06.17.21
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Uzo Aduba The three-time Emmy winner is delivering career-best work— and, for the first time, as a leading lady
6 Pages OF CASTING NOTICES
Spotlighting the awardsworthy talent behind
“Mythic Quest,” “Cobra Kai,” “Godfather of Harlem” + more
ns ulatio t a r g er Con -winn y m to Em na alum U B d an
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Contents
vol. 62, no. 18 | 06.17.21
Cover Story
Carefully Taught Now with three Emmys and a glitzy leading role on HBO, Uzo Aduba has always stayed true to her artistry— even when the industry has tried to convince her to do otherwise
page 20
The Green Room 6 The 2021 BAFTA TV Awards 8 This week’s roundup of who’s casting what starring whom
10 Rob McElhenney and his
collaborators talk “Mythic Quest”
Advice 14 NOTE FROM THE CD
Learn your lines—then meditate
16 #IGOTCAST
Lacey Caroline
16 CAREER DISPATCH
My DIY Emmys campaign
Features 4 BACKSTAGE 5 WITH... Forest Whitaker
12 MEET THE MAKER
Josh Heald, Jon Hurwitz, and Hayden Schlossberg, “Cobra Kai” co-creators
14 THE ESSENTIALISTS Jennifer Bryan, costume designer
18 IN THE ROOM WITH
James Calleri, Erica Jensen, and Paul Davis
25 FOUNDATIONAL
The Television Academy’s internship program is fostering future Emmy winners
32 ASK AN EXPERT
Clay Banks on memorizing lines before a self-tape
Casting 26 New York Tristate 27 California 28 National/Regional Uzo Aduba photographed by Gari Askew II on May 12 in Los Angeles. Styling by Cristina Ehrlich. Hair by Marcia Hamilton, Vanessa Fine, and Aliza Sabin. Makeup by Carola Gonzalez and Spencer Spaulding. Wardrobe by Lafayette 148 New York. Shoes by Stuart Weitzman. Jewelry by David Webb. Cover designed by Ian Robinson.
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Backstage 5 With...
Forest Whitaker By Jack Smart
Forest Whitaker spent decades acting before he called himself an actor. His character-building process was so exacting that it took his Academy Award–winning turn as Idi Amin in “The Last King of Scotland” for him to finally feel that he could justify the label. He’s now bringing two other domineering historical figures to the screen: mob boss Ellsworth “Bumpy” Johnson on Epix’s hit drama “Godfather of Harlem” and C.L. Franklin, father of Aretha, in the upcoming film “Respect.”
How did you get your SAG-AFTRA card? Was it “Fast Times at Ridgemont High”? I guess so. I was thinking it was this movie called [“Tag: The Assassination Game”], where I had a line or something. But I don’t think that was a union film, so I think it probably was “Fast Times.” Pretty cool!
Do you have an audition horror story to share? I was auditioning for “He’s the Mayor,” the TV show. And I had worked on the script, and I had memorized all the lines. But it just didn’t work. And so I changed them when I went and auditioned…and they gave me the part! But then I come to work, and I’m doing it. And now I’m saying, “Wait a minute— now this just doesn’t work.” They said, “What? These are your lines from your audition!” I was like, “Oh, but now they’re not right [for the character]!” It was crazy.
“I just need to talk to him.” Because they were casting, and it was between me and one other guy to play the lead, and I didn’t get it. And I wanted to say to him, “Look, it doesn’t matter to me if I play the lead; I just want to do this movie about Vietnam.” And they were like, “OK, that’s great. We’ll get to that.” But I wouldn’t leave the lobby. I was sitting there for hours. They kept saying, “He’s not there; he’s not there.” And I was like, “No, I’ll wait.” And then he didn’t give me a part! He didn’t even give me the smaller part. I was up for the lead! It was kind of a bummer, you know?
What’s the wildest thing you’ve ever done to book a role? I forget [the director’s name], but he was doing this movie on Vietnam. And I would just wait, just sit in the lobby, saying,
What advice would you give your younger self? What’s jumped [into] my mind is: Just try to have more fun. You know? Enjoy it! Look around!
“I always try to disappear into a character; that was a big thing for me.”
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ILLUSTRATION: NATHAN ARIZONA/PHOTO: KATHY HUTCHINS/SHUTTERSTOCK.COM
What’s one project or performance every actor should see and why? I think everyone should see “Raging Bull.” Performance-wise, I remember Daniel Day-Lewis is great in “My Left Foot.” Daniel is a really powerful actor; he’s really transformative.
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Michaela Coel on “I May Destroy You” Awards
‘I May Destroy You’ Dominates 2021 BAFTA TV Awards Michaela Coel’s HBO miniseries was the night’s big winner By Bex Palmer
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It was a good night for Coel, whose sexual consent drama “I May Destroy You” won two BAFTAs for best miniseries and leading actress. For the latter prize, Coel triumphed over an impressive shortlist of nominees, including Comer for “Killing Eve,” Letitia Wright for “Small Axe,” Billie Piper for “I Hate Suzie,” Daisy Edgar-Jones for “Normal People,” and Hayley Squires for “Adult Material.” In her speech, Coel heralded the work of the show’s intimacy director, Ita O’Brien, for allowing her to “make work about exploitation, loss of respect, about abuse of power, without being exploited or abused in the process.” “I May Destroy You” has now won five BAFTAs after
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its success at the BAFTA Craft Awards in May, where Coel also picked up awards for her writing and directing. The leading actor award went to a clearly shocked Mescal for his role on Hulu’s lockdown hit “Normal People.” The supporting actor BAFTA went to another first-timer, Malachi Kirby, for his role as civil rights activist Darcus Howe on “Small Axe.” His BAFTA adds to the five awards that Steve McQueen’s anthology series won at this year’s Craft Awards ceremony. A number of other real-life Black British stories were also recognized by BAFTA. Rakie Ayola became a firsttime supporting actress prize winner for her role in the TV
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NATALIE SEERY/HBO
THE BRITISH ACADEMY OF Film and Television Arts TV awards took place June 6, with actor-writer-director Michaela Coel winning two of the academy’s most prestigious awards. Big television names such as Cush Jumbo, Jodie Comer, and Paul Mescal attended the West London ceremony in person, with Catherine Zeta-Jones, Catherine O’Hara, and others appearing virtually to present awards. The show was hosted by Richard Ayoade and opened with a musical performance by “It’s a Sin” star Olly Alexander. The televised ceremony, held in a half-empty studio due to COVID19 safeguards, saw its guests wearing glamorous masks and practicing social distancing.
movie “Anthony,” in which she played the mother of teenager Anthony Walker, who was murdered in a racist attack in 2005. “Sitting in Limbo,” about the real-life stories behind the 2018 Windrush scandal, won best single drama. Lennie James’ “Save Me Too,” from Sky Atlantic and World Productions, won the drama series prize, beating “The Crown,” “I Hate Suzie,” and “Gangs of London.” “Sex Education” star Aimee Lou Wood won her first BAFTA for female performance in a comedy program. When it came to the award for scripted comedy, it was an all-BBC shortlist, with “Inside No. 9” ultimately triumphing. Best international program went to Storyville documentary “Welcome to Chechnya: The Gay Purge,” which beat out fellow nominees “Lovecraft Country” (HBO), “Little America” (Apple TV+), and “Unorthodox” (Netflix). On top of the past year’s global pandemic, BAFTA has faced its share of challenges, including criticism regarding a lack of Black and Asian creative representation in film award nominations. Also, in April, actor and director Noel Clarke was given an outstanding contribution award despite BAFTA being made aware of sexual harassment allegations against him. (The organization later suspended the honor.) Two of the night’s big winners have been vocal about both issues: Coel released a statement supporting the women who came forward against Clarke, while McQueen warned that BAFTA risked becoming “irrelevant” if it didn’t start dealing with the lack of diversity in its nominations.
Howey, the series will take place in the 23rd century in deep space, where beacons exist to help ships navigate safely. Headey plays one of two people who find themselves stranded at the outer edges when they answer a call from a solitary beacon keeper. While Headey is the only one currently set to star in the project from creator Zak Penn, Seth Yanklewitz Casting is on board to find additional talent for the futuristic thriller. Production will begin in early October in Ontario.
What’s Casting
A New Kind of Musical Royalty Fox will crown the first family of country on “Monarch” 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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medieval world behind to step into the future. The actor has signed on to AMC Networks and Spectrum Originals’ sci-fi series “Beacon 23.” Based on the novel of the same name by bestselling author Hugh
FILM
Weinstein Scandal Heads to the Big Screen By Casey Mink
“Beacon 23” Lena Headey of “Game of Thrones” fame is leaving the
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For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
MAKING MOVIES ABOUT ITSELF IS among Hollywood’s favorite pastimes, though these films tend to be Tinseltown sendups. This will not be the case for “She Said,” a forthcoming feature based on the bestseller that documents how two New York Times reporters broke the Harvey Weinstein story nearly four years ago. Carey Mulligan and Zoe Kazan are in negotiations to play the two journalists, Megan Twohey and Jodi Kantor, in the feature directed by Maria Schrader (“Unorthodox”). Set to begin production this summer, the project will feature a script from Rebecca Lenkiewicz (“Disobedience”).
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MARGAUX QUAYLE CANNON
“Monarch” Creator Melissa London Hilfers is anointing a fictional first family of country music with “Monarch.” The upcoming series from Fox will follow the Romans, a brood that is considered to be country
royalty. With the family’s reputation in jeopardy, scion Nicky Roman takes the opportunity to defend her lineage in an industry that’s stacked against her. Ulrich/Dawson/ Kritzer Casting is on board to fill key roles in the currently actorless musical drama, which is expected to premiere in January 2022. Hilfers is also executive producing, with Michael Rauch (“Instinct,” “Royal Pains”) on board as showrunner. Production is scheduled to start in early September in Atlanta and will continue through spring 2022.
“Scrap” A new film from writer-director-star Vivian Kerr deals with the mental and emotional effects of homelessness. Kerr will play Beth, a woman who tries to keep the fact that she’s living out of her car from her brother, who is taking care of her young daughter. She sets out to find work while maintaining the guise of her former lifestyle. The feature, based on a short of the same name from Kerr, will additionally feature Anthony Rapp (“Star Trek: Discovery”). While no other actors have been announced, Morman Boling Casting is finding additional talent. The drama will start shooting in July in Los Angeles.
David Hornsby, Jessie Ennis, Danny Pudi, and Charlotte Nicdao on “Mythic Quest” Backstage Live
Collaboration Is Key
The ensemble and creatives behind “Mythic Quest” talk about striking a balance on Season 2 By Benjamin Lindsay
The following interview for Backstage’s on-camera series The Slate was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.
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director, and actor when it comes to building these lovably oddball characters. Running “Mythic Quest” and “It’s Always Sunny in Philadelphia” has taught McElhenney to lean on his actors. “One of the ways that we approach the writing of the show—and I learned this from the other show that I do, [‘It’s Always Sunny in Philadelphia’]—is that you can write something in a vacuum, and it works on paper, and then it’s a script that you can read; but that’s just a working document. You have to actually have human beings come in and breathe life into that script. And
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As an example, Burch cites Pudi and Hakim as actors who expanded their characters, Brad and Dana, in the Season 2 writers’ room. “When you get into a Season 2, when you know who your
THEATER
Theater Preps for Long-Awaited Return to NYC By Casey Mink
As Poppy, Nicdao says that not knowing what’s coming next is the most exciting thing. “On the other side of that, it’s always so exciting as an actor to get a new script and not quite know what it is you’re going to be seeing. You sign up to do a comedy, and then you get these scenes where you’re really accessing some very human, human stuff, and that’s such a blessing.” Want to hear more from the cast of “Mythic Quest”? Watch our full interview at backstage.com/magazine, and follow us on Instagram: @backstagecast.
