the role of another historical giant, Prime Minister Margaret Thatcher, on “The Crown.” She joins a cast that includes Viola Davis as Michelle Obama and Michelle Pfeiffer as Betty Ford. A premiere date and further casting are yet to be announced.

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COURTESY APPLE TV+

THE WORLD MIGHT ALWAYS know him as Ron Weasley, but Rupert Grint isn’t content to rest on his laurels. Since “graduating” from the “Harry Potter” franchise, the actor has appeared in a slew of film and television productions, graced the stages of Broadway and the West End, and, most importantly, became a dad. And he’s just getting started; Grint stars as Julian Pearce on “Servant,” Tony Basgallop’s creepy, claustrophobic Apple TV+ series that’s now in its second season. To hear Grint tell it, he’s just as perplexed and excited by the show’s mysteries as viewers are.

episodically. That is really helpful. But, yeah, I have no idea! It’s one of those shows where you wouldn’t be surprised if anything happens. It’s a thrill.”

The set of “Harry Potter” served as Grint’s acting school. “In terms of training, [I had] nothing. I went to a few afterschool theater groups and a few pantomimes. But really, when I started ‘Potter,’ being on set and being surrounded by so many amazing actors was an education for all of us, really— just watching how everyone works. And we were so lucky that we had a huge range of different actors and different directors. Through osmosis, when you’re young, you really soak up that stuff. When we finished, it did kind of feel like we were graduating.”

FOR YOUR CONSIDERATION

HUGH GRANT

SAG AWARDS NOMINEE ®

O UTSTAN D I N G P E R F O R M A N C E B Y A MALE AC T O R I N A L I M I T E D S E R I E S

GOLDEN GLOBE AWARDS NOMINEE ®

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES

CRITICS CHOICE AWARDS NOMINEE BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

ACCOMPLISHED ACTING “ INDECENTLY hugh grant slides thrillingly between sympathetic & sinister ” THE TIMES

“A RIVETING

PERFORMANCE from hugh grant will keep you glued to your screen THE GAZETTE

”

“ hugh grant delivers

A SHARP PERFORMANCE ”

“A GLORIOUS RENEWAL for hugh grant THE GUARDIAN

”

“SUPERB ACTING

hugh grant is thrilling to watch GQ

”

OBSERVER

“A MAGNETIC PERFORMANCE from hugh grant NPR

”

“A SHARP TURN

from hugh grant VARIETY

”

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Meet the Maker

Viggo Mortensen, “Falling” writer and director By Casey Mink

Lance Henriksen and Gabby Velis in “Falling”

BACKSTAGE 03.04.21

because I probably avoided a lot of beginner’s mistakes. I might not have been able to do it if I’d been given permission to make a movie [all] those years ago.” That does not mean the process was a cakewalk—quite the opposite, in fact. Mortensen and his team shot the entire project in five weeks. (He tried to negotiate up to seven, but alas.) The film tells two unfolding stories at once: Shifting between past and present, its focus is on Willis, an ailing father played by Lance Henriksen, and the overarching cruelty that has affected his relationships. Though he had not intended to star in the film, Mortensen plays Willis’ son; Laura Linney and David Cronenberg also feature.

Mortensen only decided to jump in front of the camera after putting on his producer’s hat. (Yes, he also produced the project.) “I thought, OK, well, if I’m in it, maybe that’ll help a little bit with rounding up the money,” he explains. “Plus, I can get an actor in the role who’s right for it, who already has a good relationship with Lance—and, furthermore, who I don’t have to pay!” He did worry at first that being in front of the camera might handicap his ability to see the full scope of what was happening behind it. However, he quickly realized that his total immersion in the storytelling actually helped him fire on all cylinders with more precision. “I did what actors should do anyway, which is [to] be aware

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BRENDAN ADAM-ZWELLING

THOUGH HE’S BEST KNOWN as an actor—with three Oscar nominations to show for it, no less—Viggo Mortensen has long been wanting to helm his own film. But his first attempt to do so, as it often goes in Hollywood, fell through. “That was 25 years ago,” he says, laughing. With the February release of “Falling,” which he also wrote and stars in, Mortensen at last marked his directorial debut. And though it took much longer than expected, he wonders if the filmmaking experience wasn’t only worth the wait, but actually better for it. “We really prepared well. I learned from the many good directors I’ve been lucky to work with over the years,” he says. “So maybe it was good I had to wait so long,

of everything around you all the time,” he says. “Anything can come to your assistance as an actor, and the foundation of good acting, I think, is good reacting. That’s where it starts, so the more you are giving yourself to observing and listening to every single aspect of what’s happening with the person opposite you and around them, the more relaxed you’re going to be as an actor, and the better job you’re going to do.” Mortensen adds a no-nonsense coda, though: Being a terrific actor does not automatically translate into being a terrific director. There are plenty of actors, he points out, who have directed lousy movies. “But,” he says, “there are some actors who have made beautiful movies and helped actors give great performances.” Having run the gamut of working relationships with directors himself, Mortensen tried to borrow from the best of his experiences, while not overcompensating in any way. The name of the game on his set was respect, compassion, and an openness to ideas from anywhere. “Don’t get paranoid or feel you’re losing control because an actor wants to try something different,” he says. “A good idea can come from anyone at any time: your cast, a crew member. The best thing a director can do for an actor is create an atmosphere that’s relaxed and conducive to good work. It’s not just telling them what to do and where to stand, and being annoyed because they didn’t give you the emotional moment you hoped for. Maybe they’re giving you something different that’s just as good. “Give them a chance,” he adds. “And remember that, you know, people are people.”

FOR YOUR CONSIDERATION

MARK RUFFALO

SAG AWARDS NOMINEE ®

OU TSTA N D I N G P E R F O R M AN CE BY A M AL E ACTO R I N A L I M I T E D SE R I E S

GOLDEN GLOBE AWARDS NOMINEE ®

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES

CRITICS CHOICE AWARDS NOMINEE BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

“ mark ruffalo gives

TWO PERFORMANCES OF A LIFETIME” TIME

“AN EXTRAORDINARY ACCOMPLISHMENT mark ruffalo skillfully draws two distinct characters that feel deeply connected

”

TV GUIDE

“SPECTACULAR ACTING a career-defining performance

”

THE WALL STREET JOURNAL

“ mark ruffalo is

ASTOUNDING, THE MOST NUANCED, UNSHOWY DOUBLE ACT we’ve seen in the grand ‘actors playing twins’ oeuvre THE DAILY BEAST

a tour de force “for mark ruffalo

”

A TREMENDOUS PERFORMANCE ” THE HOLLYWOOD REPORTER

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Note From the CD

Meet the Prop Master By Marci Liroff

I’VE BEEN WORKING ON SET as an intimacy coordinator for the last several months, and I’ve been soaking up the atmosphere and learning so much. Something that’s especially caught my interest is the work of professionals like Rebecca Kenyon, a longtime prop master whose recent credits include “Cobra Kai” and “Dolly Parton’s Christmas on the Square.” I spoke with her about the ins and outs of her job, and what actors need to know about it. What are some items you are responsible for that people would be surprised to know about? People are always surprised by the weird and random things the props department does—wedding rings, watches, eyeglasses. We get to do weird and exciting things that people don’t even know exist. We create stunt props like rubber weapons,

At what point do you get hired for a project? Prop masters are typically brought in during prep, a few weeks before principal photography. Usually hired by the production designer, we work in conjunction with the art department, production designer, and set decorator to make sure the props we’re bringing match the chosen look for the project. In pre-production, I typically start with the organizational aspect of a project, doing the breakdowns of the props, the graphics, and the specialty props. I collaborate with the director and designer to come up with visual references and make boards to further narrow down the look. I like to open set. Opening

KAIRO COURTS background stylist

When Oscar-winning costume designer Ruth E. Carter calls to ask for help with background styling—as she did with KAIRO COURTS on “Coming 2 America,” Amazon Studios’ sequel to the 1988 film—“you don’t say no,” Courts quips. Background styling “is almost like being a mini costume designer.” “When people come in, you definitely want them to feel good in what they have on, and you want your costume designer to love it. You have to develop a short relationship with the background to

By Casey Mink

understand who they are and what they’re going to like. You definitely don’t want anyone going to set and trying to hide from the camera. You want them to bring their A-game, so the first part is really talking to them and getting to know who they are and how they feel comfortable in clothes.”

set means being on set at or before call to supervise and establish [the] props. I like to be there to address any concerns or changes that might come up; go over the day with my crew; help with the morning setup; and answer any last-minute questions my crew, the director, the cast, or anyone else has. Usually, all choices have been made in advance through the course of several meetings. This makes the shooting days much smoother and easier so we don’t have to bother a busy director or producer on the day. During the course of prep, we have several meetings, including the concept meeting, props meeting, props show-and-tell, production meeting, and any specialty meeting we think might require more specific attention. Examples of specialty meetings we’ve held recently include the toilet meeting, where we discussed how to

To learn about storytelling through costume design, watch a silent film. “The first thing you see when you watch something is the clothes and how the person is moving in them. Especially in silent films, that makes you understand who the character is. If you watch a movie silently, you already have a preconceived notion about them. We all do—we do when we look at people on the street and how they are dressed…. We do it every day, so of course we’re going to do it when we watch films. It is a big part of telling who someone is.”

portray fixing a toilet onscreen; a drug meeting, where I demonstrated some various tactics for consuming fake drugs; and meetings about boat work. What can an actor do to help with your job? What do actors do that drives you crazy? Understanding the departments is a huge help. It is not impossible, but it definitely can be difficult to accommodate all last-minute actor requests. Sometimes, there can be a stroke of genius, or something can come up out of nowhere, and we’re glad to help. The other thing is not understanding continuity.

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ILLUSTRATION: MARGAUX QUAYLE CANNON; “COMING 2 AMERICA”: QUANTRELL D. COLBERT

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foam bricks, and retractable knives. I even made a silicone spike bracelet for a character on “Cobra Kai” to drag across another character’s face.

THE ESSENTIALISTS

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

CRITICS’ CHOICE AWARD NOMINATIONS

BEST PICTURE BEST ACTOR BEST SUPPORTING ACTOR DELROY LINDO CHADWICK BOSEMAN

WINNER INCLUDING

BEST ENSEMBLE NATIONAL BOARD OF REVIEW AWARDS

“THE BEST PICTURE OF THE YEAR.” “The ensemble cast, led by DELROY LINDO, is

INCOMPARABLE.”

“SPIKE LEE reaches new heights,

THANKS TO AN EXTRAORDINARY CAST OF ACTORS.” “CHADWICK BOSEMAN PLAYS STORMIN’ NORMAN WITH HOLY MAJESTY MAJESTY.”

WRITTEN BY

DANNY BILSON & PAUL DEMEO AND KEVIN WILLMOTT & SPIKE LEE

DIRECTED BY

SPIKE LEE

FILM.NETFLIXAWARDS.COM

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How to Stand Out

BACKSTAGE 03.04.21

talented? How do you choose which actor gets the part?” She responded, “It’s usually the one who surprises me.” We discussed this, and I realized her answer made perfect sense. Most actors will read a scene the same way, and that’s fine. They’re basing their choices on the material they were given. But it’s the actor who brings a little something extra to the scene who gets the job. I had a client who auditioned for the role of a grieving woman who just lost her husband. The sides were clear: She had to cry during the entire scene. My client did just that, but then she decided to add a

Bring a unique part of yourself to the casting office—a part no one else can bring because they’re not you.

Bryanna Campbell By Jalen Michael Like many of us, BRYANNA CAMPBELL has been stuck inside for most of the last year. But thanks to Backstage, that hasn’t stopped her from booking work. Backstage can get you cast from anywhere in the country. “I live in Colorado, so there’s not much of a market here. If you’re in a small market, I would really take advantage of Backstage, especially during this time. There’s a lot you can do at home, and that’s been so helpful when you’re not able to go to all these big cities during the pandemic.” Every no gets you closer to a yes. “Be patient, and have confidence that you will book something. It takes time, and you will hear so many nos before a yes. Make sure you trust your instincts. Stay committed, and don’t give up.” Fear will get you nowhere. “I’m open to anything. I’m not afraid to take risks when it comes to new roles. My biggest tip is to apply for everything you can, and then give it your all.”

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; CAMPBELL: MALLORY PHILLIPS

A CASTING DIRECTOR starts her day. She’s reading five actors for the same role. They’re equally talented, and they look like clones of each other. Who gets the part? I’m friends with a casting director who works on a procedural. If you don’t know, a procedural is a show like “NCIS” or “Walker.” Something bad happens, there’s an investigation, and the villain gets caught. That’s a procedural. I don’t watch these shows, because they bore me, but I adore them with every inch of my money-loving heart because they have tons of roles that need to be filled on a regular basis. That’s a lot of work, and the CD has to move quickly. So I asked my friend, “What happens when you read five people who are pretty much identical in type and are equally

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

sad little laugh at the end. It worked within the context of the scene, and the laugh didn’t change the writer’s intention. It just made her audition memorable—and she got the job. Here’s another way to stand out: Bring a unique part of yourself to the casting office—a part no one else can bring because they’re not you. Think about it: You’re an individual with your own way of doing things. You have quirks. You move and speak differently. That’s the stuff that makes you special. Use it! Don’t forget that most auditions are taped so that they can be viewed later. That’s when being unique can really pay off, especially if the other actors all made the same boring choice. You’ll pop right off that tape! When I meet with young actors who don’t have a reel, I ask them to perform a scene or monologue in my office. This is when their personality does a vanishing act as they slip into “actor mode.” What follows is a decent performance that’s lacking any semblance of who they are in real life. Don’t do that! Instead, do some homework. I want you to go online and search for taped auditions by famous actors. I’m a fan of the show “Lost,” so start with looking up “ ‘Lost’ auditions.” That should bring up the actual reads the actors did to land their starring roles. You’ll see what made them special, and you’ll also see the choices that helped them stand out. It’s insane how much you can learn from doing this. The bottom line is that you should always bring more to your work than craft and technique. You have to go further. Most of all, you need to discover what makes you different from the competition so you can use that quality to beat them. Don’t settle. Be extraordinary!

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In the Room With

Maribeth Fox

“Bridge and Tunnel” proves creativity and quality don’t have to suffer in quarantine By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; CAMPBELL: MALLORY PHILLIPS

THERE AREN’T A LOT OF CASTING FIRSTS LEFT FOR MARIBETH Fox. The casting director, who works in Laura Rosenthal’s New York City office, has cast dozens of film and TV projects, and has worked with Ed Burns, who created “Bridge and Tunnel,” for more than a decade. But the Epix series officially marks her first project assembled entirely in quarantine via Zoom audition. Fox learned that not everything is different about the casting process when it’s done online, and that building a cast of talented young actors is possible whether she’s in the room with them or not. She shares what to expect in her physical or virtual room, and what actors can do to stay creative through it all. Describe the casting process for “Bridge and Tunnel.” I had a choice: Do you want selftapes, or do you want to try this Zoom audition thing? I thought, This is going to be a technical nightmare, but I’m going to do a Zoom audition. And it was a real joy. I miss being in the

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room with actors, but being able to audition people from anywhere was freeing. One of the real joys about working with Eddie [Burns] is he’s always willing to take a chance on folks who haven’t worked a ton in TV and film, or maybe come from other worlds. His eyes

are really open to finding new and exciting young talent, and I think that’s what we’ve done with the show. What were you looking for in that young talent? Eddie’s worlds are usually pretty specific, so I’m always looking for someone who can handle the pace of his dialogue. I was looking for people who really felt like they could be from Long Island in the ’80s to be believable for the story. The other thing that comes along, even within the innocence of some of the characters that he’s written, is a real experience of that time of life and trying to figure yourself out: Will I go to

school? Can I manage a more creative endeavor? It’s something that I think Eddie has captured so beautifully. What was different about casting this project? Certainly, casting in the middle of a global pandemic was the first thing. But also, what we were asking of these people was different. The [actors] you would normally bring in for, like, two days and then send them home weren’t the same this time around; they had to stick around and stay committed to the job because of COVID-19 protocols. Also, whenever I work with Eddie, I get to audition leads, which is actually a rare experience—because normally, we have to deal with offers before getting to the auditions. Everybody’s really right for their role because they had to prove themselves. I got to cast folks that I’ve been watching for a while. That doesn’t always happen. Where do you discover new talent? Any casting director in New York City will tell you theater, obviously. But beyond theater, places like Upright Citizens Brigade were such wild, fun places to see people. It’s really hard not to have theater as a resource. We’ve made adjustments to attend online showcases of kids graduating. The advantage of being in a global pandemic is most of our staff has made it all the way through the streaming services. Everybody is on the forefront of what’s happening in the industry because we have the time to be.

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03.04.21 BACKSTAGE

The

Last Laugh

Between “Saturday Night Live” and the premiere of his self-titled network sitcom, Kenan Thompson is taking what’s his By Casey Mink Photographed by Chris Haston/NBC

NO OTHER ACTOR WORKING TODAY IS more emblematic of sketch comedy than Kenan Thompson. Not only is he the longest-running performer on the longest-running sketch show (that’d be “Saturday Night Live,” of course, which he’s starred on for 18 seasons), but he also came of age as a cast member on Nickelodeon’s “All That,” known affectionately as “SNL” for kids, and its spinoff “Kenan & Kel.” The millennial generation has basically never known a time in which Thompson hasn’t been performing comedy on their screens. But what is it that makes him so suited to the form? What’s kept him at it for close to three decades? “I don’t know,” Thompson says with a laugh and a shrug. “I like to make faces.” Though best known for larger-than-life “SNL” staples like the mock talk show host of “What Up With That?” or his take on “Family

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Feud” emcee Steve Harvey, Thompson is decidedly not the room’s biggest personality in the way one might expect. In fact, video chatting from Los Angeles on a recent winter afternoon, he’s quite subdued. As a husband and father—two roles he very much enjoys— it’s clear that, unlike so many of the greats that have come before him, comedy isn’t a high he’s chasing. It isn’t a means to fill a void, either. “It wasn’t like, ‘Oh, I gotta get up in front of people and feed that need to hear people laugh at me’–type shit,” he says, speaking to the lure of performing. “I like it when it goes right, of course, like everybody does. But I don’t necessarily love the fishing process, you know what I mean? I never was drawn to that sort of thing. There’s a lot of: Let me expose my whole self to these strangers, and let them judge me for it.” The thrill of winning over an audience

was not in the pursuit. Rather, he says, “I just knew it when I heard it.” Instinct over impulse has always been a guiding principle for Thompson. His was anything but a showbiz family, but when he was growing up in the Atlanta area, he enjoyed performing and did so for fun from a young age. In kindergarten, his class put on a play called “The Gingerbread Man,” and “I got to be the Gingerbread Man instead of, like, an oven or tree or some shit,” he remembers. It wasn’t until years later, at the ripe age of 12, that he booked his first professional gig: a commercial for a fried chicken restaurant. “I’m very proud of it,” he says with fondness—and just a hint of sarcasm. “I never saw it, because the restaurant wasn’t in Atlanta; it just [aired] in the surrounding states. I’ve never seen my first piece of work.” At this point, he pulls out his phone to do a quick YouTube search. Sadly, it’s fruitless. “I found it pretty lucrative, you know? I was like, ‘They’re paying me $800 just to go fake fishing? Fuck, yeah!’ ” he says. “You’ve got to start somewhere. I remember when the goal was to get, like, a national spot and then be straight for two years.” That was one thing Thompson knew early on: He didn’t want to have to worry about money. In fact, he cites theater performance as the opposite of what he hoped for his life. “It just is a very clear example of the kind of struggle that I didn’t want to have 30 years into my career,” he says. “They work their asses off, and I give them all the respect in the world. I was a little more money-hungry. I already know what it feels like to struggle; I don’t want to struggle and work too hard at the same time.” Along with his chill approachability, that’s the other thing that becomes apparent about Thompson during an hourlong conversation: He speaks honestly about the business side of the business, unlike many performers, who clam up at the first mention of money. He credits his first and only manager, Michael Goldman, with instilling in him a frank understanding of the industry that you can’t learn in an acting class. “He’s the one who sat me down and broke it all down,” Thompson says. “What you should do at auditions, how you should follow up with people, knowing the ins and outs of who’s running what projects, and how to figure out if there’s a spot for me, or if there’s an opportunity to convince people to think outside the box and let me play a character they didn’t necessarily write for me.” He learned to navigate the more practical aspects of the industry just as “All That,” which Thompson calls “definitely the most official training I had,” began to catch fire. Though he booked the gig in 1994 after steadily working throughout his teens, including appearing in “D2: The Mighty Ducks” and, yes, a number of commercials, this was a whole different ballgame—one he took to immediately. “It just trained my ear to listen out for backstage.com

As soon as I enter a scene, I like for people to be in the mode of: There’s a laugh coming.