WHEN THEATERS IN NEW YORK SHUTtered to slow the spread of COVID-19 back in March 2020, no one could have known that it would be well over a year before the curtain rose again. But finally, there is light at the end of the tunnel, with several shows and theaters announcing in-person productions. This month, the Boss himself will be first to return to Broadway, bringing his “Springsteen on Broadway” to the St. James Theatre beginning June 26. New York Theatre Workshop also announced its full 2021–22 season, which will include Martyna Majok’s “Sanctuary City” and a new play by Aleshea Harris, among others.
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JUST WHEN WE THOUGHT we’d seen about everything a workplace comedy can do, Rob McElhenney and co-creators Charlie Day and Megan Ganz came along with “Mythic Quest” on Apple TV+. Following the interdepartmental workings of a popular video game development company, the half-hour comedy boasts one of the funniest ensembles working today—and they all recently joined us as part of our first-ever BackstageFest! McElhenney, writer-actors Ashly Burch and David Hornsby, and stars Charlotte Nicdao, Danny Pudi, Jessie Ennis, and Imani Hakim talked about Season 2 and striking the fine balance between writer,
then what you find is that if you’re open to it, the right actor will take a role that you didn’t necessarily see them playing. In fact, [Charlotte Nicdao’s character,] Poppy, was a completely different character in the original draft of the show; Charlotte came in, and we completely rewrote that character for her, because when you find the right person, you start adapting the character to meet the actor.”
characters are more and you know who’s playing them, I think it gives you more room and more inspiration to try other things. So, for example, with Brad, Danny is the nicest human being on the planet, and he is so good at playing an asshole, but it’s interesting to see someone so kind play someone so nefarious. And in the writers’ room, we talked a lot about: Because Danny is such a sweet pea, is there a layer that we could add to Brad that brings out that element in Danny—that softer, more vulnerable side? And Dana, for example—Dana was a much different character before Imani was cast. And so by virtue of the fact that Imani brought something different and interesting and richer, that changes the character. It’s a give-and-take.”
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Meet the Maker
Josh Heald, Jon Hurwitz, and Hayden Schlossberg, “Cobra Kai” co-creators By Allison Considine
Ralph Macchio and William Zabka on “Cobra Kai”
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behind-the-scenes interview with Zabka about his roughand-tumble character. “There were two sides of the story,” says Hurwitz. “We’d been talking about the bullies in our lives and the kids we went to high school with, and that made us think, Why were they bullies?” “Cobra Kai” focuses on Johnny’s backstory and examines how the original film’s ultimate karate match shaped the futures of the two rivals. Taking place 30 years later, the TV series brings the theme of bullying into the 21st century, complete with a host of new teens learning how to crane kick and sweep the leg. The sequel is carried forward by the film’s stars reprising their roles, including Macchio, Zabka, and Martin Kove, among others. “One of the reasons the show has been
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successful is because it’s not just us who care,” says Schlossberg. “These actors really care about their characters and how their characters are perceived.” The show’s success can also be credited to its transition from YouTube to Netflix in 2020, when the former ceased producing original series. The boom in viewership and attention after the switch was “instantaneous,” marvels Heald. Within its first week on the streaming platform, the third season topped Netflix’s most-watched list and garnered more than 80 million views. “We’re thrilled that Season 3 had such a big reception,” says Hurwitz, noting that Season 4 is currently in postproduction. “It’s going to be another monster one.” The nostalgic show’s balance of wholesomeness and edginess
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CURTIS BONDS BAKER/NETFLIX
JOSH HEALD, JON HURWITZ, and Hayden Schlossberg have found strength in numbers. The co-creators of Netflix’s “Cobra Kai” have a friendship that spans more than 25 years, from high school to the salad days of their careers, and now to huge shared success. “When we were young screenwriters living in Los Angeles, we spent our days writing and our nights watching movies,” recalls Hurwitz. Among the viewing parties was a rewatch of the 1984 classic “The Karate Kid,” the martial arts drama that pits new kid Daniel LaRusso (Ralph Macchio) against high school bully Johnny Lawrence (William Zabka) in a karate rivalry. (Spoiler alert: Thanks to the wise mentorship of Pat Morita’s Mr. Miyagi, the underdog prevails.) This rewatch came complete with a special
has found it an audience of both kids and adults. Schlossberg is most excited about the saga’s newest fans. “It gives you hope that you can overcome these obstacles, like David defeating Goliath. As a kid, that’s fun and engaging,” he says. “Yes, there is karate, but it really is a means to the end: Internal confidence and internal strength define how you overcome bullying.” The co-creators give each other confidence and strength by splitting the responsibilities of writing, directing, and showrunning. “It’s a never-ending parade of responsibilities,” concedes Hurwitz, while Heald calls it “a revolving door of duties.” He adds: “We all take off the hat and hand it to the other person. That’s where the benefit of being really good friends with each other comes into play, because those can be times of great fun—but also great stress if you don’t have a deeper friendship to rely upon.” Indeed, the round-the-clock work can take a toll, especially since the three friends live together while the show is filming. “Sometimes we have to engineer an off switch and say, ‘We’re going to watch an episode of television that’s not our show,’ ” Heald says with a laugh. Building a career in TV is a nebulous path, but they’ve navigated it together. For other creators looking to drive their own projects, Schlossberg recommends “having friends that have like-minded opinions about movies and TV shows. Having a group of people that you’re engaged with, and motivating each other to do stuff together is helpful.”
F o r Yo u r E m m y ® C o n s i d e r a t i o n in all categories including
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Note From the CD
Learn Your Lines— Then Meditate I HAD BECOME TOO COMfortable, and I was seeking to do something that would push me outside my comfort zone. Short of jumping from a plane and probably breaking a hip, I found just the thing: My friend, Tony Award winner Betty Buckley (of “Cats,” “Sunset Boulevard,” and “Tender Mercies”), was teaching a singing class online. Studying with the masters from anywhere in the world through Zoom was just the pandemic silver lining I was looking for. She gave our class of 10 students an assignment to pick a song with a strong narrative that meant something to us. I initially chose the Mamas & the Papas’ version of “Dream a Little Dream of Me,” but I ultimately
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settled on “The Climb” by Miley Cyrus, which was a challenge. I’ve been told I can hold a tune, and I love to sing around the house, but I truly had no idea what I was doing. The class was different from anything I’d ever experienced. Rather than jumping ahead to teach us technique, Betty’s class was based on meditation, psychology, and storytelling. At first, I thought, What does meditation have to do with singing? I had only meditated a bit, using the Calm app, but this was a completely different approach. Betty has been practicing meditation for the last 50 years, and she swears it has changed her life. We say “practicing” because it truly is a practice. Every time you meditate, you
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Costume designer JENNIFER BRYAN has worked on everything from “Breaking Bad” to her latest, the Cynthia Erivo–starring “Genius: Aretha,” for which she recreated some of the Queen of Soul’s most iconic looks. Bryan arrives on the job having done scrupulous research—and she expects the same of her actors.
people that the actor is taking their direction from…. You hope that the actor has picked up those same directives that you have, so that by the time you meet with them, you are on fairly common ground. And at that point you can talk about, maybe, things that they like or how things physically fit them to sort of integrate their opinions.”
There’s a “creative hierarchy.” Follow it. “I really take my initial direction from the writer and director, because it’s their vision first, and you want to take your direction from the same group of
Bryan and Erivo both came armed with research. “Cynthia has an opinion. When I met her in the beginning, we had a sit-down, and I kind of showed her my boards and intended
learn something new. You are never meant to perfect it. There is no perfect. In the business we’re in, the notion of calming the “monkey mind” and zoning in on your true, authentic self appeals to me. The monkey mind is our internal voice’s constant chatter that tells us we’re not good enough, no one will ever love us, we’re never going to get the job— you know the story. Meditation is meant to get that voice to calm the heck down so you can do some real work on yourself. Betty taught us that we are not our minds. You might think that our minds lead us around like a dog on a leash; I certainly did. But, no, we lead our minds. We are love, truth, light, compassion, happiness, empathy, joy, ecstasy, bliss, beauty, and peace. That is our spirit, and we all have the same spirit. You might be wondering what all of this has to do with acting. If you are a regular reader of my column, you know that I talk a lot about mindset and
illustrations as we moved along in the season. She was very open and welcoming to what I did. It was just really, really cool, because we kind of met on common ground right away. It wasn’t like I had to pitch a look to her. She also had done her research, so she recognized within my style direction that it was on point.”
perspective. In this crazy business, where you’re not in control of much of anything, the one thing you do have control over is how you’re going to think about the circumstances you’re in. Meditation is a life-changing tool you can use to find some clarity around what truly matters in your life. In my story as a performer, I learned my song. I sang it around the house, in the car, in the shower, and on long walks. I was ready to share it with the class. As soon as I opened my mouth, though, my throat closed up, my stomach flipped over, and I felt like throwing up. I then truly understood stage fright. But through the practice of meditation, I was able to go to my mantra and find my equilibrium. Try it. It works!
Want more?
Read our full Note From the CD archives at backstage.com/ magazine
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ILLUSTRATION: MARGAUX QUAYLE CANNON; “GENIUS: ARETHA”: NATIONAL GEOGRAPHIC/RICHARD DUCREE
By Marci Liroff
By Casey Mink
FOR
YOUR
E M M Y®
CONSIDERATION
OUTSTANDING LIMITED OR ANTHOLOGY SERIES OUTSTANDING LEAD ACTOR IN A LIMITED SERIES | EWAN M C GREGOR
“★★★★★” “THE BEST HE’S EVER BEEN.” FINANCIAL TIMES
JOBLO.COM
“A CAREER-BEST PERFORMANCE FROM EWAN MCGREGOR.” ROGEREBERT.COM
“MCGREGOR IS HUGE, INVOLVED AND INSPIRED.” VANITY FAIR
“A THUNDERING RADIO TIMES
PERFORMANCE.”
“MCGREGOR THROWS HIMSELF INTO THE ROLE WITH ABANDON.” THE GLOBE AND MAIL
“WONDERFULLY CHARISMATIC, EMOTIONALLY RICH.” MIRROR
“A WINNING PERFORMANCE.” IGN
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Spotlighting the people and projects you need to know
Career Dispatch
My DIY Emmys Campaign By Brooke Smith
The following Career Dispatch essay was written by Brooke Smith, who stars on ABC and David E. Kelley’s “Big Sky”—and who isn’t afraid to admit she’d like an Emmy nomination for it!
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I am proud of my work and want people to see it. That’s why I’m doing a DIY Emmy campaign. It’s important to advocate for yourself.
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#IGOTCAST. Lacey Caroline By Jalen Michael Teen actor LACEY CAROLINE is already confident in her abilities, and she loves turning to Backstage to put them to use. Have your pick of the litter with Backstage. “We get automated updates from Backstage regarding projects casting in Charlotte, North Carolina, New York, and L.A., and review them daily. I love the diversity of projects that Backstage offers.” Don’t be afraid to flex different muscles. “I don’t really limit the type of roles [I go after], as I like to stretch my acting abilities whenever I can. My character [in a recent project] is the ultimate mean girl. She is the head of a trio of girls who are total bullies to one of their classmates…. I am the opposite of a mean girl, so it was fun to play this part.” Keep your materials updated—and honest. “Make sure your résumé, reel, and headshots stay updated. And also, make sure that your headshot truly represents what you look like! I just had new headshots taken and loved working with Magen Marie in Charlotte!”
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; CAROLINE: MAGEN MARIE
MY MOM ALWAYS SAID, “Work begets work,” and she was right. Actors need to act. You never know who you’ll meet or who will see your work along the way—or where that could lead. I answered Backstage ads to get my first play over 35 years ago. I did a couple of student films. I was a PA on the film “Orphans,” and my job was to get Albert Finney from his trailer to the set when he was needed. I once mentioned that I wanted to be an actress. From that day on, Albert Finney told me every single day to quit my
job and “go act somewhere.” The best training I ever had was playing Sonya in André Gregory’s long-running workshop of “Uncle Vanya.” Those four years of rehearsals were unlike anything I’d ever experienced. The only rule was that we had to say the words. There was no blocking or costumes. We just wanted to work on the play and explore the characters. André was up for anything, and so was I. The cast became my artistic family. We had the luxury of time; we were all about process and had no plans to ever perform the play.
I learned so much, because there was no way to fail. I could try anything, fall flat on my face, and do whatever I felt—as long as I said the words. I think it’s imperative to find a place where you can experiment in that way without fear of failure. To survive in this business, actors have to have a thick skin to handle all the rejection and somehow, still, be completely vulnerable in the work. In John Patrick Shanley’s play “Four Dogs and a Bone,” someone tells a story about a mama bear giving birth to a bunch of baby bears. She was licking them clean, and right before she got to the last bear, she died. And that bear went into show business. I think of that line every single time I’m on a set. I look for the unlicked cubs. When I was cast on David E. Kelley’s new show “Big Sky,” my part was supposed to be minor, but it was turned into a pivotal part of the season. But my name is never mentioned in press releases because of the type of contract I originally signed. In the past, I may have just accepted that I would “fall through the cracks” when it came to an Emmy campaign. But not this time. I am proud of my work and want people to see it. That’s why I’m doing a DIY Emmy campaign. It’s important to advocate for yourself. Ruth Nelson, who played Sonya’s old nurse, Marina, in “Uncle Vanya,” had been one of the original members of the Group Theatre. Her husband, director John Cromwell, was blacklisted because Elia Kazan had given his name to Joseph McCarthy and the House Un-American Activities Committee. Soon after, Ruth was cast as Linda Loman in Arthur Miller’s “Death of a Salesman,” directed by Kazan. She turned it down out of solidarity with her husband—which brings me to the most vital thing I’ve learned: Ultimately, life is more important than work.
CONSIDER TH I S , DE A R V I E W E R OUTSTANDING DRAMA SERIES OUTSTANDING LEAD ACTOR Regé-Jean Page OUTSTANDING LEAD ACTRESS Phoebe Dynevor
“AN EXQUISITELY DIVERSE COURT OF PLAYERS – BEST ILLUSTRATED BY THE ELECTRIC ARRIVAL OF REGÉ-JEAN PAGE AND PHOEBE DYNEVOR.” AFI
“PHOEBE DYNEVOR AND REGÉ-JEAN PAGE ARE DYNAMITE TOGETHER.” PASTE
FROM SHONDALAND
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In the Room With
James Calleri, Erica Jensen, and Paul Davis
Apple TV+’s “Dickinson” CDs found opportunities to seek out actors in new ways during quarantine By Elyse Roth
because you can bring in people who are period-appropriate but also have a very contemporary feel. JC: There is a certain style to the show, but [Alena] likes it when we do the opposite or stand that on its head. You find somebody who stylistically doesn’t really play into that and seems really interesting.
ACTORS, ESPECIALLY NEW YORK ACTORS, HAVE LONG RECOGnized the name and work of Calleri Casting. Now, although the office’s reputation hasn’t changed, the names on the door have. During the pandemic, the team of James Calleri, Erica Jensen, and Paul Davis decided to publicly represent their longtime collaboration; the company is now under the banner Calleri Jensen Davis. While live theater was paused, their office kept busy with television projects like Apple TV+’s “Dickinson” and quarantine creations like the virtual Pride Plays festival. All three members of the team sat down with Backstage over Zoom to discuss their work and recent changes, and to share advice for actors now that casting opportunities are returning to the stage and screen.
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very clear idea of what’s down the pike during the season. We can have a lot of collaborative conversations early on. She’ll come to us with ideas but also say she’s excited to see people that we bring in. James Calleri: It’s fun to do comedy. There’s not a lot of it, and I always think
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How does the combination of tone, time period, and subject matter affect who you consider for casting? PD: It’s fun,
Want more?
Read the full interview at backstage.com/magazine
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RAQUEL APARCIO
Talk about your work on “Dickinson.” Paul Davis: Alena [Smith, the creator of “Dickinson,”] was a playwright, so she writes very far in advance. Unlike other TV jobs, where you’re sort of waiting for the scripts to find out what role you’re going to cast, she has a
it’s harder than anything else. That’s been a really nice challenge—to figure out the style and the tone of the show. PD: It’s not a cookie-cutter show, like a procedural. When we read the script originally, we never imagined Jane Krakowski as Mrs. Dickinson, and then, all of a sudden, you get to know Alena and the world that she’s creating. It’s never an autopilot kind of casting experience, in a really fun way. Erica Jensen: We have all the scripts, so this is the first TV show where it’s like we’re casting a movie.
Where do you like to look for new talent, outside of agents and managers? EJ: Thankfully, school programs are still releasing showcases virtually. That’s always been a big way for us to find new talent and get to know new people. James, Paul, and I also all teach, so we get to know actors that way, too. That’s a really great way to bring new actors in and for us to get to know them. PD: Sometimes we find people on Instagram. I’ve been in sessions with directors who introduce us to actors because they follow this person, and they have funny clips. It’s fascinating how you can source from all over. Erica and I have cast a lot for Actors Theatre of Louisville— the Humana Festival—and they have a really great apprentice program; so while I was looking at people for an upcoming episode from agent submissions, I found myself thinking of people Erica and I had met down in Louisville. We’re always playing a fun version of the name game.
The Slate
The Actor’s Remote Resource
We’re taking you directly to acting and casting industry power players through Instagram takeovers, Q&As, live-streamed seminars, and interactive group classes to ensure you’re hitting all the right marks in and out of the audition room!
Celebrity guests include: Nicole Kidman Jodie Foster Jason Sudeikis Elle Fanning Rachel Brosnahan Alison Brie Aishe Dee Ricky Gervais Anthony Mackie Bradley Whitford Nicholas Pinnock Susan Kelechi Watson and more! To get all the details and view the full schedule, please visit backstage.com/magazine.
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Carefully Taught Now with three Emmys and a glitzy leading role on HBO, Uzo Aduba has always stayed true to her artistry—even when the industry tried to convince her to do otherwise By Casey Mink - Photographed by Gari Askew II
WHEN UZO ADUBA ARRIVED IN NEW YORK City in pursuit of an acting career, she knew it would be the hardest thing she ever did. “What I didn’t know,” she says, “was that there was a space that existed for someone like myself that was rather narrow. And that lane was not going to align with my dreams. What I had to do at some point, that I never expected, was figure out: Is the goal just to work, or is the goal to do what you want to do and say and be as an artist?” It took some time, as well as learning, to be comfortable with feeling, at times, “like you’re watching your dreams slip away.” But as she talks via Zoom from her new home in Los Angeles, there’s no doubt about the path Aduba ultimately took. She doesn’t mince words, though: It was tough. Which is why that path—now lined with three Emmy Awards and the leading role on HBO’s revival of its mid-2000s drama “In Treatment”—wasn’t just helped along by teachers, but defined by them.
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“What I’m clear about in my life—and I don’t even mean to make it sound exceptional, because almost everybody has people who are ‘way-makers,’ who stood at a crossroads and said, ‘No, boo. This way,’ ” Aduba reflects. “Those are people who see you and see the wholeness of what you can do.” Growing up in a suburb of Boston, Aduba enjoyed performing but never considered it as anything beyond a hobby. As the daughter of Nigerian immigrants, “School was something that I did understand, was something that I had to pursue,” she explains. Which isn’t to say her parents have ever been unsupportive. It just meant that in fifth grade, when a teacher told her she should take choir instead of a second science class, “I remember being so nervous, like, ‘But my parents said I was supposed to do two sciences!’ ” That teacher, Mrs. Bruno, changed the trajectory of Aduba’s life. So did a middle school teacher, Mr. Hersee, who pushed her
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to sing Whitney Houston’s “I Will Always Love You” at a concert a year later, prompting her to acknowledge, for the first time, “I think I can sing?” And in high school, it was her creative writing teacher, Ms. Mehleis, who kept her after class one day to ask if she’d given any thought to attending college for the performing arts. “I very much thought I was going to be a lawyer, because I can talk a lot, as you can see,” she says with a laugh. “I must’ve been looking at her like she was speaking gibberish. Then she said, ‘You know you can go to school for this, right?’ I had no idea, but it made total sense when she said it. I remember a lightbulb went off in my head: That’s what I’m supposed to do with my life.” And so she decided she would. She first studied classical voice at Boston University, and then, it was on to New York to live out what she calls “a very classic story”: a restaurant job at City Lobster & Crab Company on 49th Street and 6th Avenue, and an apartment in Sunnyside, Queens, that she would sometimes have to return to on foot because she couldn’t afford train fare. “A lot of empty fridges,” she remembers. “But I loved it. I loved it.” All of her waitressing earnings went toward what she called her “morning calisthenics”: “I would read Backstage—every trade article. I didn’t have an agent; I wasn’t union,” she says. “I would save all my money to buy stamps and copies of headshots and send them out to all these places. I worked just enough, I remember, to pay my rent and my cellphone bill.” 06.17.21 BACKSTAGE
Eventually, she started to get some theater work. In fact, the first gig she ever booked, a show at Theater for the New City called “Pyrates! The CourtShip Chronicles” (“I’m still unclear about the exclamation point”) was one she landed using Backstage. But this period was, by her account, “a grind,” made more so by her need to grapple with the industry’s expectations of her, which were often very much in contrast with her own expectations of herself as both an actor and human being.
“It had never occurred to me that the way my voice sounds, naturally, would not align with how people imagined it physically,” she says of her days auditioning for musical theater. “You’d be surprised how many people learn to do that—the number of my peers I’ve met over the years who have become stellar Effies [in ‘Dreamgirls’] when they probably should have been Elizas [in ‘My Fair Lady’], who have been phenomenal Kims [in ‘Miss Saigon’] when they could have been brilliant Glindas [in ‘Wicked’].”
“Almost everybody has people who are ‘way-makers,’ who stood at a crossroads and said, ‘No, boo. This way.’ ” —Uzo Aduba On “In Treatment”
She pauses, then adds: “It’s a further extension of what we all know now as code-switching. It’s just that, in the art form.” It’s here that she brings up teachers again, but she wants to make one thing clear: You can meet people who will help you learn and grow far beyond the traditional classroom. For actors, especially, they frequently include those who don’t even realize they’re teaching you about yourself. “These people who keep saying, ‘Just stand where you are. Keep standing where you are, and don’t change it,’ ” says Aduba. “ ‘And something will come out of this.’ ” That person may be a director or a voice coach, “Whether that’s a Bernie Telsey,” Aduba says of the storied casting director, “who, a number of times, saw it and got it. I don’t mean I got the job. But he would call me in for things that I wouldn’t typically be part of. That’s how I got ‘Godspell.’ ” “Godspell,” the Stephen Schwartz musical in which Aduba performed on Broadway from 2011–12, was a breakthrough in more ways than one. It was during her run in that show when her manager came in from L.A. to see a performance. “We met afterward, and the question came up: ‘Have you ever thought about doing film and television?’ ” she recalls. “I had always thought about it, but I never dared to think about it out loud, because I just didn’t see myself in the space. It felt even less inviting. Theater feels like it’s the Island of Misfit Toys. The television and film landscape seemed like a closed door.”