certain reactions. When I would rehearse, that’s what I would be fishing for,” he says of the show. “Everybody looked at me as fearless or whatever just because I was willing to try all these different things until I heard the reaction I was looking for. And then, once the audience came in, it was that same reaction times however many people were there.” But despite the obvious correlation, Thompson and his “All That” co-stars, among them Amanda Bynes, Drake Bell, and Kel Mitchell, didn’t think of their show as a steppingstone to “Saturday Night Live.” “It just seemed so out of reach,” he says. With Mitchell, Thompson went on to do “Kenan & Kel,” another touchstone of millennial culture on Nickelodeon. After that show concluded in 2000, he spent the next few years doing what actors do: grinding. He was working and auditioning, auditioning and working, and figuring out what was next and how to keep everyone paid. And then, finally, the audition came. “It was fucking horrible,” he says of the roughly five minutes he wrote and performed in front of “SNL” creator Lorne Michaels and thenhead writer Tina Fey in 2003. “But I gave it my all and did some voices and shit, and I guess they leaned into that.” Almost 20 years later, he’s riding that same wave. “I’ve always liked to wear the fact that there’s a joke coming on my face. As soon as I enter a scene, I like for people to be in the mode of: There’s a laugh coming,” he adds. “Any kind of ‘look’ helps with that—bald caps, glasses. Those things put me into character right away.” In the early days, the aspect of “SNL” he took to less naturally was writing. Every cast member on the show is encouraged to write in addition to performing. And when Thompson first arrived, having barely written before, he was undisciplined. “Things need to be grounded in reality. That’s one of Lorne’s biggest pet peeves—when you try to just do something zany, but it’s not grounded in anything real,” he says. Eventually, he figured out a method that made sense to him, though only after he reconfigured his idea of what a joke even is, let alone why it’s funny. “If something strikes me as funny out in the world, I’m like, ‘Alright, where would that actually happen?’ ” he explains. “I learned how to start thinking backward from what’s funny. That was one of the biggest eye-openers: ‘Oh, shit, don’t try to go from A to Z; go from Z to A.’ ” While cracking his personal joke-writing code has been crucial to his “SNL” success, Thompson says learning how to write didn’t really teach him anything new about himself as a performer. Actually, learning how to write only illuminated the limitations of both disciplines. “Writing showed me that my performances can’t save bad writing. There’s nothing that’s going to save it if it’s not funny on the page in the first place,” he says. “I’ve always gotten applauded for kind of being able to say anything and have it be funny. BACKSTAGE 03.04.21

But that’s really not the case. I say the thing that’s funny, and then I add whatever I add to it, but it was usually funny in the first place. That’s what a joke is.” He points to one of his comedy heroes, Jim Carrey, and the way “he throws his face from side to side” to land a moment. “Little shit like that,” he says. “Those are laughs that aren’t necessarily written down, which is what the performer’s job is, basically: Get those laughs that aren’t there.” Thompson acknowledges he “should” have had the desire to leave “SNL” by now. After all, using the show as a launchpad to other projects isn’t just a function at this point; for many, it’s the purpose. “You’re doing yourself a disservice if you’re not using that platform to jump you into the next thing,” he says. Usually, that leap comes as one’s “SNL” tenure ends. But after countless news cycles and fellow cast members coming and going—not to mention four presidential administrations— Thompson still isn’t ready to give up the job. “I love ‘SNL’ so much that I’ve never wanted to jump off the diving board and get in the pool,” he says. “I’ve just wanted to stay up there like the scared little kid at the deep end.” He is instead attempting to have the

best of both worlds: His long-gestating sitcom “Kenan,” which he also executive produces, premiered Feb. 16 on NBC. As the lead on a scripted series—one that bears his name—the project has so far seen him flexing long-dormant performance muscles, along with some he didn’t know he had. “I’m learning lines and shit like that every morning, all day, throughout the day. Really putting shit to memory and then building it and putting it up on its feet,” he says. “ ‘SNL’ has two rehearsal days, so nothing is serious until, like, Saturday afternoon. This is serious as soon as I come in the door at 8 in the morning. It’s rehearsal time; gotta build this scene; hope you know that this scene’s about this. And I’m playing a parent, so I’m doing a lot of cooking or unpacking groceries. Especially since it’s my show, I have the majority of scenes. I don’t get much of a break.” Comparing the two, the notoriously grueling sketch series, after 18 years, is now the lighter lift on Thompson’s plate. But to be clear, he’s not complaining about any of it. “At ‘SNL,’ there [are] 15 other people they can bother for shit,” he says. “ ‘SNL’ at this point is the easy part.”

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Men of the Match

Sterling K. Brown on “This Is Us”

For your voting consideration: the 2021 SAG Award–nominated male performers

By Backstage Staff

ATTENTION, WORKING SAG-AFTRA MEMBERS: SCREEN ACTORS Guild Awards voting is officially underway! Chosen by the SAG Awards Nominating Committees, this year’s individual film and television contenders represent the best of the best onscreen acting. Fortunately, Backstage is once again here to guide voters with handy cheat sheets as the April 4 ceremony approaches! First up are the male performances. Read on for a refresher on the 2021 SAG-nominated men.

“RAMY”: CRAIG BLANKENHORN/HULU; “TED LASSO”: APPLE TV+; “SCHITT’S CREEK”: POP TV; “THIS IS US”: RON BATZDORFF/NBC

Outstanding Performance by a Male Actor in a Comedy Series Nicholas Hoult, “The Great” Tony McNamara’s Hulu dramedy works because of, not despite, its historically inaccurate flourishes. Embodying that spirit best of all is Hoult as Russia’s Emperor Peter III, following up his irreverently haughty work in “The Favourite.” Opposite Elle Fanning as Catherine the Great, he’s an exemplary scene partner: dry, unruffled, and hilariously imperious without stealing focus. Dan Levy, “Schitt’s Creek”

It’s a real testament to Levy’s skill as the co-writer, star, and sometimes director of “Schitt’s Creek” (and Emmy winner for all of the above!) that despite David Rose’s never-ending sarcastic tirades and eye rolls, the guy

managed to be completely endearing and lovable—someone you want to root for and then get drunk with.

Eugene Levy, “Schitt’s Creek” A longtime vet of the industry, Levy knows comedy—which means he also knows how to play the role of the straight man. He nailed the well-heeled stiff as the Rose family patriarch, Johnny,

Jason Sudeikis on “Ted Lasso”

who’s in over his head and out of his comfort zone after being forced to liquidate his assets and move to the titular town. Over six seasons, his performance retained its absurdity but found touching depths, too.

Jason Sudeikis, “Ted Lasso” Sudeikis always showcases the kind of charisma you can’t fake, but his everyman vibe and whipsmart comedy chops have never found a better home than in the role of Ted Lasso, an upbeat American football coach hired to lead an English football team. The freshman season of the Apple TV+ series, co-created by Sudeikis, announces itself as a fish-out-of-water comedy before its leading man unveils poignant layer after poignant layer. Ramy Youssef, “Ramy” In this age of peak TV, we’re finally hearing stories and voices that have, until now, been pushed to the margins far beyond the

small screen. We still have a long way to go, but on his semiautobiographical Hulu series about a Muslim millennial, the Golden Globe–winning Youssef provides hope. “Ramy” is hilarious while being proof of those changing tides.

Outstanding Performance by a Male Actor in a Drama Series Jason Bateman, “Ozark” It may have taken Bateman most of his acting career to prove he can play (and direct) drama as well as comedy; but his performance as Marty Byrde, a financial adviser whose idyllic family life becomes a moneylaundering nightmare, was worth the wait. That classic Bateman dryness provides the perfect foil for the unsettling world of “Ozark,” where middle-class banality becomes menacing. Sterling K. Brown,

“This Is Us” Playing the multifaceted Randall Pearson means that four-time SAG Award winner Brown gets to preach the truth, have mental breakdowns, and occasionally throw out solid one-liners that reveal his superb comedic timing. He’s created one of the most enthralling characters in TV drama.

Josh O’Connor, “The Crown” Ramy Youssef on “Ramy” Dan Levy on “Schitt’s Creek”

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Alongside a cast of actors who feel more like magicians thanks to their flesh-and-blood portrayals of public figures from increasingly

03.04.21 BACKSTAGE

Bob Odenkirk,

“Better Call Saul” As this riveting spinoff delves deeper into the thorny morality of ambition and survival, Odenkirk continues to show us streaks of the “Bad” habits that built his character’s rascally reputation. Even with the knowledge of that final meth-charged outcome in the back of our minds, Odenkirk gives a refined performance, adding new layers to dodgy lawyer Jimmy McGill’s present tense.

Regé-Jean Page, “Bridgerton”

To call Shondaland’s first Netflix series buzzy would be the understatement of the season; this tale of 19th-century high British society—“Downton Abbey” meets “Gossip Girl”—features

Outstanding Performance by a Male Actor in a Television Movie or Miniseries

filmed “Hamilton” to Disney+, homebound fans of Lin-Manuel Miranda’s game-changing musical got to watch (and rewatch and rewatch) the stage production’s impossibly talented original cast. Diggs’ Tonywinning turn as both the fearless Marquis de Lafayette and the swaggering Thomas Jefferson is the quintessential example of a tour de force.

Bill Camp,

Hugh Grant, “The Undoing”

the most charismatic of casts. Leading man Page as Simon Basset is perfectly dashing as a duke who is uninterested in noble titles yet poised to give Regency London gossips plenty to talk about.

“The Queen’s Gambit” The fact that Camp’s Mr. Shaibel, school custodian and chess mentor to Beth Harmon (played first as a child by Isla Johnston, then by Anya Taylor-Joy), appears only at the beginning of this hit Netflix miniseries is proof of the actor’s sheer charisma. His quiet gruffness and dawning belief in Beth’s abilities loom over her coming-of-age journey, resulting in the miniseries’ greatest emotional payoff.

Daveed Diggs, “Hamilton” One of the highlights of 2020 echoed the fervor of Broadway in 2015: With the arrival of the

Daveed Diggs in “Hamilton”

Bob Odenkirk on “Better Call Saul”

It’s impossible to discuss Grant on “The Undoing” without spoiling the ending; this is a murder mystery, after all. Centering Grant as husband, father, and potential cheater-liarmurderer Jonathan Fraser is more than just a clever bit of casting, given our collective fondness for his charmingly romantic roles. Grant capably walks the line between sympathetic and bone-chilling, causing us to second-guess ourselves right up until the series’ final heartpounding moment.

Ethan Hawke,

“The Good Lord Bird” What makes Hawke a star is also what makes this Showtime miniseries he co-created with Mark Richard great: He can combine weighty historical drama with epic, rollicking entertainment. The actor’s irreverent take on the intensely religious and violent abolitionist John Brown, whose spark helped

ignite the American Civil War, must be seen to be believed. And believe you absolutely will.