SUZANNE TENNER/HBO
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SUZANNE TENNER/HBO
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But, encouraged by her manager (“I was probably able to hear her because it was like, She’s from Hollywood!”), she started auditioning for on-camera projects that summer. The first named character she booked—the one for which she would need to join SAG, because she was not yet even a member—was Suzanne “Crazy Eyes” Warren on Netflix’s “Orange Is the New Black,” one of the firstever streaming series. She’d win two Emmy Awards for the role and become one of the most recognizable TV actors of the 2010s. She’d win another Emmy, her third, in 2020 for FX on Hulu’s all-star limited series
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“Mrs. America,” in which she played the activist and first Black Congresswoman Shirley Chisholm, starring alongside the likes of Cate Blanchett, Rose Byrne, and Margo Martindale. But on that show, as on “Orange,” she was one member of an ensemble—an integral piece of a much larger tapestry. That makes her leading role on HBO’s revamped “In Treatment” (on what’s technically considered the show’s fourth season) a new feat for the actor. Most episodes follow Aduba’s character, therapist Dr. Brooke Taylor, in-session with one of her patients (played by Anthony
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Ramos and John Benjamin Hickey, among others). As such, she is in pretty much every scene. So while the series feels like as much of a team effort as any other she’s worked on, “It was certainly different in that way, in terms of #NoDaysOff,” she says. “I was drawn to, and understood, [Brooke’s] experience with pain and loss. And I was curious about therapy from the therapist’s point of view.” Aduba usually has a question that she tries to answer with every project she does. For “In Treatment,” which premiered in May, it was: Why do people go to therapy? But in general, “That question usually starts [to raise] a lot of other questions that I didn’t even know I was wondering about,” she says. “That sort of starts to shape that person into being.” How does she land on the question for each character? “[It’s] the one that’s most nagging,” she says unassumingly. She tries to find opportunities to connect with whatever the person may be going through at the moment, even if their circumstances couldn’t be further from her own. “Whether that’s on ‘Orange’ and understanding what it means to be in pursuit of love, or on ‘Mrs. America’ and [negotiating] the definition society has for you versus the definition you hold for yourself. “It makes it scary,” she adds. But she does it anyway, “because that’s acting. That’s art. And I think when you’re no longer scared, you’re on the wrong side of it.” Aduba’s willingness to “go there,” despite fear or the uncomfortable findings that may be revealed, is exactly what makes her such an inspiring collaborator. At least that’s how David Weil, the creator, showrunner, and frequent director of the Amazon anthology “Solos,” on which Aduba has a standout episode that is essentially a monologue, describes it. “I’ve never met somebody as fearless, as committed, as kind, as gentle, and as curious as Uzo,” Weil says, talking by phone. “It was only in the edit that I would see these brilliant nuances. It was the bat of an eyelash or turn of the head. And really, as a director, I think there’s no greater gift than working with Uzo Aduba.” Aduba hesitates to describe whatever that actor’s impulse, desire, or drive may be as “bravery.” And she doesn’t know if it will arrive for her next role or the one after. But what she is certain of today, as she enters this next career chapter—arguably her most monumental to date—is that she is exactly where she should be. And thank goodness for that. “Art and reality start to have mirrors. I had just never had that experience before, where the two things sort of came into space at such a critical moment that I just know it was the thing that I was supposed to be doing right now,” she says of “In Treatment.” “I feel like when I normally do my work, it goes out this way, like it’s an offering. This was the first time I felt like I was getting something back. And I don’t know where that came from. But I know I needed to be in that space for it to happen.” backstage.com
Television Academy Internship alumni Gina PrinceBythewood, left, and Craig Mazin
Foundational The Television Academy’s internship program is fostering future Emmy winners
By Brandon Kirby
PRINCE-BYTHEWOOD AND MAZIN: EUGENE POWERS/SHUTTERSTOCK.COM
THE ACADEMY OF TELEVISION ARTS AND SCIENCES MAY BE BEST known as the organization behind the Primetime Emmy Awards, which honor today’s best small-screen storytellers. But key to its success is the Television Academy Foundation, which fosters the Emmy winners of tomorrow. Founded in 1959 as the Academy’s charitable arm, the Foundation’s year-round programming includes the College Television Awards (presented during the pandemic as a virtual summit), a series of oral history interviews with TV greats, and a renowned internship program. The latter is sometimes referred to as Hollywood’s best-kept secret, boasting an alumni list that includes such award-winning writer-producers as Rachel Axler of “Veep,” Kristen Bartlett of “Saturday Night Live” and “Full Frontal With Samantha
backstage.com
Bee,” and Martin Bruestle of “The Sopranos.” As the 2021 summer internship kicks off this month with 50 students from around the country, Backstage spoke with Jodi Delaney, the Foundation’s executive director, about its relationship with the Emmys and how it’s paving the way for TV’s next generation. What is the Foundation’s role within the Television Academy and the Emmy Awards? I love the harmonious relationship between the Academy and Foundation, which represents the full circle
of a creative career. While the Academy honors and recognizes excellence in the creative arts, the Foundation establishes the pipeline to enter the industry where careers are built that bring the best of storytelling to our screens. It’s always exciting when Foundation interns actually take part in the Emmy Awards, as well. Historically, we’ve been able to put current internship class members behind the scenes at the Emmys shows—both the telecast and the Creative Arts Awards—and even onstage as trophy presenters. What is the Foundation’s mission, and how has that mission changed over the years? Our mission has always been to educate and inspire the next generation of TV leaders, while also preserving TV history through our online archive of interviews. For the past several years, we’ve also made diversity and inclusion a distinct priority,
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which has only made our mission and programming stronger. Our last five intern classes have grown to include approximately 60% students of color and 75% women, so we are very intentional in our goal to truly advance diversity in the TV community. Why is the Foundation’s Summer Internship Program considered Hollywood’s best-kept secret? The Summer Internship Program provides a unique, immersive, and hands-on approach to career development for students. It’s a very competitive program that has helped establish the careers of some dynamic storytellers since its inception in 1980. Students from across the country have a special opportunity to be placed with a top-notch host company, and about 40% of our interns end up getting hired by their host companies. Their successes speak for themselves. Also, students who participate in our programs become lifelong members of the Foundation’s alumni family, giving them access to industry events and networking opportunities. What are your favorite success stories? How much time do you have? I’m so proud of all of our alumni. There are now over a dozen Emmy winners among them, so it’s hard to know where to begin. Gina Prince-Bythewood blew us away with her work last year on “The Old Guard,” and of course there are the distinguished careers of Craig Mazin [of “Chernobyl”] and Janet Lin [of “Bridgerton”]. Last year, we set up a new online platform called the Friends and Alumni Network so [alumni] could continue to network with and mentor the next generation coming up. That’s probably my favorite “success story”—that we’ve built a network of highpowered talent dedicated to providing access to the industry for students who wouldn’t normally have it, and helping nurture their careers with a lot of depth and heart.
06.17.21 BACKSTAGE
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate
SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. • Seeking submissions from NY. • Prepare a contemporary monologue no
Casting picks of the week
more than two minutes in length. If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name and height.
BY LISA HAMIL
• For consideration, send the video, with
Plays ‘Clyde’s’
• Casting Equity actors for “Clyde’s.”
Note: Rehearsals and performances will be indoors.These will be live performances with an audience. • Company: Second Stage Theater. Staff:
Lynn Nottage, playwright; Kate Whoriskey, dir.; Carole Rothman, president-artistic dir.; Khady Kamara, exec. dir.; The Telsey Office, casting; Jonathan Chang, artistic asst. • Rehearsals begin Oct. 4; runs Nov. 3,
2021-Jan. 16, 2022 (with possible extension) in NYC. • Seeking—Jason: 25-35, White /
European Descent, mid-twenties to early 30’s; working class; funny; served eight years in prison; White supremacist affiliation. Goes from being seen as a threat to open and vulnerable; actor with comedic chops. Clyde: 35-59, all ethnicities, (offer pending; seeking understudy), great comedic chops; able to change the temperature of a room with an entrance; dominatrix; loves to expose vulnerabilities; seductive; brash; controls the room; delights in humiliating others; wicked; runs truck stop. Montrellous: 40-59, mindful; served many years in prison; interested in healing; kind; workingclass; sensitive and caring, particularly to the younger generation; uses cooking as a means of meditation; funny. Rafael: 25-29, Latino / Hispanic, (role cast; seeking understudy), formerly incarcerated; a romantic; loves food; in love with Letitia; funny; fun; playful; recovering; working to find a more spiritual path; full of charm; terrified of his boss; actor should have great comedic timing. Letitia: 25-29, (role cast; seeking understudy), Black; recently released from prison, she is trying to build her life up again; mother to a daughter with health issues, her job is important to her even when the atmosphere is toxic; a romantic, she is looking to find a genuine partner; she is asurvivor and has life skills; she is working towards building a mindful path; very funny; actor needs to have great comedic timing.
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your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) with the subject line, “[Your full name] [The role for which you’d like to be considered]” to ClydesCasting2ST@gmail.com. Submissions deadline is June 17.
stage
‘Perfect Crime’ Commit to this NY Equity production
• All roles will be understudied. This is a
film
virtual EPA for Second Stage Theater’s Broadway production of Clyde’s at The Hayes Theater. All stage manager positions have been filled.
‘The Funeral’ Attend this feature shooting in NY and MA
• Pays $1,778/wk. (LORT A+.) Equity LORT
Non-Rep Agreement.
musical
‘Perfect Crime’
‘Beautiful: The Carole King Musical’ Feel the earth move under your feet during this Equity tour
• Seeking video submissions from Equity
actors for an immediate replacement for the role James Ascher in “Perfect Crime.” Note: actor must be fully vaccinated with a two week window by June 17, 2021.
student film
• Company: Perfect Crime Inc. Staff:
‘Noodles Forever’ Get cooking in Los Angeles, CA
Warren Manzi, writer; Armand Hyatt, prod.; Jeffrey Hyatt, dir.; Catherine Russell, general mgr.; Bradely Bemboom and Westin Hicks, casting assoc.
chorus call
• Rehearses June 21-27 onstage at the
’The Prom’ Sing and dance the night away on this Equity tour
Theater Center; runs Junee 28 at the Equity approved (as of 4/13/21) theater.
• Seeking—James Ascher: male, 50-65, a
“sexy Columbo” small town detective who is solving one of the first big murder cases of his career while falling in love with the most likely suspect. He is an older leading man with a sense of humor and clear intelligence. Immediate emergency replacement for the role of James Ascher. Note: Actor must be fully vaccinated with a two week window by June 17, 2021. • Seeking submissions from NY. • For consideration, e-mail a photo and
Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $833/wk. Equity Off Broadway C
Contract.
resume and a video of yourself doing a two minute or less contemporary monologue to thetheatercenter@gmail. com. Slate your name and the name of the piece the monologue is from. Submissions deadline is June 17. • 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,
Musicals ‘Beautiful: The Carole King Musical,’ Tour
• Seeking video submissions from Equity
actors for principal roles: Carole King, Gerry Goffin, Cynthia Weil, Barry Mann, Genie Klein, Don Kirschner in “Beautiful: The Carole King Musical”
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tour. No stage management positions are currently available. • Company: Beautiful Tour Carole
Company LP. Staff: Paul Blake & Sony/ ATV Music Publishing, prods.; Carole King & Gerry Goffin and Barry Mann & Cynthia Weil, music & lyrics; Douglas McGrath, book; Marc Bruni, dir.; Jason Howland, music supervisor; Josh Prince, choreo.; Stephen Kopel, casting dir. • Rehearsals begin late September/early
October; tour opens Nov. 2.
• Seeking—Carole King: female, 18+, 18+
to play ages 16-29; an aspiring singer/ songwriter. A unique, appealing, funny and vulnerable girl from a Jewish family in Brooklyn. Talented, good natured, unassuming and often the peace maker in difficult situations. A reluctant star with no pretense and a passion for music. Seeking an exceptional actress with a powerful, distinctive voice. Gerry Goffin: male, 18+, 18+ to play late teenslate 20’s, Carole’s boyfriend, songwriting partner and eventual husband. He is smoldering, dark & handsome with a rebel vibe. Although sexy, he is innately sympathetic, wounded and tortured. An ambitious artist always striving for more. Seeking a strong actor who sings well. Baritone/tenor. Cynthia Weil: female, 18+, 18+ to play late teens-late 20’s, asongwriter who becomes romantically involved with Barry. Carole’s best friend. She is sophisticated, smart & chic with a quick wit. Although self confident and sarcastic, she is also extremely likeable. Seeking an actress with strong comic timing who sings extremely well. Belt. Barry Mann: male, 18+, 18+ to play late teens-late 20’s, a songwriter who becomes romantically involved with Cynthia. He is good natured, appealing & neurotic. Ambitious, but likeable. Seeking a strong comedic actor with a great voice. Must be a strong high tenor comfortable with pop & rock style singing. Don Kirschner: male, 30-49, an influential music publisher and producer. He is a fast talking, energetic force of nature. Powerful, direct & sometimes intimidating, but he has a real affinity for his writers and artists. A hit maker. Seeking a strong actor. Genie: male, 40-59, Carole’s Jewish mother. Once an aspiring playwright, she has been broken down by life & her husband’s infidelity. Protective of Carole and unforgiving of her husband’s mistakes. Seeking a strong actress. • Seeking submissions from NY. • For consideration, email your audition to
BfulTourCasting@gmail.com with your
backstage.com
California casting
full name, and the role you are submitting for in the subject line. All audition videos must be sent as a streaming link (YouTube, Vimeo, etc.). No downloads. Submissions deadline is June 21.