Mark Ruffalo, “I Know This Much Is True” Playing opposite yourself as twins might sound like a dream acting job, but it comes with risks: You have to pull off the illusion seamlessly, making the audience forget they’re seeing

“BRIDGERTON”: LIAM DANIEL/NETFLIX; “HAMILTON”: JOAN MARCUS

Regé-Jean Page on “Bridgerton”

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“BETTER CALL SAUL”: GREG LEWIS/AMC/SONY PICTURES TELEVISION; “MA RAINEY’S BLACK BOTTOM”: DAVID LEE/NETFLIX

recent history, O’Connor excels at both rendering a convincing impression of Prince Charles and putting his own spin on it. His tormented love triangle with Emma Corrin’s Diana and Emerald Fennell’s Camilla Parker Bowles feels, somehow, like an authentic recreation of actual events rather than a series of scripted moments.

“BRIDGERTON”: LIAM DANIEL/NETFLIX; “HAMILTON”: JOAN MARCUS

“BETTER CALL SAUL”: GREG LEWIS/AMC/SONY PICTURES TELEVISION; “MA RAINEY’S BLACK BOTTOM”: DAVID LEE/NETFLIX

Chadwick Boseman in “Ma Rainey’s Black Bottom”

one performer, and you can’t ever verge on gimmickry. The Emmywinning Ruffalo avoids these issues with astonishing precision in this adaptation of Wally Lamb’s novel, imbuing both brothers with distinct interiorities as well as magnetic physicalities.

one of August Wilson’s biggest monologues, a tirade against God suffused with pain and outrage, Boseman lets the words pour out of him like a jazz solo. It’s the film performance of the year, and a tragic reminder of this late actor’s skill and irrepressible humanity.

Outstanding Performance by a Male Actor in a Leading Role

Anthony Hopkins,

Riz Ahmed, “Sound of Metal”

As Ruben, a heavy metal drummer and recovering addict who discovers that he’s going deaf, Ahmed paints a devastating portrait of dependency in all its forms. Brilliantly underscored by the film’s sound design, his notes of wide-eyed fear or quiet discontent at a loud party provide a visceral, tragic look at life as a newly hearing-impaired person transitioning out of the hearing world.

Chadwick Boseman,

“Ma Rainey’s Black Bottom” There’s a raw wound underneath the suave, cocky demeanor that Boseman gives Levee, a rebellious trumpeter who flies too close to the sun. Delivering

backstage.com

“The Father” A character losing his grip on himself requires, paradoxically, an actor with the utmost selfawareness. Hopkins gives a master class in using precision to depict a lack of mental precision in Florian Zeller’s stage-toscreen adaptation about a father experiencing dementia. It’s one of the most profound performances yet from this awards-dominating legend who has notably never won a SAG Award.

Gary Oldman, “Mank”

One Academy Award–winning, appearance-altering turn isn’t enough for a chameleon like Oldman. In “Mank,” he steps into the shoes (and prosthetics) of another Oscar winner, Herman J. Mankiewicz, disappearing into the alcoholic screenwriter’s bedclothes and memories of old

Hollywood. Ornery, intoxicated, and tucked away in a desert cottage writing “Citizen Kane,” Oldman’s work as Mank might just put even more gold on his mantle.

as grace, the late actor portrays the leader of Spike Lee’s fictional squad as a fearless educator and seeker of justice in the fight for Black liberation.

Steven Yeun, “Minari”

Daniel Kaluuya, “Judas and

No dream—especially the American dream—can be achieved without a cost. As Jacob, a Korean immigrant father and husband who determinedly moves his family to an Arkansas farm plot, Yeun demonstrates first the blind optimism of what he sees as success, then the crushing weight of what he considers failure. He also beautifully charts his character’s full-circle journey away from selfishness and back toward what really matters.

Outstanding Performance by a Male Actor in a Supporting Role Sacha Baron Cohen,

“The Trial of the Chicago 7” It’s evidence of Baron Cohen’s brilliance that in the same year he gave us another “Borat,” he turned in his most stirring dramatic performance to date in this Aaron Sorkin legal drama. His delivery of Abbie Hoffman, one of the real-life seven accused by the federal government of conspiracy, is as multilayered as it is surprising, somehow both completely laid-back and full of outrage.

Chadwick Boseman,

“Da 5 Bloods” Boseman applied what he learned playing titans like T’Challa and Jackie Robinson to once again breathe life into a Black hero: fallen Vietnam soldier Stormin’ Norman. With as much conviction

the Black Messiah” Kaluuya seems to have a sixth sense in his ability to get under our skin with a precise gesture or glare. His almost preternatural charisma is on display in Shaka King’s retelling of the FBI’s deceptive practices leading up to the 1969 assassination of Fred Hampton. Watching Kaluuya play the doomed Black Panther chairman, you may find yourself out of your seat, fist raised in the air.

Jared Leto, “The Little Things”

Compared with Denzel Washington and Rami Malek, Leto’s screen time in John Lee Hancock’s “The Little Things” is scarce. That’s what makes his performance as murder suspect Albert Sparma all the more remarkable: It takes only a handful of pointed stares and ambiguously delivered warnings for Leto to evoke this wide-eyed weirdo, hint at his disturbing depths, and make your skin crawl.

Leslie Odom Jr.,

“One Night in Miami” Playing a beloved star always comes with risks, but if the star is a singer, that’s doubly true. How to recreate their vocal prowess without resorting to lip-syncing? Odom’s portrayal of Sam Cooke could be the gold standard for this trick. In both his quiet charisma and the film’s stunning final vocals, he puts his own stamp on the inimitable Cooke, giving him cinematic life.

03.04.21 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays ‘Prayer for the French Republic’

• Seeking video submissions from Equity

actors for principal and understudy roles in “Prayer for the French Republic.” • Staff: David Cromer, dir.; Joshua

Harmon, writer; Kelly Gillespie, casting.

• Rehearsals begin early December 2021;

first preview will be on or about Jan. 5, 2022; runs early February-late March 2022 in NYC. • Seeking—Marcelle: female, 50-69,

female-identifying; a doctor, a mother. Very French. Jewish. Has a solid sense of her identity and place in the world. She has recently achieved the status she’s worked her whole career for. A forceful personality. She runs the show and does not suffer fools. Charles: male, 50-69, male-identifying. Marcelle’s husband. Also a doctor. A father. An Algerian Jew who has lived in France since his family fled Algeria when he was 6. Even-keeled and kind. Urbane. Thoughtful and solid. A man who knows from experience how bad things can get, and while he doesn’t live in fear, he lives with that awareness. Elodie: female, 20-29, femaleidentifying. Marcelle and Charles’s daughter. French-Algerian. Opinionated, out-spoken, sarcastic, combative. Very smart, very funny. Quite depressed. Lives with her parents. Daniel: male, 20-29, male-identifying. Marcelle and Charles’s son. French-Algerian. A teacher in a Jewish school in a Jewish neighborhood. He has, in recent years, steadily become more religious than the rest of his family. Sexy in an unassuming way. A bit of an introvert who feels things strongly. Easy to like. Patrick: male, 50-69, male-identifying. Marcelle’s brother. Our narrator. An entirely secular Jew. To the point where he thinks religion, VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

BACKSTAGE 03.04.21

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. in general, is nonsense. Wry, ironic, and charming. As outspoken as his sister and quite certain of his views. Molly: female, 20-29, female-identifying; a distant American cousin. In France to study abroad. A bright an opinionated young woman, who is optimistic and game. Far from ignorant, but her experience of the world is not yet very broad. We watch her assimilate some of the ancient complexities of the world as the play unfolds. Pierre: male, 80+, male-identifying. Marcelle and Patrick’s father. The last of many generations to run the family’s piano store. A Holocaust survivor. The pain of his memories is kept in check by unflagging pragmatism, his belief in the primacy of family, and the familiarity of the piano store. Irma: female, 60-79, female-identifying. Pierre’s grandmother. Unsentimental, very French. A Jewish mother who survived WWII in her apartment with her husband, not knowing the fate of any of their children. Suppressing her worry and despair costs her, but she manages it. Adolphe: male, 60-79, male-identifying. Pierre’s grandfather. Visually impaired. A Jewish father who survived WWII in his apartment with his wife, not knowing the fate of any of their children. A quiet man, prone to interiority. But perceptive and kind, and skilled at navigating and soothing his wife’s distress. And, later, that of his son and grandson. Lucien: male, 40-49, male-identifying. Irma & Adolphe’s son. A Holocaust survivor. Shattered and shellshocked by his experience in the camp, of course. But also dazed to be back in the world. Putting one foot in front of the other every day, for his son’s sake. His son is his tether to life and a future and a belief that goodness still exists. Stillness on the surface; tumult underneath. Young Pierre: male, 15+, to play 15. Male-identifying. Lucien’s son, who survived the Holocaust in the camp with him. Smart, but very uncertain and reticent. He has no idea how to be in the world. And how could he? Overwhelmed by the love his grandmother is desperate to shower on him, but always wants to do the right thing. Utterly reliant on his father. • Seeking submissions from NY. • For consideration, submit contempo-

rary monologues, two minutes in length, shot in landscape framing. Videos should be sent in a non-downloadable format - private YouTube link,

Casting picks of the week BY LISA HAMIL

stage

Illinois Shakespeare Festival 2021 Season Brush up your Shakespeare in this IL Equity festival

‘Euphoria’ Find your bliss in season 2 of this HBO series in Los Angeles, CA

stage

‘Prayer For The French Republic’ Bless this Equity production in NYC

‘Billions’ Join the 1% in this hit Showtime series in NYC

stage

‘TJ Loves Sally 4 Ever’ Enjoy this wildly irreverent Equity satire in Boston, MA

Vimeo, etc. Include your headshot & resume to PrayerForTheFrenchRepublicEPA@ gmail.com. Subject line should include your name, the character name & your Equity status. Submissions deadline is Mar. 8.

• Equity’s contracts prohibit discrimina-

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. • Pays $969/wk. Equity LORT B Non-Rep

Contract.

Student Films ‘At McDonald’s, and Interlude Of Bullsh*t’ • Casting “At McDonald’s, and Interlude

Of Bullsh*t.” Synopsis: For two best friends, an innocent lunch at McDonald’s transforms into a date with espionage, filled with lies and deception. • Company: NYU Film and Television.

Staff: Ailis DeTommaso, student filmmaker; Joseph Zucker, prod.