Southern California
as well as performers with disabilities, to submit.
• Pays $549/wk. plus housing provided.
Equity LOA ref COST Contract.
• Preparation Information: Audition
materials available at www.dropbox. com/sh/yy2l9luyqj4edjx/ AAD2kyelu4LQpzEHQoy2HCxAa?dl=0 For the roles of Carole, Gerry, Barry, and Cynthia, sing a short pop/rock song in the style of the show of your choice. If you prefer to sing from the show, prepare the song provided at the link above that corresponds with the role you are interested in. No singing required for the roles of Don and Genie. Prepare the scene provided at the link above. If you prefer, you may prepare a short monologue of your choice instead. • 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 $928/wk. Equity Short
Engagement Touring Category 4 Contract.
‘Songs for a New World’
• Seeking video submissions from Equity
actors for a diverse and multi ethnic cast of powerful singers with unique abilities who move well for “Songs for a New World.” All roles are open. • Company: The Gateway. Staff: Paul
Allan. exec. artistic dir.; Michael Baker and Danny Loftus George, dirs.; Jason Robert Brown, writer. • Rehearsals begin June 29, 2021; runs
July 14-31. This production will be rehearsed and performed indoors and on property at The Gateway Playhouse in Bellport Village, NY, with the support of state and union guidelines. • Seeking—Man 1: male, 18-36, all eth-
nicities. Male #2: 25-50, all ethnicities. Woman #1: female, 18-25, all ethnicities. Woman #2: female, 35-55, all ethnicities. • Seeking submissions from NY. • For consideration, prepare a song in
the style of the show with own accompaniment or with accompaniment at www.dropbox.com/sh/gkbhfp4m2lkf5ai/ AACGePWNPrBtJYpi5VWQkUpDa?dl=0. Film in front of a clean background with no backlighting. Limit ambient noise, including air conditioners & other electronics. Use a secondary audio source to play the accompaniment to avoid interference. Submit an unlisted YouTube (not private) or Vimeo link & attach resume to casting@thegateway. org. Submissions deadline is June 17 at 5 p.m. EDT. • 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, backstage.com
Stage Staff & Crew
Short Films
The New York City Ballet Costume Shop
• Casting “Vuelve.” Synopsis: After many
‘Vuelve’
years, Lucy finally reunites with her absent father, Pipe, in the modest home that she shares with her overbearing grandmother, Concepción. Naturally withdrawn, Lucy hides everything that happens in her life from her family. After her partner exposes their secret relationship at a party, Lucy finds herself having to confront her father and grandmother’s disapproving anger to get the acceptance that she desperately needs from her family.
• Seeking two Tailor/Drapers for The
New York City Ballet Costume Shop.
• Company: NYC Ballet. • Runs July 26, 2021-June 3, 2022 in New
York City.
• Seeking—Tailor/Drapers: 18+. • Seeking submissions from NY. • Send submissions to MHappel@
NYCBallet.com. • Pay provided.
The New York City Ballet Costume Shop, Stitchers
• Company: USC Graduate/MFA Thesis
Film. Staff: Osiris Pichardo Grullon, dir.writer; Adam Kronenberger, casting dir.
• Seeking Stitchers for the NYC Ballet.
Note: New York City Ballet is one of the foremost dance companies in the world, with a roster of spectacular dancers and an unparalleled repertory. Founded in 1948 by George Balanchine and Lincoln Kirstein, New York City Ballet quickly became world-renowned for its athletic and contemporary style. Widely acknowledged for its enduring contributions to dance, New York City Ballet is committed to promoting creative excellence and nurturing a new generation of dancers and choreographers. The New York City Ballet Costume Shop seeks two (2) Stitchers. Requirements: Excellent sewing skills; machine & hand sewing. Excellent dressmaking, and/or tailoring, and cutting skills. Experience with ballet costumes and stretch, chiffon, organza, and tulle fabrics is essential. Good communication skills. Good organization and time management skills. At least two years professional costume shop experience required. No “Fashion Designers”. Full time, union position; 35 hours a week. A sewing test will be required at the in-person interview, applicants should be ready to demonstrate various sewing techniques and bodice making. NYCB is an Equal Opportunity Employer. We encourage all qualified individuals to apply.
• Company: USC. Staff: Caleb Smith, dir. • Tentatively shoots June 19 in Thousand
Oaks. Dates and locations are subject to change.
• Seeking—Nathan: male, 25-35, all eth-
nicities, has struggled to move on after he and his wife Lily’s failed pregnancy. The two have grown apart in the months following the miscarriage. Nathan wants a family, but he cannot come to terms with the idea that Lily might be too traumatized by her experience to try again. Mel: female, 25-35, all ethnicities, the friend that’s always there, but somehow never feels like a real friend. Mel comes over to help Lily finish building out the nursery, only to trigger Lily with her prying, tone-deaf small-talk. Mel is constantly, incidentally crossing the line and backtracking to make Lily feel better. • Seeking submissions from CA. • Send submissions to clsmith@usc.edu. • Submit reels. Will hold the second
round of auditions in person or on Zoom in the coming weeks.
• Pays $120/day for two 8-hour days.
• Shoots July 29-Aug. 3, 2021 in Los
Angeles, CA.
• Seeking—Lucy: female, 16-22, Latino /
Hispanic. Pipe: male, 40-50, Latino / Hispanic. Concepcion: female, 60-80, Latino / Hispanic. Maria: female, 40-50, Latino / Hispanic. Isabela: female, 16-25, Latino / Hispanic. • Seeking submissions from CA. • Send submissions to kronenberger-
casting@gmail.com.
• In your cover letter, mention your flu-
ency level in Spanish. Also, include reels/clips of your work with your submission, especially if they showcase Spanish.
• Casting background talent for “Noodles
Forever,” a short film.
• Company: Noodles Productions. Staff:
Connor Williams, casting dir.-prod.
• Shoots July 17 (eight hours plus one-
hour lunch) in L.A. (within the thirty-mile zone). • Seeking—Birthday Partygoer: all gen-
ders, 30-40, all ethnicities, birthday party attendees. No special wardrobe required. Typical birthday party attire.
• Seeking submissions from NY. • For consideration, interested, qualified
• Seeking submissions from CA. • Apply on Backstage.com. • Pays $120 for 8 hours of work, plus one-
candidates may apply by forwarding their resume, references, and portfolio to Marc Happel, Director of Costumes at: MHappel@NYCBallet.com with “Stitcher” in the subject line. No phone calls.
hour lunch break, (nine hours total on set). Credit in film and on IMDb provided.
• Pay provided.
• Casting “Silent,” a character-driven
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
27
• Company: Genuine Casting. Staff:
Genuine Casting, casting dir.
• Shoots June 22 (half day) and poten-
tially one day between June 23-25 (if shoot pushes) in San Diego, CA.
• Seeking—Health Care Professional 1:
possible usage/buyout payment of $2000.
‘Noodles Forever’
City Ballet Costume Shop seeks two Stitchers.
Healthcare Lifestyle video project, shooting in San Diego, CA.
short drama about a woman dealing with isolation, grief, and PTSD in the wake of a traumatizing silent miscarriage.
Student Films
• Seeking—Stitchers: 18+, the New York
• Casting non-union performers for
‘Silent’
AFTRA / USC Agreement, which allows either union or non-union actors. Pay under this agreement is provided in the form of copy, IMDb credit, and meals, as well as any necessary stipends.
Lincoln Center in NYC.
Healthcare Lifestyle Photo/ Video Shoot
female, 40-49, Black / African Descent. Health Care Professional 2: female, 30-39, Latino / Hispanic. Health Care Professional 3: male, 40-49, South Asian / Indian. Patient 1: female, 30-39, Black / African Descent, must be comfortable exposing some skin (as would be exposed while wearing a medical gown); must be as comfortable wearing medical gowns as street clothes; must submit via online form: https://form.jotform.com/211583635046152. Patient 2: female, 20-29, Latino / Hispanic, must be comfortable exposing some skin (as would be exposed while wearing a medical gown); must be as comfortable wearing medical gowns as street clothes; must submit via online form: https://form.jotform. com/211583635046152. Pregnant Patient 3: female, 34-39, Asian, Southeast Asian / Pacific Islander, looking for actual expecting mothers, who would ideally be 5-6 months pregnant at time of filming (Late June 2021); must be comfortable exposing some skin (as would be exposed while wearing a medical gown); must be as comfortable wearing medical gowns as street clothes; must submit via online form: https://form.jotform. com/211583635046152.
• Production is covered under the SAG-
• Company: NYC Ballet. • Runs Aug. 2, 2021-June 3, 2022 at
Multimedia
• Seeking submissions from CA. • Apply on Backstage.com • Pays $500 for day of filming, with a
06.17.21 BACKSTAGE
casting National/Regional
Online Commercials & Promos Mom & Son Safety Product Commercial
Nigerian student in love with Beneatha. Asagai is very proud of his African heritage and when he proposes marriage to Beneatha he hopes she will return to Nigeria with him. George Murchison: male, 25-35, a wealthy Black man who courts Beneatha; the Youngers approve of George, but Beneatha dislikes his willingness to submit to white culture and forget his African heritage. He challenges the thoughts and feelings of others through his arrogance and love of spirited debate. Mr. Karl Lindner: 35-50, White / European Descent, Mr. Lindner arrives at the Youngers’ apartment from the Clybourne Park Improvement Association; he offers the Youngers a deal to reconsider moving into his (all-white) neighborhood. Bobo: male, 30-40, one of Walter’s business partners in his plan to open a liquor store.
• Animated short film - possible festivals
and TV use.
National/ Regional
• Casting an actress to play a mom in a
safety product commercial.
• Company: Gro Creative Group. Staff:
Scott Kelley, dir.
• Shoots in the Hollywood/West
Hollywood, L.A. area.
• Seeking—The Mom: female, 35-45,
White / European Descent, speaking role. Tells the customer about the dirt and bacteria that tracks through the home on a daily bases. She is then shown displaying the product while talking about how she can rest easy knowing that her family is safe. • Seeking submissions from CA. • Apply on Backstage.com. • Pay provided.
Phone Case & Accessories Promo Video
• Casting an online commercial/promo
for a phone case and accessories.
• Company: BTS TV Media. Staff: M.
Duclos, coord.
• Shoots June 26 in San Diego, CA. • Seeking—Antonia: female, 20-35, hip
and artistic. She likes to hang out in coffee shops and the Blick Art Materials store. Went to school for fine arts and minored in environmental design. She expresses her sustainable side through a 3D art series of “everyday-use objects” sculpted from all recycled materials. Her outfits are tastefully hip. Color choices are expressive and earthy. She would wear overalls or some sort of colored corduroy with New Balances or eco-friendly canvas shoes. • Seeking submissions from CA. • Send submissions to admin@btstvme-
dia.com.
• Include your availability and sample(s)
of work in your submission.
• Potential to continue as this character
in a series as decided by the client.
Film & Documentary Voiceover ‘The Orphan And The Amautalik’
• Casting voice actors for “The Orphan
And The Amautalik,” an animated short film based on Inuit oral history. • Company: Taqqut Productions. Staff:
Melody McMullan, office manager.