• Shoots the weekend of Apr. 17 on Long

Island, NY and in NYC. Note: Any transportation will be provide/compensated. • Seeking—Mitch: male, 18-30, 23; is an

obnoxious, attention seeker who will do or say anything for a laugh; when it comes to Mitch, subtly is thrown out the window - yet the fact remains, deep down he has a very big heart; among anything else, he prides himself on being a storyteller and whether anyone likes to admit it, he can always make you laugh. Tobin: 18-30, 22; can easily be seen as Mitch’s “sidekick” in life; the main difference between the two is that, Tobin has a filter...except when it comes to calling out Mitch; Tobin is an insecure narcissist, he sees himself very highly yet he is constantly taking the back seat in social situations; despite what he thinks, he is no smarter or more like-able than Mitch. • Seeking submissions from NY. • Send submissions to aed489@nyu.edu. • Include a video audition using the sides

provided. • No pay.

‘Josh And The Journey For A New Pair Of Pants’ • Casting “Josh And The Journey For A

New Pair Of Pants.” Synopsis: Bert is running for class president, and Josh is running him, but Bert just peed himself and Josh needs to find him new pants before Bert has to get on stage and launch his campaign.

• Company: NYU Intermediate Narrative.

Staff: Joseph Zucker, dir.

• Rehearsals remote via Zoom; shoots

Apr. 24, 2021 in New York City and New York City area for Rue and Greg and April 17, 2021 in Rockville Centre, Long Island for Bert.

• Seeking—Bert: male, 18-34, all ethnici-

ties, a nervous guy who is running for class president at his school; he was put up to run for that position by the character Josh; Bert is a larger fellow meaning he heavy set. Rue: male, 22-50, backstage.com

New York Tristate casting

Asian, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, is the owner of the laundromat. It is not a particularly nice laundromat but he likes it there; he does not like Josh due to previous grievances. Greg: male, 18-35, all ethnicities, athletic build, Josh steals an article of clothing from Greg’s grandmother and he is angry, he wants to get it back. Security Guard: all genders, 18+, all ethnicities, A security guard working at the school who will respond to Josh and run outside; non speaking role; shoots Apr. 17 in Long Island. • Seeking submissions from NY. • Apply on Backstage.com. • Note availability and ability to meet in

person and film. Also show proof of negative COVID-19 test results or proof of vaccination. • If travel is required via MTA subway or

ride sharing apps during duration of on set, it will be compensated for by director.

‘The Sacred Hour’

• Casting “The Sacred Hour,” a young

nun faces a moral dilemma when a friend and fellow sister asks for a favor. • Company: NYU Tisch MFA Film. • Rehearsal week of Mar. 15; shoots Mar.

• Do not submit if you’ve ever worked on

the show in previous seasons. • Pays $250/8 hrs.

WEBMD: HATTR Shoot

• Casting HATTR (Hereditary ATTR

Amyloidosis) shoot. Local talent preferred. WebMD specializes in creating true-to-life patient simulations for continuing medical education. This program is focused on hATTR (hereditary ATTR amyloidosis). • Company: Andrew Hecht Media. Staff:

Andrew Hecht, casting dir.

• Shoots Mar. 8 in WebMD’s NYC studio.

Production will be COVID compliant to ensure everyone’s safe.

• Seeking—Patient/Mrs. H.: female, 55,

Latino / Hispanic, underweight. Portuguese appearance (should look Hispanic, Southwest Europe, or South American). Spanish accent or British accent. Doctor: male, 45-60, all ethnicities, a neurologist with a British accent. Demeanor should be professional with a balance of confidence and compassion in the tone of voice. • Seeking submissions from NY. • Send submissions to ahecht1@gmail.

com.

• Rate: SAG-AFTRA Day rate + 10%,

Category 1 on-camera player. Usage: Unlimited/Digital

22-24 in NYC.

• Seeking—Rose: female, 30-40, all eth-

nicities, a nun, finds herself in trouble and must ask another sister at the convent for help. Priest: male, 40-60, all ethnicities, the priest is a devoted servant to God, but has dark secrets of his own. • Seeking submissions from NY. • Apply on Backstage.com. • Auditions will be held the week of Mar.

1. Specify availability for auditions and send link to video reel.

• Daily stipend and meals/transportation

provided. Deferred pay for SAG.

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 March-November 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.

backstage.com

Online Commercials & Promos

such as making/drinking coffee, Zoom meetings, watching TV, yoga, dancing like no one’s watching, grabbing mail, cleaning, brushing teeth, etc. • Apply on Backstage.com. • For consideration, submit a portfolio

with measurements and Instagram handle. For more info, visit https://e--lia. com or @eliaxlounge on Instagram. • Must attend fitting (no pay). Pays $100

for half-day shoot. Meal included. Usage: digital and social media posts (Instagram, Facebook, YouTube, and website). Talent will receive a copy of the edited materials.

“Intelligent Host” Ad Shoot • Casting one female actress, 25-35,

business casual/professional attire. Synopsis: Photo and video shoot for video adverts for a tablet-based mobile check-in service that will be used for restaurants, medical offices, and other similar businesses. • Company: StrixMedia. Staff: Jake

Williams, dir.; Dan Gianfrancesco, owner.

• Studio sessions TBD in Morristown, NJ.

Note: Must be willing and able to commute to set.

• Seeking—Lead Host: female, 25-35. • Seeking submissions from NJ. • Apply on Backstage.com. • For consideration, submit recent head-

shot and reel/prior work. Note: Must be comfortable speaking directly to the camera, and comfortable with a teleprompter. • Pays $125 for a four-hour shoot.

Stage Staff & Tech ‘Prayer for the French Republic,’ SM/ASM

• Seeking Equity stage managers and

assistant stage managers for “Prayer for the French Republic.” • Company: Manhattan Theatre Club.

Staff: David Cromer, dir.; Joshua Harmon, writer; Kelly Gillespie, casting.

• Rehearsals begin early December 2021;

first preview will be on or about Jan. 5, 2022; runs early February-late March 2022 in NYC.

• Seeking—Stage Manager: 18+, all eth-

nicities. Assistant Stage Manager: 18+, all ethnicities. • Seeking submissions from NY. • For consideration, submit a resume to

PrayerForTheFrenchRepublicEPA@ gmail.com.

• Equity’s contracts prohibit discrimina-

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

Athletic Apparel Ads

• Casting fit actors for a series of promo

videos for athletic apparel. Actors will need to work out. Production will use glycerin on skin to create water droplets. • Staff: Cee, coord. • Shoots in March in Beacon, NY. • Seeking—Average Man: male, 25-35.

INCOME TAX SERVICE FOR THEATER PROS

Average Woman: female, 25-35.

• Seeking submissions from NY. • Apply on Backstage.com. • Pays $300/day, plus Metro-North train

ticket reimbursement provided. Must provide receipts for any reimbursement.

e.LIA Loungewear Shoot

• Casting branded content (short videos

and photos) for the loungewear brand e.LIA.

Attorney; Juilliard graduate; former Local 802 member; over 30 years of experience Professional expertise at rates that recognize Covid-19’s impact on the theater industry

• Company: e.LIA. Staff: Jonathan Tsang,

Aaron Chow, and Tony Chen, founders; Leo Chen, creative dir. • Must Attend At Least 1 Fitting • Fitting #1 Feb. 25 (evening) • Fitting #2 March 5th/6th (evening) • Location: East Village • Shoot Date: (TBD) Beginning Week of

Call now; then scan or mail your information to save time and stay safe; we can “meet” by phone or on Zoom

March.

• Seeking—Male Model: male, 18-35,

Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, male model for loungewear clothing. Athletic, lean build, handsome, charming, youthful, refined, urbane. Must perform simple home activities,

03.04.21 BACKSTAGE

Don Aibel, Esq. 145 West 57th St, 10th floor New York, NY 10019 (212) 765-7532 Fax: (201) 767-5583 don@aibeltax.com

casting California

Southern California Short Films ‘Fade’

• Casting “Fade,” the story of a grieving

man who visits the ghost of his girlfriend every year in the place they had their first date. On this particular night the ghost, AJ tries to convince Josh to finally move on with his life and get back to living. • Company: UCLA TFT Department.

Staff: Paul Luna, UCLA graduate cinematographer.

• Shoots Apr. 2-4 at an Airbnb in Joshua

Tree.

• Seeking—AJ: female, 20-28, Asian, a

sarcastic, funny and lovable women. She died tragically at a young age in a car accident. She enjoyed doing standup comedy and aspired to be an actress. Her ghost visits her boyfriend Josh every year on their anniversary and she can no longer see him grieving and not truly living life anymore,. • Seeking submissions from CA. • Apply on Backstage.com. • For consideration, in your cover letter/

resume note your availability, willingness to shoot on set production (adhering guidelines) and if you have your own vehicle. Note: Actors must be available during shoot times and be willing to quarantine for 10 days prior to production. COVID test will also be completed during quarantine. Must be willing to do overnight shoot at remote location (Joshua Tree Airbnb) with a small crew. Own transportation is preferred but not required.

• Meals, copy, and credit provided.

Student Films ‘Before Night Shift’

• Casting for “Before Night Shift,” a LMU

MFA thesis film. Synopsis: After a postwork conversation over a late-night snack, a man realizes he must come to a critical decision about his relationship with his boyfriend. • Company: Loyola Marymount

University. Staff: Po Wei Su, dir.-prod.

• Rehearsal a week before shoot; shoots

between Mar. 26-29 (not needed for all days) in L.A. • Seeking—Shaun: male, 28-55, all eth-

nicities, moved to the States a long time ago. His parents used to own a small aquarium back home before they passed away, so when he settled down here, he found a job working at an aquarium as well. His dream is to open his own aquarium. Shaun was a heavy smoker before he got together with Ed. American Spirit, especially the yellow one is the only brand he smoked. He always says he’s gonna quit because his boyfriend doesn’t like it, so he always secretly smokes while working at the

BACKSTAGE 03.04.21

Online Commercials & Promos

aquarium. He likes to listen to music during night shift. No kissing or hugging will be involved in the shoot. Ed: male, 18-35, all ethnicities, a moviegoer. Loves vintage and weird stuff. His favorite movies are the “Three Colours” trilogy, and he has these posters in the house. He’s currently a third-year grad film school student. Although he loves Shaun very much, he’s still too young to figure out the perfect balance between working on film sets and his relationship with his boyfriend. His dream is to direct a feature as soon as possible. No kissing or hugging will be involved in the shoot. Michael: male, 35-64, all ethnicities, the fish shop owner where the main actor Shaun works. He always looks mean but he actually takes good care of Shaun and other people working there. He likes to put his hands in his working apron when he’s walking. There’s always a blue and a red pen hanging off his pocket.

Dr. Squatch Natural Soap Online Video Ads • Casting several ongoing projects

throughout the year promoting Dr. Squatch, a natural soap company. Talent must be capable of self-filming on iPhone or are 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.

• 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).”

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

gmail.com.

• Meals and credit provided. Gas reim-

bursement provided if needed.

‘Severe’

• Casting “Severe,” a student film for

• Company: Dr. Squatch. Staff: Suraj,

Biola University. Synopsis: Claire and Vanessa are two sisters with an interesting career. Can they succeed with their plan seamlessly without getting caught?

coord. • Ongoing productions throughout 2021, primarily in the L.A. area or for selfshooters more flexibility as to where. Projects will be small scale productions (crew of 2-3 people; under 10 hours) in person or self shot (Production will send a short script, you film yourself, and send us the footage).

• Company: Biola University. Staff: Alison

Chan, dir.; Nicole Henderson, casting dir.

• Shoots Mar. 12 and 13 in the L.A. area. • Seeking—Claire: female, 18-25, Asian,

• Seeking—Male Lead: male, 18-45, all

ethnicities. Female Lead: female, 18-35, all ethnicities.

South Asian / Indian, Southeast Asian / Pacific Islander, younger sister of Vanessa. Emotionally driven. She is able to change her persona to get the job done. She lightens up the mood to show Vanessa it doesn’t have to always be serious. Vanessa: female, 21-35, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, older sister of Claire. Wants to make sure the job is complete without any hiccups. Wants Claire to assist with finishing the job. Gets annoyed by what Claire says/does sometimes. Shows little to no emotion. Neighbor: male, 25-40, all ethnicities, male version of a Karen. Wants a quiet night but it gets disturbed by the noise in Mike’s apartment. He gets confused when seeing Claire in doorway. He bombards her with many questions to see what is going on inside. Older gentleman who gets easily bothered. Mike: male, 20-28, all ethnicities, college student vibe. Owns the apartment. Lives the life as a trashy player. Takes interest in Claire without knowing who she really is.

• Seeking submissions from CA. • Apply on Backstage.com. • Submit a video audition 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 per video.

National/ Regional

• Seeking submissions from CA. • Send submissions to

Plays

• For consideration, include a headshot,

Children’s Theatre Company 2021-22 Season

nicole.b.henderson@biola.edu.

resume, and reel in your submission.

• Meals and credit provided. Actors must

• Seeking video submissions from Equity

cover their own COVID rapid test (24- to 48-hour turnaround).

actors for the Children’s Theatre Company’s 2021-2022 season. Seeking flexible, creative actors as well as strong singers and movers. All roles are understudied. Season includes “Annie” (had been cast and planned for 2020; retaining same cast); a new play by

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

Lloyd Suh; a new play by Cheryl West, and a TBD Spring Musical. Children’s Theatre Company (CTC) is the nation’s leading theatre for multigenerational audiences creating theatre experiences that educate, challenge and inspire young people.

• Company: Children’s Theatre Company.

Staff: Peter C. Brosius, artistic dir.; Miriam Weisfeld, dir. of artistic development.

• Season runs October 2021 through June

2022.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MN. • For consideration, prepare two con-

trasting monologues at one minute each and two contrasting songs, 16 bars each. Choose challenging, wellwritten material. No need to pick something from traditional children’s literature or children’s theatre genre. Submit your video at https://airtable. com/shrD15rUItmIa1spd. You will be asked to fill out a short form & submit your video & headshot/resume. Submit video audition and introduce yourself with your name and what you are going to perform at the start of your video. • CTC is committed to equity, diversity,

inclusion and justice in our organization and our community, and thus we seek a broad spectrum of artists, staff, and board members. We strongly encourage and welcome auditions from artists who are Black, Indigenous or People of Color, as well as those who are from other underrepresented communities. CTC is committed to a future where our theatre is a home for all people, all families, and is truly reflective of our community. • Equity’s contracts prohibit discrimina-

tract renews July 2021) Equity Special Agreement Contract.

Illinois Shakespeare Festival 2021 Season • Seeking video submissions from per-

formers for the 2021 ISF Season. Season includes “The Winter’s Tale” (Rebekah Scallet, dir.) and “Measure for Measure” (Jenny McKnight, dir.). Casting all roles for a 9-person rotating repertory of “The Winter’s Tale” and “Measure for Measure.” All actors will play multiple roles. • Company: Illinois Shakespeare Festival.

Staff: John C. Stark, artistic dir.; Robert Quinlan, assoc. artistic dir. • Rehearsals begin June 1, 2021; season

runs July 2-Aug. 7.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from IL. • For consideration, submit a video of

two Shakespeare monologues, not to exceed three minutes total. Send a link to a private YouTube video to ISFauditions@gmail.com. Submissions deadline is Mar. 15. backstage.com

National/Regional casting

• Rehearsals begin Apr. 6 (virtual) and

encounter currently are on the binary and are written with the he/him or she/ her pronouns and you will see that are in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, genderqueer, transgender, non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. As an ADA compliant theatre, we welcome performers of all abilities and will make all reasonable accommodations in order to cast performers, regardless of disability, in any role possible. Let us know if you have any questions, concerns, or if there are any accommodations we can provide. (Language developed by Kevin Kantor and Emily Tarquin from the Actors Theatre of Louisville).

• Seeking—Ray Strong: 18-29, all ethnici-

One Equity contract available. Show pending Equity health and safety approval.

• Equity’s contracts prohibit discrimina-

Contract.

‘Love in Reserve’

• Seeking video submissions from Equity

actors for roles in “Love in Reserve.”

• Company: Rubber City Shakespeare

Company. Staff: Dane CT Leasure (He/ Him/His), exec. artistic dir.-dir.; Eric Mansfiled (He/Him/His), playwright; Sarah Bailey (She/Her/Hers), dir. of artistic coord. Apr. 10 (in-person); tech will be held Apr. 24; runs Apr. 30-May 15 with a possible extension through May 22. ties, a man in his mid 20’s who joined the Army immediately after high school. He chose the military in part because he didn’t see many other options to making a mark in his life. While he never set out to make the Army a career, the military seems to be his calling now that he has overachieved to become an officer. He is hopeful that Kate, his high school sweetheart who recently became his wife, will embrace the role of Army wife, and while he doesn’t intentionally make Kate’s life more complicated, he takes for granted that she “knew what she was getting in to” when she married a soldier. Kay Strong: 18-29, all ethnicities, a woman in her mid 20’s who adores Ray, and while others in high school thought he was a middle-of-the-road, vanilla local boy, she saw his potential and has often worshipped the ground he walked on. She has made his success and happiness her priority, which has sown seeds of frustration and resentment as Kate has delayed following her own path. Alone in a military officer’s apartment, Kate never thought she would feel stranded in an unfamiliar state with her own life on holdwhile waiting for Ray yet again, this time to return from war. She is a stubborn worrier who uses sarcasm and humor in confronting her fears and frustration. In her heart, Kate is convinced that if she and Ray can just survive the war, her own time to shine will come, and together, their future will be amazing. In the meantime, she has never felt more alone and is constantly fearing that she willbecome a widow. • Seeking submissions from OH. • For consideration, prepare two con-

trasting 30 second monologues that best show your range for your video. Email video in an unlisted YouTube [or similar platform] link, your headshot and resume to casting@rubbercitytheatre.com. Submissions deadline is Mar. 11. Callbacks will be held Mar. 13, noon-7 p.m. ET (break 3-4 p.m.) and, if needed, Mar. 15.

• Local actors particularly encouraged to

submit. Note: In reference to the character descriptions - most characters we backstage.com

• Pays $271/wk. Equity SPT 1 Contract.

‘TJ Loves Sally 4 Ever’

• Casting Equity actors for the New

England Premiere of “TJ Loves Sally 4 Ever.” Synopsis: In this wildly irreverent and whip-smart satire, award-winning playwright James Ijames dissects a sordid slice of American history with the goal of reimagining the future. When Sally, a young Black college student, is faced with unwanted advances from TJ, her college’s white Dean of Students, she sets out, amidst a swirl of marching bands, beauty pageants, and bubbly tour guides, to dismantle the legacies that bind us. • Company: SpeakEasy Stage Company.

Staff: Pascale Florestal, dir.; Paul Daigneault, prod. artistic dir.; Dwayne P. Mitchell, artistic fellow. • Prep week Mar. 1-7; rehearsal and cap-

ture Mar. 8-21, 2021 in Boston, MA.

• Seeking—Sally: female, 20-29, Black /

African Descent, college student, Black, Female-Identifying; hella smart, driven. (must have comfortability in step, tap, and twerking.). TJ: male, 30-49, dean of students; also smart; gregarious; privileged; white, Male-Identifying. (must have comfortability tap and twerking.). Annette: female, 20-29, Black / African Descent, Sally’s friend; black, FemaleIdentifying; she’s pre-med; busy and brilliant; she don’thave time for this. (must have comfortability in step, tap, and twerking.). Pam: female, 20-29, Black / African Descent, Sally’s other friend; Black, female-Identifying; she’s pre-law; busy and brilliant; she is better than you. (must have comfortability in step, tap, and twerking.). Harold: male, 20-29, Black / African Descent, Sally’s classmate; principled, argumentative, mischievous, activist; Black, male-Identifying. • Seeking submissions from MA. • Submissions should be no longer than

five minutes. Actors may perform one or more monologues, or prepare a combination of scene(s) and monologues(s) from other sources. SpeakEasy suggests, if not performing scenes, to choose two contrasting monologues. Production scripts can be

accessed by contacting SpeakEasy Stage. Email your Equity status, full name and pronouns, contact information, the shows for which you would like to be considered, your headshot/ resume as a PDF titled “Last Name, First Name (2020)”, and your video submission link. For your submission, use a private link on a streaming service or website such as YouTube or Vimeo (not an attachment) and send the link via email to auditions@speakeasystage. com. Submissions deadline is Mar. 5. • All rehearsal and Film/Capture dates

are scheduled to take place Mar. 8, 2021 through Mar. 21, 2021. Some additional dates, including reshoots and virtual discussions/meetings may be required between Mar. 21 and Apr. 22. For these auditions, no nudity or any form of sexual contact will be required as part of an actor’s audition. We will not ask prospective participants to perform violence or sexual contact as part of an audition without disclosing this expectation in the audition notice or invitation. SpeakEasy Stage Company seeks to foster an environment of communication, safety, respect, accountability, and the health, safety, and well- being of institutions and its participants. For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. (No roles have been pre-cast as of the posting date.) No understudies are being cast. Actors of color are strongly encouraged to audition, and all roles are open to inclusive casting. SpeakEasy Stage Company shall conduct all auditions/interviews in a manner that promotes fair consideration to persons of all races, ethnicities, national origins, genders, sexual orientations, ages, and ability statuses. SpeakEasy Stage Company is an Equal Opportunity Employer. An Equity Monitor will not be provided. The producer will run all aspects of this audition. Please bring your Equity membership card to this audition. • Pays $340/wk. (rehearsals); $150/wk.