• Recording at home using own equip-
ment, submitting with approx. one week turnaround.
• Seeking—Orphan: 8-14, age 8 to 11;
male; timid but friendly. Boy: 8-14, age 8 to 11; male; mean. • Seeking submissions from CA. • Send submissions to casting@taqqut.
com.
BACKSTAGE 06.17.21
Plays ‘A Raisin in the Sun’
• Seeking video submissions from local
Equity actors for roles in “A Raisin in the Sun.” This production is the final production of WTT’s 25th Season and is dedicated in memory of Phyllis Cicero. Lorraine Hansberry’s TONY Awardwinning drama tells the story of the Youngers, a black family living in Chicago in the 1950s, whose yearning for a piece of the American Dream includes moving to a modest home in a majority white community.
• Seeking submissions from TX. • For consideration, post your audition
video to YouTube/Vimeo/Dropbox and then visit https://airtable.com/shrHX9nNOufRaX7vg to submit your information, headshot, resume & link to your audition for the Creative Team to review. For the video: Access sides for the role(s) you are interested in at www. dropbox.com/sh/vk9a0tfvd8brpbk/ AABK _7Cinh7poRBqc9XzfU7Ra?dl=0. For roles with multiple sides provided, select 1-2 for your audition. If you don’t have someone to read with you, perform only your character’s lines with pauses between. Submissions deadline is June 18.
• Company: WaterTower Theatre. Staff:
Shane Peterman, prod. artistic dir.; Elizabeth Kensek, assoc. prod.; Natalie King, dir.; Liz Mikel, assist. dir.; Lorraine Hansberry, writer. • Rehearses Aug. 9-31; runs Sept. 1-12
(Weds.-Sun.) in Addison, TX. Note: This production will be presented with very limited audience on The Terry Martin Main Stage. Must be willing to follow strict safety standards and agree to COVID testing which will be paid for by WTT. All cast, crew & production team must show proof of COVID-19 vaccination (including the 14 day period following) before attending rehearsals.
• In-person callbacks will be held June
26-27 per Equity safety guidance.
• 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.
• Seeking—Walter Lee Younger: male,
30-40, Black / African Descent, discontented with his status in life as a Black man in America, he is a dreamer, whose big plans and schemes are fueled by his aspirations and ambitions to become something in the world and make a better life for his family. Beneatha Younger (‘Bennie’): female, 19-25, Lena’s daughter and Walter’s sister; Beneatha is an intellectual; twenty years old, she attends college and is better educated than the rest of the Younger family. She dreams of being a doctor and struggles to determine her identity. Lena Younger (‘Mama’): female, 55-65, Walter and Beneatha’s mother; the matriarch of the family, Mama is religious, moral, and maternal; she wants to use her husband’s insurance money as a down payment on a house with a backyard to fulfill her lifelong dream for her family. Ruth Younger: female, 29-37, Walter’s wife and Travis’s mother; Ruth takes care of the Youngers’ small apartment; her 11-year marriage to Walter has problems, but she hopes to rekindle their love. She is about thirty, but her weariness makes her seem older. She is an emotionally strong woman and her almost pessimistic pragmatism helps her to survive. Travis Younger: male, 9-12, Walter and Ruth’s son. Travis earns some money by carrying grocery bags and likes to play outside with other neighborhood children. Joseph Asagai: male, 20-28, a
• Equity SPT Contract; salary TBD pend-
ing approval.
Greater Boston Stage Company 2021-22 Season
• Seeking video submissions from Equity
actors for roles in 2021-22 Season. Season includes “The 39 Steps” (Patrick Barlow, adaptation; John Buchan, novel as source material; Ilyse Robbins, dir. Rehearsals begin Aug. 31; runs Sept. 24-Oct. 10); “All is Calm: The Christmas Truce of 1914” (Peter Rothstein, writer; Erick Lichte & Timothy C. Takach, musical arrangements. Rehearsals begin Nov. 2; runs Nov. 26-Dec. 23); “Incident at Our Lady of Perpetual Help” (Katie Forgette, writer. Rehearsals begin Feb. 15, 2022; runs Mar. 3-20); “Miss Holmes Returns” (Christopher Walsh, writer; Weylin Symes, dir. Rehearsals begin Apr. 5, 2022; runs Apr. 21-May 8); and a Show TBA (Rehearsals begint May 31, 2022; runs June 9-26, 2022). • Company: Greater Boston Stage
Company. Staff: Weylin Symes, prod. artistic dir.; Ilyse Robbins, assoc. artistic dir. • Rehearses and performs in Stoneham,
MA.
28
• Seeking—Equity Actors: 18+. • Seeking submissions from MA. • Send submissions to auditions@great-
erbostonstage.org.
• For consideration, submit your video
with an attached digital headshot and resume to auditions@greaterbostonstage.org. Submissions deadline is June 18. • Preparation Instructions: All audition-
ers are asked to state their name and what they will perform and if they are interested in a particular show or role at start of video. Non-musical auditioners: actors may choose to perform one or more monologues of their choice, read one or more scenes from the season’s plays, or a combination of scene(s) and monologues(s) within the confines of the time allotted (5 minute maximum). Actors auditioning for “All is Calm”: Audition with a cappella song (preferably classic Christmas Carol). In addition, actors may choose to perform one or more monologues of their choice, read one or more scenes from the season’s plays, or a combination of song(s), scene(s) and monologues(s) within the confines of the time allotted (5 minute maximum). • GBSC encourages participation by per-
formers of all races and ethnicities.
• 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 $546/wk. Equity NEAT Contract.
‘Hurricane Diane’
• Casting Equity actors for roles in
“Hurricane Diane.”
• Company: Huntington Theatre
Company. Staff: Madeleine George, playwright; Jenny Koons, dir.; Alaine Alldaffer and Lisa Donadio, casting dirs. • Rehearsals begin July 27, 2021; tech
begins Aug. 21; runs Aug. 17-Sept. 26 in Boston, MA.
• Seeking—Diane: 30-49, all ethnicities.
Carol Fleischer: 18+, White / European Descent. Pam Annunziata: 40-49, White / European Descent. Renee Shapiro-Epps: 40-49, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Beth Wann: 30-39, White / European Descent.
• Seeking submissions from MA. • For consideration, submit headshot and
resume to alldaffercasting@gmail.com. Submissions deadline is June 21. • Director’s Note: Our process will
include daily group warm-ups and generative world/character building exercises. All performers will share leadership of exercises and contribute to an ensemble based practice rooted in play, with emphasis on physicality and generative movement. It may or may not include: dancing to Rihanna, creating silent sketches of how characters clean their kitchens, choreographing comedic bits with household backstage.com
National/Regional casting
appliances, or learning social dances from TikTok.
• Casting states: “Although pronouns are
defined in the text, we welcome actors of any gender expression to audition.”
• 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 $1,008/wk. Equity LORT B Non-
Rep Contract.
Pioneer Theatre Company 2021-22 Season
• Seeking video submissions from Equity
actors for principal roles in 2021-22 Season. Season includes: “Ain’t Misbehavin’” (Gerry McIntyre, dir.choreo.; Kenney Green, music dir.; Murray Horwitz and Richard Maltby Jr., book; music by various composers and lyricists as arranged and orchestrated by Luther Henderson. Rehearsals begin Aug. 23; runs Sept. 10-25); “Ass” (Ellen Simon, writer; Karen Azenberg, dir. Rehearsals begin Sept. 27; runs Oct. 22-Nov. 6); “Elf” (Alan Muraoka, dir.; Rommy Sandhu, choreo.; Tom Griffin, music dir.; Matthew Sklar and Chad Beguelin, score; Bob Martin and Thomas Meehan, adaptation. Rehearsals begin Nov. 8; runs Dec. 3-18); “The Messenger” (Jeff Talbott, writer; Wes Grantom, dir. Rehearsals begin Dec. 20; runs Jan. 14-29, 2022); “Something Rotten!” (Karen Azenberg, dir.-choreo.; Helen Gregory, music dir.; John O’Farrell and Karey Kirkpatrick, book; Karey and Wayne Kirkpatrick, music & lyrics. Rehearsals begin Jan. 31, 2022; runs Feb. 25-Mar. 12); “Fireflies” (Kareem Fahmy, dir.; Mathew Barber, writer. Rehearsals begin Mar. 7; runs Apr. 1-16, 2022); and “Hello, Dolly!” (Karen Azenberg, dir.-choreo.; Jerry Herman, lyrics-music; Michael Stewart, book. Rehearsals begin Apr. 18; runs May 13-28, 2022). No roles will be understudied. • Company: Pioneer Theatre Company.
Staff: Karen Azenberg, artistic dir.; Bob Cline, casting dir.
• Season runs August, 2021 through May/
June, 2022 in Salt Lake City, UT.
• Seeking—Equity Actors: 18+. • Seeking submissions from UT. • Send submissions to bobclinecast@
gmail.com.
• For consideration, submit video audi-
tion (preferably in a click and watch, way) to bobclinecast@gmail.com. Submissions deadline is June 30. • Keep songs and/or monologues to
around a minute. Accompaniment and sheet music for “From This Moment On” for each vocal part is available at https://onedrive.live.com/?authkey=%2 1ADdAm9Wy9aP5dic&id=2E8BE98337A 0E8D8%2121278&cid=2E8BE98337A0E8 D8, but you are welcome and encouraged to sing your own selection. • All stage manager positions have been
filled.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity backstage.com
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.
values will now be subject to tax withholdings and all cast/crew will be treated as employees. Performers are paid half rate for rehearsals and the first paid performance triggers the full pay rate. The rehearsal dates are tentatively scheduled for the beginning of January 2022 and subject to change. Full band rehearsals will be in Los Angeles and commence the week of January 10, 2022. The tour begins in California on January 19, 2022 and ends in western Canada on or around March 20, 2022. The chosen person will have to be fully vaccinated. Needs US Passport.
• Pays $1,008/wk. Equity LORT B Non-
Rep Contract.
Musicals ‘The Life and Music of George Michael’
‘The Prom’
• Casting “The Life and Music of George
Michael,” a brand new immersive concert-style show that chronicles the amazing journey George Michael had with music and his fans. Synopsis: The Life and Music of George Michael captures the performance and sound with concert style staging and lighting while telling his story through early music hits from Wham! and his illustrious solo career. The Life and Music of George Michael captures the performance and sound of one of the biggest international stars of our time. The show will have fans on their feet dancing and singing along to blockbuster hits including “Wake Me Up Before You Go Go,” “Freedom,” “Faith,” “Careless Whisper,” “Father Figure,” and many more. Michael sold over 115 million albums spanning four decades and rose to fame as a member of Wham! in the early 80’s. He went solo in 1987 with “Faith,” one of the biggest albums of all time. The album had four number one hits including “Faith,” “Monkey,” “Father Figure,” and “One More Try.” He won two Grammy Awards, three Brit awards, three American Music Awards and four MTV Video Music Awards. • Company: Maple Tree Entertainment,
Quatro Entertainment, Inc, Right Angle Entertainment. Staff: Alison Franck, casting dir.; Ralph Schmitdke, general manager; Dean Elliott, music dir. • Rehearsals tentatively scheduled for
the beginning of January 2022 and subject to change; full band rehearsals commence the week of January 10, 2022 in Los Angeles, CA;. tour begins in California on Jan. 19, 2022 and ends in western Canada on or around Mar. 20, 2022. • Seeking—George Michael: male,
30-40, singer; must be physically fit, be able to sound like George Michael and embody George’s stage mannerisms; British accent needed. • Seeking submissions nationwide. • For consideration, email photo,
resume, and a self-taped video submission singing the following two songs, “Careless Whisper” and “Faith” (a karaoke track should be easily found online for these songs) to Alison.Franck@ gmail.com with the subject line “George Michael Submission.” When slating also include a full body shot. All candidates need to look and sound like the older George Michael. Not WHAM George Michael.