(exhibition). Equity NEAT Agreement.

Musicals ‘Working’

trucker, a UPS delivery man, a student, and a fireman along with various other ensemble roles. Man 1 takes pride in the work that they do and looks for the positive. Man 2 (he/him) - Latino, 20: 20-40, Latino / Hispanic, plays a tech support worker, a community organizer, an ex-newsroom assistant, a stone mason, an elder care worker, and a fast food worker along with various other ensemble roles. Man 2 is a dreamer, constantly yearning. Man 3 (he/him): 50+, White / European Descent, plays an ironworker, a hedge fund manager, a retiree, and a publicist along with various other ensemble roles. Man 3 is a person who needs to be defined by their job; their job is their life. Woman 1 (she/her): 20-40, Southeast Asian / Pacific Islander, Filpina, plays a millworker, a flight attendant, a nanny, and a receptionist along with various other ensemble roles. Woman 1 is constantly searching for something more. Woman 2 (she/her): 20-50, Black / African Descent, plays a project manager, a prostitute, a housewife, and a cleaning lady along with various other ensemble roles. Woman 2 takes pride in the work that they do and in forging new paths ahead. Woman 3 (she/her): 50+, White / European Descent, plays a school teacher, a waitress, and a fundraiser along with various other ensemble roles. Woman 3 likes to be defined by their job and an adherence to the way that things have always been done. • Seeking submissions from OH. • For consideration, submit a headshot,

resume, and video of you singing approx. 32-bars of a musical theatre or pop song to casting@catco.org. Slate in the video. Submissions deadline is Mar. 6. Callbacks will be held Mar. 9 and 10.

• Note: Each track plays a number of

characters. While the track names align to the gender binary, we are interested in seeing actors of all or no genders. • Equity’s contracts prohibit discrimina-

• Seeking video submissions from Equity

actors for roles in ‘Working’ a musical.

• Company: CATCO. Staff: Studs Terkel,

book as source material; Stephen Schwartz and Nina Faso, adaptation; Gordon Greenberg, additional contributions; Craig Carnelia, Micki Grant, Lin- Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, and James Taylor, songs; Daniella Wheelock, dir.; Jeremy Ramey, music dir.; Leda Hoffmann, artistic dir.; Rowan Winterwood, casting coord. • Rehearsals begin Mar. 23; runs Apr.

29-May 9. All rehearsals will be conducted virtually, and

• performances will be pre-recorded and • streamed. Rehearsal will take place

evenings and weekends.

• Seeking—Man 1 (he/him): male, 20-40,

all ethnicities, plays an interstate

Student Films ‘Spirit Box’

• Casting “Spirit Box,” a short film being

produced by Flashpoint Chicago students.

• Company: Flashpoint Chicago. Staff:

Andrea Aguirre, dir.

• Shoots March in the Chicago, IL area. • Seeking—Jamie: female, 18-28, all eth-

nicities, a passionate, driven, and fun college student. She’s impatient, easily excitable, and sarcastic. She’s extremely passionate about ghosts, demons, and working on paranormal investigations with her friend Amelia. Amelia: female, 18-28, all ethnicities, a witty, easily-annoyed, but very caring

03.04.21 BACKSTAGE

casting National/Regional college student. She used to be very into the paranormal, but over the years her interest has dwindled, making the investigations she undergoes with her friend Jamie feel like a chore. Emma: female, 18-28, all ethnicities, an old soul. She is a very shy and kind, booksmart, hardworking college student. • Seeking submissions from IL. • Send submissions to a.aguirre@colum-

biacollege.edu.

• In your cover letter, include your avail-

ability for the next month. Auditions will be taking place virtually in the beginning of March. • Pay is deferred.

‘Unidentified Daisy’

• Casting “Unidentified Daisy,” a student

thesis film by Wen Shi.

• Company: Savannah College of Art and

Design. Staff: Lily Ma, prod.

• Shoots Apr. 8-11 in Atlanta, GA. • Seeking—Margret: 23-36, White /

European Descent, (29), brown hair; pale skin; timid, shy, and has a strong dependent personality. She can never accept that her twin sister, Daisy, has died in the car accident. Margaret injured her right knee in the car accident so she needed a crutch to walk and had to take painkillers for a long term. Daisy was just like a perfect mirror image to her, living a life she envied.As far as Margret was concerned, twins are one soul divided into two bodies. With Daisy gone, Margret turned into one body with two souls. She thought Daisy was the one worth living. Margret’s memories of the day of the car crash were shattered. Whenever the fragmented memories slipped back to her, Margret had severe physical reactions like headaches, inability to breathe, screaming, and even walking without consciousness.Margaret gave all her earnings to her mother, Lisa, to pay off her father’s debts. She doubted that Lisa was hiding the cause of Daisy’s death and was more concerned about the insurance benefit than Daisy’s departure. Since the crash, Margret has lived under the watchful eye of Lisa, making it impossible to leave the house. But it wasn’t the house that locked Margret in. It was her heart that she didn’t dare to face. Lisa: 46-63, White / European Descent, 55, brown hair; overweight; beautiful, strong, dependent, control freak. Lisa used to be an actress of some renown. She married a rich man and gave birth to a pair of adorable twin girls, Margret and Daisy. However, when the twins were seven years old, her husband disappeared because of an investment failure and left huge debts behind. Lisa’s life became miserable after that.What she feared the most was that her daughters would leave her like her husband did, so after Daisy moved out, Margret was all she had. Daisy’s death was an enormous loss to Lisa, but she still had Margret to take care of. Margret suffered severe mental trauma after the car accident. Lisa always heard Margret screaming at night. It hurt her so she wished Margret would stop trying to find out

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what happened on the day of the crash. She wants Margaret to move on with her life. She put away everything connected to Daisy, just as she had put away everything connected to her husband 22 years ago. Timothée: 26-40, White / European Descent, Tim. 33. Brown curly hair. Wears glasses. Shy, healthy, and vegetarian. Timothée comes from a small town in South Carolina. His family owns a bookstore left by his grandfather. Growing up in a bookstore, he became a renowned writer.Timothée left his hometown at the age of 20, traveled and wrote books, and ended up living in a beautiful town. Later, a young girl, Daisy, moved in next door. She was confident and beautiful. Soon Timothée took notice of her, and she often hurried past his window, but he never got to date her. Until one day, when the “On Sale” sign was set up in front of the house, he knew the girl would never return. Before he decides to leave and go home to inherit the bookstore, a girl who looks exactly like Daisy appears. • Seeking submissions from GA. • Send submissions to unidentified-

daisy2020@gmail.com.

• Submit your headshots/resume/show

reel.

• Pay rates negotiable.

Scripted TV & Video 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.

• SAG-AFTRA. Episodic.

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

world of competitive dance? Does she have the potential to be a triple threat? Team management are seeking parents (or legal guardians) and their kids who are willing to give up everything and relocate to LA for a once in a lifetime opportunity in hopes of dominating on the world stage. Parents (or legal guardians) must have the drive, competitive edge, determination and skills to help navigate their daughters to be the next generation of stars! If you and your daughter fit the description above apply today.”

• Seeking submissions nationwide. • Send submissions to danmatthiascast-

ing@gmail.com. • Talents kids will need at least two dance videos and two singing videos for the application. An in-person call back will take place after nationwide casting. Call backs will be held late March in Los Angeles. • TBD with network

HBO Max, ‘First Dates Hotel’

African Descent, Ethnically Ambiguous / Multiracial, 18+ to play 17. Male/nonbinary. 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); season lead. Bruce: male, 35-50, White / European Descent, 40s; fresh out of jail look. Muscly but not in shape. A hot-headed man on probation with a history of crime; recurring guest star role. Note: Must be comfortable with nudity.

aged with submission, but not required.

• “Is your daughter a fierce dancer in the

7-13, all ethnicities.

• Company: HBO/A24. Staff: Sam

• Previous reels or self-tapes are encour-

major network series. Seeking triple threats, ages 7-13. Production states: “The most prominent momager and dance teacher in the nation is casting triple threats to create the world’s next big phenomenon. This momager is rebooting her dance competition team which will serve as the training ground to create the world’s next big girl group that will rival the success of the spice girls. She is seeking dancers ages 7 to 13 with major star potential! But you can’t just be a competitive dancer for the universe to take notice, true artists are triple threats. Extra points for sass and personality!

• Seeking—Triple Threat Kids: female,

of HBO’s “Euphoria.”

the U.S. If not American, must have a visa/greencard.

• Casting the next big phenom for a

Staff: Dan Matthias, dir.

• Casting two roles for the second season

• Seeking submissions nationwide. • Apply on Backstage.com. • Note: Talent can be based anywhere in

Dance Pop Casting

• Company: Evolution Media/ Casting.

‘Euphoria’ Season 2

• Production begins Apr. 5 in L.A. • Seeking—Jamieson: 18-25, Black /

Reality TV & Documentary

• Casting HBO Max’s “First Dates Hotel.” • Casting states: “Are you looking for

your perfect match? ‘First Dates Hotel’ will wisk you away to find that special someone you’ve been looking for. Looking for all ages and all daters. You can watch the UK version on YouTube.” • Company: RRV casting. Staff: Noreen

Reilly, casting.

• Shoots late summer 2021. • Seeking—Daters: all genders, 30+, all

ethnicities.

• Seeking submissions nationwide. • Apply on Backstage.com. • Apply online/submit yourself at www.

firstdateshotelus.com. • Stipend provided.

Multimedia Green Screen Studio Shoot

• Casting an actress with teleprompter

experience and business attire to shoot multiple videos for a green screen studio shoot.

• Company: Plush Marketing. Staff: Nick

Marks, prod.-dir.

• Shoots in Rockville, MD. • Seeking—Business Woman with

Teleprompter Experience: female, 30-45, all ethnicities, role requires shooting in front of a green screen and reading from a teleprompter. • Seeking submissions from MD. • Submit headshots and samples of cor-

porate or taking-head videos to nick@ plushmarketingagency.com.

• Pays hourly or flat free (negotiable) for

two- to three-hour shoot.

National Commercials Afro-Latina Actress for Beauty Commercial

• Casting an Afro-Latina actress (not

model) for an upcoming beauty commercial.

• Company: Stefanie Stein Casting. Staff:

Stefanie Stein, casting dir.

• Shoots one day (plus possible voiceover

day) week of Mar. 15 or 22 in NYC.