• The pay is $1750 US/wk. and per diem
of $47/day. Note that both the dollar
• Seeking video submissions from Equity
actors for principal roles in “The Prom.” “The Prom” encourages gender diverse and color conscious casting. Performers of all ethnic and racial backgrounds, gender identities, and abilities are encouraged to apply. • Company: Prom Touring, LLC. Staff:
Dori Berinstein, Bill Damaschke, Jack Lane and NETworks, prods.; Casey Nicholaw, dir.-choreo.; Bob Martin and Chad Beguelin, book; Matthew Sklar, music; Chad Beguelin, lyrics; MaryMitchell Campbell, musical dir.; Bethany Knox (The Telsey Office), casting.
• Rehearsals begin Sept. 27; runs Oct. 30.
Rehearsals and performances will be indoors. These will be live performances with an audience.
• Seeking—Barry Glickman: male, 30-59,
all ethnicities, a very gay Broadway star. Completely politically incorrect and doesn’t know it. Impulsive and loves to make a scene everywhere he goes. Strong singer. Big, Broadway belter; high baritone/low tenor; principal. Dee Dee Allen: female, 30-59, all ethnicities, a current Broadway diva. A huge ego to match her huge talent. No filter. Hilariously self-involved, but yearns to do something good for someone other than herself. Strong Singer. Big, Broadway belter; alto; principal. Trent Oliver: male, 30-49, all ethnicities, a pretentious Broadway star who is probably better known for TV infomercials. Loves the sound of his own voice. Strong singer, pop and legit; baritone; principal. Emma: female, 18+, all ethnicities, to play a high school senior. Mix/ belt up to a C#. Forced into the spotlight because she asked her girlfriend to the prom. A reluctant poster child for gay / lesbian youth. Very smart, but doesn’t need to be classically beautiful. A bit of a tomboy quality. Sweet pop voice. Strong singer; principal. Alyssa: female, 18+, all ethnicities, to play a high school senior, Mix/belt up to a D. Tries desperately to fit in. A cheerleader. Secretly Emma’s girlfriend, but afraid to come out. Can be classically pretty. Afraid to stand up to her mother. Pop voice. Strong singer; principal. Mr. Hawkins: male, 30-59, all ethnicities, a small town principal. Easily flustered. Straight-laced. A Broadway enthusiast. Good singer; high baritone; principal. Angie: female, 30-49, all ethnicities, an ensemble member in the Broadway production of “Chicago”. Jaded Fosse girl with a heart of gold. Strong Singer; alto with a belt; principal. Mrs. Greene:
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female, 30-49, all ethnicities, Alyssa’s Mother and the school board president. Very strong, controlling and intimidating. Loves her daughter very much but has a very specific view of what is “right” and “wrong” for her daughter and the school. Strong Singer; alto; principal. Sheldon Saperstein: male, 30-49, all ethnicities, a charismatic press agent. Traditional musical theatre sound; baritone; principal. • Seeking submissions from MD. • For consideration, submit the video,
along with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) to thepromvideos@gmail.com with the subject line “[Your full name] -[The role for which you’d like to be considered].” Submissions deadline is June 23. • Prepare a brief contemporary musical
theatre song that shows your style and vocal range. If you do not have access to accompaniment, you may sing your song of choice a cappella. If you are not able to sing a song of your choosing, feel free to prepare the provided song. Sheet music and MP3s are available at https://tinyurl.com/28fxj5p4. If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name, and height. • 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 attend every audition. • Pays $859/wk. Equity Short
Engagement Touring Category 3 Contract.
Chorus Calls ‘Jersey Boys’
• Seeking video submissions from Equity
actors for chorus roles in “Jersey Boys.”
• Company: STAGES St. Louis. Staff: Jack
Lane, exec. prod.; Michael Hamilton, artistic dir.-dir.; Gayle Seay, assoc. dir.; Dana Lewis, choreo.; Tali Allen, musical dir.; Wojcik/Seay Casting, casting. • Rehearsals begin Sept. 7; runs Sept.
24-Oct. 24. This production will be live, indoors, and in front of an audience. STAGES St. Louis will abide by CDC, St. Louis County, and Equity Safety Guidelines. • Seeking—Ensemble #1: male, 20-35.
Ensemble #2: male, 18+.
• Seeking submissions from MO. • For consideration, visit https://wscast-
ing.com/jersey-boys-ecc-singer/. Submissions deadline is June 18.
• STAGES St. Louis strives to cultivate an
inclusive environment, which welcomes differences of ethnicity, religion, sexuality, income, or any other divisions with generosity and openness among its artists, audiences, leaders, and community. Through support and understanding of our differences, we are able to recognize our commonali-
06.17.21 BACKSTAGE
casting National/Regional ties. STAGES encourages performers of all ethnicities, races, gender identities, ages, body types, and abilities to audition. • An Equity Monitor will not be provided.
The producer will run all aspects of this audition. Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. • Pays $604/wk. Equity LOA ref COST
Contract.
Signature Theatre 2021-22 Season
• Seeking video submissions from Equity
singers and dancers for various roles in four shows for the upcoming 2021-2022 season including “Rent” (Jonathan Larson, music-lyrics-book; Matthew Gardiner, dir.; James Alsop, choreo.; Mark G. Meadows, music dir. Rehearsals begin Oct. 5; runs Nov. 2, 2021-Jan. 30, 2022 with a possible extension through Feb. 13, 2022 at The MAX Theatre: LORT B scale); “She Love Me” (Jerry Bock, music; Sheldon Harnick, lyrics; Joe Masteroff, book; Matthew Gardiner, dir.; Kelly Crandall d’Amboise, choreo. Rehearsals begin Feb. 15, 2022; runs Mar. 15-Apr. 24 at The MAX Theatre: LORT B scale); “Jeannette: A New Musical” (Ari Afsar, music-lyrics; Lauren Gunderson, book; Erin Ortman, dir.; Yusha-Marie Sorzano, choreo. Rehearsals begin May 3, 2022; runs May 31-July 3 with a possible extension through July 10 at The MAX Theatre: LORT B scale); and “The Color Purple” (Brenda Russell, Allee Willis & Stephen Bray, music-lyrics; Marsha Norman, book; Timothy Douglas, dir.; Lady Dane Figueroa Edidi, choreo.; Mark G. Meadows, music dir. Rehearsals begin July 19, 2022; runs Aug. 16-Oct. 9 with a possible extension through Oct. 16 at MAX Stage: LORT B scale). • Company: Signature Theatre. Staff:
Kelly d’Amboise (Signature Theatre), casting dir.; Jorge Acevedo (Signature Theatre), casting assoc.
• Season rehearses indoors and performs
indoors at the MAX Theatre in Arlington, VA.
• Seeking—Equity Singers and Dancers:
18+.
• Seeking submissions from VA. • Due to Covid-19, this season we are
accepting video submissions only. No in-person appointments or auditions will be held. Self-taped video auditions will be reviewed by members of the casting department at Signature Theatre only. Each and every video audition that is submitted via email within the window of May 27-June 1, 2021 will be reviewed. We will not review video submitted earlier than May 27 or later than June 1, 2021. • Submissions Instructions: All self-tape
videos should be no longer than two minutes in length and include introduction of actor’s name along with a 16-32 bar cut of a song (see below) and/or performance of the dance combination
BACKSTAGE 06.17.21
provided at www.dropbox.com/sh/bhxba11q307affv/AAB5_ sv8K6PrTKbqdGOvxQpHa?dl=0. You may audition with a song of your choice or use the recorded track of “Seasons of Love” from “Rent” provided at www. dropbox.com/sh/gwayx4l6mop5bad/ AACeflNIJtwV_GlERGJYocuRa?dl=0 for your convenience, along with sheet music. You are not required to sing this particular selection of this song, it is only provided for your convenience should you choose to sing this cut.
assoc. choreo.; Bob Martin and Chad Beguelin, book; Matthew Sklar, music; Chad Beguelin, lyrics; Mary-Mitchell Campbell, musical dir.; Bethany Knox (The Telsey Office), casting.
pieces you are performing, or slate your name and go directly into your performance. In addition, if you are interested in being considered for a specific show, include the title of show in your slate. If you are interested in auditioning for “Jeannette: A New Musical,” we invite you to view the full breakdown before auditioning, as provided by the creative team, which can be found here: https:// res.cloudinary.com/signature-theatre/ image/upload/v1621030844/ Jeannette_Breakdown_1_1.pdf. Attach your self-tape video (any video format compatible with YouTube, Dropbox, or Vimeo upload is welcome) and headshot/resume (PDF format) to the form provided at www.cognitoforms.com/ SignatureTheatre1/ SignatureTheatreAEAECCAuditions. All videos received via the form from June 7 until 11:59 p.m. ET on June 21, 2021 will be reviewed. We will not review video submitted later than June 21, 2021. Clearly note your Equity status and contact information on your resume.
• Record yourself performing the dance
• Rehearsals begin Sept. 27; runs Oct. 30.
Rehearsals and performances will be indoors. These will be live performances with an audience.
• Seeking—Ensemble Dancers Who Sing
Well: female, male, 18+.
• Seeking submissions from MD. • Send submissions to thepromvideos@
• Slate your name and announce the
• Callbacks will be granted based off the
video auditions. You will be notified if you are called back. Be sure to provide correct contact info on your headshot and resume so that we can reach you.
iPhone to video record, please be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name and height. Record your dance using the full tempo version provided. Send the video, along with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) to thepromvideos@ gmail.com with “[Your full name] [Dance Ensemble]” in the subject line. Submissions deadline is June 18. • An Equity Monitor will not be provided.
The producer will run all aspects of this audition. • 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 attend every audition.
‘The Prom,’ Tour, Singers
• Seeking video submissions from Equity
actors for chorus parts in “The Prom.” “The Prom” encourages gender diverse and color conscious casting. Performers of all ethnic and racial backgrounds, gender identities, and abilities are encouraged to apply. • Company: Prom Touring, LLC. Staff:
Dori Berinstein, Bill Damaschke, Jack Lane and NETworks, prods.; Casey Nicholaw, dir.-choreo.; Bob Martin and Chad Beguelin, book; Matthew Sklar, music; Chad Beguelin, lyrics; MaryMitchell Campbell, musical dir.; Bethany Knox (The Telsey Office), casting.
• Equity Performers of all racial and eth-
nic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition. Include information regarding any accommodations your client/you need in an audition, rehearsal or performance space.
• Rehearsals begin Sept. 27; runs Oct. 30.
Rehearsals and performances will be indoors. These will be live performances with an audience.
• Pays $1,008/wk. Equity LORT B Non-
Rep Contract.
• Seeking—Ensemble Singers Who
‘The Prom,’ Tour, Dancers
actors for chorus parts in “The Prom.” “The Prom” encourages gender diverse and color conscious casting. Performers of all ethnic and racial backgrounds, gender identities, and abilities are encouraged to apply. Dori Berinstein, Bill Damaschke, Jack Lane and NETworks, prods.; Casey Nicholaw, dir.-choreo.; John Macinnis,
• Taping Instructions: If you are using an
Engagement Touring Category 3 Contract.
Opportunity Employer who celebrates diversity and does not discriminate based on race, religion, color, national origin, sex, sexual orientation, age, veteran status, disability status, or any other applicable characteristics protected by law. Signature Theatre is committed to providing access, equal opportunity, and accommodation for individuals with visible and/or invisible disabilities in employment, its services, programs, and activities.
• Company: Prom Touring, LLC. Staff:
combination viewable at this link: https://tinyurl.com/3buvvjsz.
• Pays $859/wk. Equity Short
• Signature Theatre is an Equal
• Seeking video submissions from Equity
gmail.com.
Dance Well: female, male, 30-59, all ethnicities, all shapes and sizes, to portray various characters in the ensemble. Must dance well, sing well and have amazing comic timing; ensemble. • Seeking submissions from MD. • Send submissions to thepromvideos@
gmail.com.