• Seeking—Afro-Latina Woman: female,

22-26, Black / African Descent, Latino / Hispanic, must have Black and Latin heritage (i.e. Zoe Saldana); have strong performance ability on camera; be able to speak English and be fluent/proficient in Spanish; and have best-in-class skin with a clear, even skin tone. Birthmarks, tattoos, and piercings are acceptable. Open to all hairstyles and textures. Should appear naturally healthy overall. Open to all sizes. Must be able to interact naturally with the product and apply the cream, without feeling stiff or posed. Looking for bright skin and personality. • Seeking submissions from NY and CA. • Send submissions to stefanie@stefani-

estein.com.

• Include your instagram handle and act-

ing reel.

• Rate to be determined based on level

and experience of talent. Travel provided for L.A.-based talent.

Online Commercials & Promos A Manly Soap Product

• Casting two or three guys who cur-

rently live together in one location for a manly soap project. Synopsis: The men will all be in the bathroom at once talking about and using this manly soap and bantering with each other. Think of a frat house, the guys from Epic Meal Time, etc. This is a family friendly ad that you won’t be afraid to show mom and your little sister. Must be comfortable without a shirt. This will be a remote project which can be shot on a smart phone. • Company: TubeScience. Staff: Sarah

Furlong, casting.

backstage.com

National/Regional casting

• Shoots mid March or as soon as we find

the right cast, in Los Angeles, CA.

• Seeking—Male With At Least One Male

Friend Living in The Same House: male, 18-35, all ethnicities, looking for two or three guys who currently live together in one location for a manly soap project; the men will all be in the bathroom at once talking about and using this manly soap and bantering with each other. • Seeking submissions nationwide. • Apply on Backstage.com. • Do not appy if you do not have at least

one male friend available to do this project with. I am also casting for a shave club project which will be a better fit. • Pays $250 per person/non union/ all

media buyout.

Content Creations, Actors, Influencers & Models

• Seeking actors, influencers, and mod-

els 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, casting

dir.

• Videos will be self-taped and home

based between February and June.

• Seeking—Follow the Leader, Girl, (18-

28): female, 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, 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 (1828): female, all ethnicities. When you tell a story, it seems like sparks are flying everywhere. Everything you do you live 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, 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, 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 backstage.com

(18-28): male, 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.

uct is a popular razor and shave care products that are delivered right to your door. This is an on going project. We shoot a lot of these projects. • Company: TubeScience. Staff: Sarah

Furlong, casting prod.

• Shoots TBD during March and April in in

studio in Los Angeles, CA or remotely anywhere in the United States; this would be a director assisted remote shoot which you could shoot on a smart phone.

• Seeking submissions nationwide. • Send submissions to cast.me@ready-

set.co.

• Talent will be invited to audition for a

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.

• Seeking—Male Willing To Shave With

Shirt Off Near Or In The Shower: male, 18-54, all ethnicities, male talent will be shaving on camera; we will send you a quick selfie audition; in the audition youcan say what you feel comfortable shaving; it could be your beard, your head, your chest, or just cleaning up your beard. Female Willing To Shave In A Bathing Suit In A Bathroom Or Shower Setting: female, 18-40, all ethnicities, female talent will be shaving on camera. We will send you a quick selfie audition; in the audition you can say what you feel comfortable shaving; it could be your legs, armpits, head, or toes; whatever you normally shave or feel comfortable shaving.

• Depending on script.

Food Brand Social Media Ad • Casting an actress for upcoming in-

person social media ad shoot for a vegan food brand.

• Company: Power Digital Media. Staff:

Mia S., coord.

• Shoot date TBD (all day) in the

Washington, D.C. area. All COVID safety procedures will be taken on set while shooting.

• Seeking—Reviewer: all genders, 25-35,

will be talking about the food product. Minimal lines will be need to be memorized for this role.

• Seeking submissions nationwide. • Send submissions to casting@tube-

science.com.

• Seeking submissions from DC. • Apply on Backstage.com. • Pays $500 play rate for entire day.

• Pays $250 for day/all media buyout/non

union.

Various Shoots, Plus-Size Models

Public Transit Social Media Content

• Casting plus-size models for a variety

of products, including workout wear, shapewear, and lingerie.

• Casting a social media project for

Rhode Island’s public state transportation company. Producer states: “Through an uplifting narrative about a young, first-time bus rider gaining his independence and the guidance he receives from an experienced community elder, audiences will get an indepth look at the proper protocol for riding public transportation.”

• Staff: E. Kennedy, coord. • No rehearsal. Shoot dates TBD. Shoots

either in an L.A. studio or remotely, depending on model’s location and the requirements of that shoot. • Seeking—Plus-Size Models: female,

18-42, all ethnicities, attractive plus-size models who wear dress sizes between 12-20, to model workout wear, lingerie, and shapewear. Some shoots are testimonial, some are modeling-only. Must be comfortable and happy in your own skin.

• Company: Steer. Staff: Steer Films,

prod.; Sarah Menasce, prod.-dir.

• Shoots in March in Providence, RI.

Production will be following all CDC guidelines including social distancing, mask wearing, etc.

• Seeking submissions nationwide. • Send submissions to casting@tube-

• Seeking—Diego: male, 15-17, Black /

African Descent, Latino / Hispanic, overconfident and eager to be independent. Riding the bus is a rite of passage but he lacks the proper etiquette and experience. Solange: female, 65-80, Black / African Descent, sweet and wise with a firm hand. She’s an independent woman who knows the ins and outs of riding public transportation and is willing to provide playful, if helpful, guidance to Diego. Alisha: female, 35-50, Black / African Descent, Latino / Hispanic, mother of Diego. Nicole: female, 35-50, Black / African Descent, daughter of Solange. Nurse.

science.com.

• Pays $200/project.

Stage Staff & Tech Children’s Theatre Company 2021-22 Season, Stage Manager • Seeking Equity stage managers for

Razor & Shave Care Product Promo, Outgoing Men & Women to Shave On Camera/ Give Testimonial

2021-22 Season. Season includes “Annie,” a new play by Lloyd Suh, a new play by Cheryl West, and a TBD spring musical. Children’s Theatre Company (CTC) is the nation’s leading theatre for multigenerational audiences creating theatre experiences that educate, challenge and inspire young people.

ing to shave on camera. Note: The prod-

Staff: Peter C. Brosius, artistic dir.;

• Seeking submissions from RI. • Apply on Backstage.com. • Pay TBD.

• Casting outgoing men and women will-

• Company: Children’s Theatre Company.

Miriam Weisfeld, dir. of artistic development.

• Season runs October 2021-June 2022. • Seeking—Stage Manager: 18+. • Seeking submissions from MN. • For consideration, submit resume to

productionjobs@childrenstheatre.org. Submissions deadline is Mar. 28. • Pays $991 for 2020-2021 season (con-

tract renews July 2021). Equity Special Agreement Contract.

Illinois Shakespeare Festival 2021 Season, Stage Manager

• Seeking a stage manager for the Illinois

Shakespeare Festival. Season includes “The Winter’s Tale” (Rebekah Scallet, dir.) and “Measure for Measure” (Jenny McKnight, dir.) in repertory.

• Company: Illinois Shakespeare Festival.

Staff: John C. Stark, artistic dir.; Robert Quinlan, assoc. artistic dir. • Rehearsals begin June 1, 2021; season

runs July 2-Aug. 7.

• Seeking—Stage Manager: 18+. • Seeking submissions from IL. • For consideration, submit resume to

John Stark at ISFauditions@gmail.com. Submissions deadline is Mar. 15. • Pays $842/wk. Equity URTA Tier 2

Contract.

Nashville Shakespeare Festival 2021 Season, AEA Stage Manager Submissions • Seeking Equity stage manager for the

Nashville Shakespeare Festival 2021 Season. Note: SM and ASM positions are not available, but submissions for future employment will be accepted.

• Company: Nashville Shakespeare Festival.

Staff: Denice Hicks, NSF artistic dir.

• Season runs in Nashville, TN. • Seeking—AEA Stage Manager and

ASM: 18+.

• Seeking submissions from TN. • Submit resume for future consideration

by Mar. 15, 2021 to videosubmission@ nashvilleshakes.org. • Pays $526.50/wk. Equity LOA

Agreement.

‘TJ Loves Sally 4 Ever’ and ‘Project Resilience’ AEA Production Stage Manager Submissions • Seeking AEA Production Stage

Manager submissions for “TJ Loves Sally 4 Ever” (Prep week Mar. 1-7; rehearsal and capture Mar. 8-21, 2021) and “Project Resilience” (Prep week May 3-9; rehearsal and capture May 10-23, 2021.). • Company: SpeakEasy Stage Company.

Staff: Pascale Florestal, dir.; Paul Daigneault, prod. artistic dir.; Dwayne P. Mitchell, artistic fellow. • Runs in Boston, MA. • Seeking—Equity Production Stage

Manager: 18+.

• Seeking submissions from MA. • Submit resume for consideration by

Mar. 5, 2021 to paulmelone@speakeasystage.com. • Pays: Rehearsals $404/wk. Exhibition

$150/wk. Equity NEAT Agreement.

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

03.04.21 BACKSTAGE

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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; UMBERGER: COURTESY JEFFREY UMBERGER

Talent agencies and management companies work in partnership with talent and advocate on their behalf in all aspects of their career. A talent agency or management company establishes relationships with talent seekers—advertising agencies, producers, production companies, casting directors, etc.—and establishes a roster of professional talent to present to them. The agency works to secure audition opportunities for actors on a daily basis. Once a buyer issues a character breakdown to the agent for a project, the script and instructions are sent to the appropriate talent to audition. The agent approves the audition, and, if accepted, it’s submitted to the producer, director, or casting director. Casting decisions are then made. At that point, the agency helps coordinate a shoot or session between the talent and the buyer, and negotiates the terms and conditions of an agreement for a performance. The agent is responsible for negotiating fair rates and proper terms in a contract, as well as making certain that all invoicing and payment details are handled for the talent in a timely manner. They can also help to pitch talent by suggesting them to casting directors; sending marketing materials to talent seekers featuring news about bookings that talent might have made; and promoting their roster via the agency website, social media pages, or press releases. They’ll advise talent on what projects may be most suitable in order to guide their career path forward, help select material for demo reels and modeling cards, and help direct actors on audition performances. They also may help suggest the best type of training an actor might need at any given point in their career. Talent representatives typically find talent via the demo submission process, open calls, or showcases. They must try to keep the number of people they handle to a reasonable amount so that talent seekers aren’t overwhelmed with audition submissions, and also so that the talent themselves are given the kind of focus and attention they need from their representatives. The duty of an agency is to help provide talent with opportunities and protect them every step of the way through the audition, booking, performance, and payment processes.

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Backstage Magazine Digital Edition: March 4, 2021

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