• Prepare 16-32 bars of a contemporary
musical theatre song that shows your style and vocal range. If you do not have access to accompaniment, you may sing your song of choice a cappella. If
30
you are not able to sing a song of your choosing, feel free to prepare the provided song. Sheet music and MP3s are available at https://tinyurl. com/28fxj5p4. If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name, and height. • For consideration, submit the video,
along with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) to the following email address: thepromvideos@ gmail.com with the subject line “[Your full name] -[CHORUS].” Submissions deadline is June 23. • An Equity Monitor will not be provided.
The producer will run all aspects of this audition. • 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 attend every audition. • Pays $859/wk. Equity Short
Engagement Touring Category 3 Contract.
Feature Films ‘The Funeral’
• Casting “The Funeral,” a feature-film
drama.
• Seeking actors local to the Northeast
US.
• Company: Orange Line Films. Staff:
Brett Cramer, dir.
• Shoots for five weeks in Sept.-Oct. in
the New England area. These roles are not needed for all five weeks. Rehearsals would occur in Aug., either in-person or remotely via Zoom depending on availability. Not all roles are required to attend rehearsals.
• Seeking—Diane: female, 55-70, White /
European Descent. Vicky: female, 28-40, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Jerry: male, 55-70, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Alex: female, 25-38, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Cassandra: female, 45-70, all ethnicities. Eric: male, 19-30, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Charlie: male, 8-12, White / European Descent. Nicole: female, 36-49, White / European Descent. • Seeking submissions from NY and MA.
backstage.com
National/Regional casting
• Send submissions to thefuneralmovie@
gmail.com.
• If you are interested, record a self-tape
with the attached side. iPhone quality is fine. • Production team has had numerous
short films on Short of the Week, and can be viewed here: www.shortoftheweek.com/2020/12/17/its-been-awhile/ or www.shortoftheweek. com/2021/04/26/together/. • Pays $150/day. If actor is not local to
the shoot location (i.e. within 1-2 hour drive), lodging will be provided. On-set meals provided.
Multimedia ‘Hunt a Killer’ Small Town Production
• Casting three performers with profes-
sional equipment and the ability to selfrecord. Note: This storyline concerns white collar politicians in a small town.’Hunt a Killer’ is a popular mystery brand, shipping clues and puzzles to members worldwide, with multimedia elements unlockable by players.
• Staff: E. Kennedy, coord. • Records remotely asap. • Seeking—Native German Woman - VO
• Seeking submissions worldwide. • Send submissions to Will@huntakiller.
com.
• Make sure your audition is recorded
using the audio gear you will be using for your final recording. Auditions must be representative of finished sound. • Audio will be used in one of Hunt a
Killer’s multimedia mystery games. To be used in perpetuity.
Online Commercials & Promos Relaxation App, Specific Language Voiceovers
• Casting VO artists who speak foreign
language for short spots. Note: Record from anywhere. backstage.com
• Read through each script iteration. We
are ok with you making changes to the text to have this sound more natural and conversational to you. • Check out this example video here for
what we are looking to achieve: https://f.io/3P_3QUMf
• Script 1: Lemonaid Health has been a
huge help in managing my mental health needs. After giving my history and filling out the questionnaire, the hardest part was over. They made it easy to find the right antidepressant medication for me, and automatically ship me my prescription each month. The Lemonaid team listens to what I need and makes sure to go the extra mile to work with me toward getting better. I am so glad I found Lemonaid! • Script 2: Lemonaid has been a life-
changing service in helping me manage my anxiety. All it took was talking oneon-one with an experienced doctor, reviewing their recommended treatment options, and finding the personalized solution that best met my needs. They care about how I feel, and even adjust my treatment plan as needed to make sure it’s still working for me. Lemonaid has brought some much needed relief to my life.
• Non-union, all media buyout, in
perpetuity.
smart home tech company.
class gossip; spending her days in the local country club, she revels in the local drama, particularly the recent scandal surrounding Judith Richards and her family; caught whispering behind Judith’s back, Gertrude is first indignant and then scared for her safety. Dave: 40-60, a stuffy, upper class member of the local country club, and head of the membership committee; he views himself as a calming, controlling energy, and steps in when an argument breaks out between members. Stacy: 30-50, is the youngest member of the stuffy upper class country club; she’s gossipy and reactionary, absolutely loving it when drama breaks out.
bamboo.com.
requested. Prefer native speakers or people who grew up in the country mentioned.
• Recording will be conducted remotely
• Seeking—Gertrude: 40-60, is an upper-
• Seeking submissions nationwide. • Send submissions to stavro@growwith-
• Seeking submissions worldwide. • Apply on Backstage.com. • Submit a reel in the language
Smart Home Commercial
by the performers, during a Google Meet call with Hunt a Killer’s production team. Looking to record June 10 or June 11.
ethnicities.
Artist: female, 18-55, native German female VO, 18-55, to record a few lines for a relaxation app. Native Spanish (Spain) Woman - VO Artist: female, 18-55, native Spanish (from Spain) speaker, 18-55, to record a few lines for a relaxation app. Native French Woman - VO Artist: female, 18-55, native French woman, 18-55, to record a few lines for a relaxation app. Native Portuguese Woman - VO Artist: female, 18-55, native Portuguese female speaker, 18-55, to record a few lines for a relaxation app. Native Spanish (Latin America/Mexico) Woman - VO Artist: female, 18-55, native Spanish (from Latin America/Mexico) speaker, 18-55, to record a few lines for a relaxation app.
• Company: Hunt a Killer LLC. Staff: Will
Rogers, prod.
• Seeking—Talent: all genders, 21-40, all
• Casting an online commercial for a • Company: Gemini Creative Agency.
Staff: Edan Cohen, creative dir.
• Shoots June 24 in Paoli, PA. • Seeking—Female Lead: female, 25-40,
• Filming requirements: Space/Attire:
Don’t have any brand logos in frame (clothing, wall art, coffee cups, etc.) Background should be natural at home or outside setting. This should appear as if you were talking to a friend. No need to film with a set backdrop. But please make sure the scene is clean and not distracting. Avoid wearing patterns. Avoid showing any microphones - we want this to feel as natural as possible while still being high quality. If chosen, this will be the final video footage used make sure your attire and space represents both you and Backstage well!
Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a trendy businesswoman who loves her smart home. Radiates optimism and confidence.
• Seeking submissions from PA. • Send submissions to edan@geminicre-
ative.agency.
• Submit links to previous work. • Pays $300.
UGC Paid Social Ad, Telemedicine Brand
• Filming: Make sure lighting is on your
• Company: Grow With Bamboo. Staff:
face. Avoid backlighting by having any windows in front of you. Film so that you can be cropped both vertically (imagine Instagram stories) and horizontally (imagine YouTube). Recommend filming in landscape but having plenty of room on both sides to be cut vertically. If needed, we can accept two takes with different camera orientations. Make sure sound quality is high by turning off any fans, closing any windows, and/or turning away from the mic when talking. Do not edit footage - we will want all the raw takes to properly edit footage together. Avoid cutting footage or adding any background music. If reading from a prompter or script, please keep camera eye contact for a few seconds after a line before looking back at a script or try and memorize to speak more lines at a time. This helps in editing as we would like these videos to look as natural as possible.
• Remote work from home shoot TBD.
perpetuity.
• Casting talent for UGC (user generated
content) videos for our Telemedicine client. Note: Only accepting castings with talent who submit script read throughs. Check out this example video here for what we are looking to achieve: https://f.io/3P_3QUMf • Company states: “We are seeking tal-
ent to film with their phone and read through the scripts. The script will focus on the relief and/or clarity that they have found using the service and focusing on the ease of use/user flow and accessibility of the service. To be considered for this role, please locate the script in this casting (Script is attached below). When you apply, read through the script and submit the two different scripts. If we decide to move forward with you as a UGC talent for the project, we will send overpayment and the talent release document (to sign and return) and then we will download your videos through Backstage.” Stavro Victor, content prod.
• Pays $150 for video footage use in
31
Film & Documentary (Voiceover) Untitled Documentary Feature
• Casting a voiceover actor who naturally
has a similar accent to a well-known television show host. Read in your natural accent. • Company: Delirio Films. Staff: Natalie
Goldberg, assoc. prod.
• Open to either home studio or renting a
studio.
• Seeking—Narration Voice: 35-50. • Seeking submissions nationwide. • Send submissions to natalie@delirio-
films.com.
• Read using your natural accent.
Stage Staff & Tech Greater Boston Stage Company 2021-22 Season
• Seeking Production Stage Managers
for all shows in the 2021-22 season, except Show TBA and Assistant Stage Managers for “Miss Holmes Returns” and “All is Calm.” Season includes “The 39 Steps” (Patrick Barlow, adaptation; John Buchan, novel as source material; Ilyse Robbins, dir. Rehearsals begin Aug. 31; runs Sept. 24-Oct. 10); “All is Calm: The Christmas Truce of 1914” (Peter Rothstein, writer; Erick Lichte & Timothy C. Takach, musical arrangements. Rehearsals begin Nov. 2; runs Nov. 26-Dec. 23); “Incident at Our Lady of Perpetual Help” (Katie Forgette, writer. Rehearsals begin Feb. 15, 2022; runs Mar. 3-20); “Miss Holmes Returns” (Christopher Walsh, writer; Weylin Symes, dir. Rehearsals begin Apr. 5, 2022; runs Apr. 21-May 8); and a Show TBA (Rehearsals begin May 31, 2022; runs June 9-26, 2022). • Company: Greater Boston Stage
Company. Staff: Weylin Symes, prod. artistic dir.; Ilyse Robbins, assoc. artistic dir. • Rehearses and performs in Stoneham,
MA.
• Seeking—Production Stage Manager:
18+. Assistant Stage Manager: 18+.
• Seeking submissions from MA. • For consideration, submit your interest
to auditions@greaterbostonstage.org. Submissions deadline is June 18.
• GBSC encourages participation by per-
formers of all races and ethnicities.
• 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 attend every audition. • Pays $654/wk. (PSM) and $600 (ASM).
Equity NEAT Contract.
06.17.21 BACKSTAGE
Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover
Q:
Is it OK to read the lines from the script for a first audition self-tape, or should they be memorized? —@ingridsafranekofficial
Our Expert Clay Banks is an acting coach.
*Submit questions for our Experts on Backstage’s Facebook, Instagram, or Twitter accounts, or via our forums page at backstage.com/forums! The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.
BACKSTAGE 06.17.21
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Great question! And it’s one that could receive several answers. As someone who preps actors for film and TV roles every week, I’ll share my guidance. Just about every industry pro would agree: The more prepared an actor is for their read, the more freed up, alive, confident, connected, and in character the actor will be. This will result in delivering a more authentic, in-the-moment, believable performance—hence, being fully memorized and off-book! Whenever possible, you should have your lines so memorized that they’re infused within your being. This obviously takes more time than cold reading, but it will secure your performance by allowing you more freedom to become the character in the story while not getting caught up in the lines. If you’ve been auditioning long enough, you know that time, or lack thereof, will not always allow for a fully off-book performance. That being the case, you’ll need to look at your sides to pull off the audition. The good news is: That’s OK! However, you can’t have your face—meaning your attention and eye contact—so stuck in the pages that you’re not able to create a suspension of disbelief for the casting director, director, or whoever else is watching. Limited eye contact won’t keep them in the scene with you, which will result in a poor audition. This is where strong cold reading skills come in. Once you become a terrific cold reader, you’ll be able to read your sides in such a way that when you must look down at the page, it will hardly be noticed—which is imperative for the working actor whose life consists of going from auditions to callbacks to meetings, wardrobe fittings, and, ultimately, working sets. This level of busyness is what you’re aiming for, as it’s the life of a working actor. Strong cold reading skills can literally save an actor’s career. Audition reads, whether live, on Zoom, or self-taped, should be fully memorized or delivered with well-crafted cold reading skills. Anything else will almost always come across as weak and uncommitted.
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