07.15.21
BACKSTAGE.COM
Marlee Matlin The Oscar-winning actor and activist is making the most impactful work of her career
Felicity Jones
remembers her wildest self-tape ever: “I just totally went that extra mile”
5+ Pages OF CASTING NOTICES
With “How It Ends,”
Zoe Lister-Jones
is the voice we need right now
Why every actor should be booking work in independent films
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Contents
vol. 62, no. 20 | 07.15.21
The Green Room
Cover Story
4 The Yale School of Drama
In Her Hands
is now tuition-free
5 This week’s roundup of who’s casting what starring whom
6 Jessica Barden on “Holler” and following her instincts
Advice 9 NOTE FROM THE CD Leave your mark on every set 10 #IGOTCAST
Marilyn Busch
Marlee Matlin is tired of being the only deaf Oscar winner, and with “CODA” and other projects, she’s now doing something about it page 12
10 CAREER DISPATCH Tapping into greatness
Features 3 BACKSTAGE 5 WITH...
Felicity Jones
8 MEET THE MAKER Zoe Lister-Jones, “How It Ends” co-writer, co-director, and star 9 THE ESSENTIALISTS Constantine Sekeris, concept artist 11 IN THE ROOM WITH
6 indie filmmakers
17 GO SMALLER, GET BIGGER There are many benefits to actors booking work in indie film 24 ASK AN EXPERT Cam Faull on next steps for indie filmmakers
Casting 18 New York Tristate 20 California 22 National/Regional Marlee Matlin photographed by Jeff Vespa on June 2 in Los Angeles. Styling by Jill Lincoln and Jordan Johnson. Makeup by Brett Freedman. Hair by Craig Gangi. On cover: Dress by Oscar de la Renta, heels by Le Clique by Kat Maconie, earrings and bracelet by Cathy Waterman. This page: Top and pants by Bella Freud, heels by Schutz, earrings by Cathy Waterman. Additionally in story: Top by Nili Lotan, jeans by L’Agence, heels by Stuart Weitzman, gold chain by John Hardy, ring by DRU. Cover designed by Ian Robinson.
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Backstage 5 With...
Felicity Jones By Allie Volpe
Felicity Jones has always been drawn to narrative—first as an actor and student (she studied English literature in college), and now as a first-time executive producer. In Netflix’s “The Last Letter From Your Lover,” Jones plays a heartbroken journalist who pieces together a romantic tale from the 1960s after discovering a series of love letters in her newspaper’s archives. As executive producer and star, Jones was able to inform every aspect of her character, from world-building to dialogue.
ILLUSTRATION: NATHAN ARIZONA/PHOTO: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM
What advice would you give your younger self? Don’t sweat it. But I still tell myself that now, and it doesn’t work. It’s an ongoing journey of not worrying about the little things, but it’s a hard one. It’s the thoughts that will get you if you’re not careful.
so sick of doing these audition tapes where you say the lines in front of the camera that I thought, What I’m going to do is shoot the scene as this is actually happening. There was one scene set in the bathroom, so I got in the shower and my friend helped me out and shot the close-ups, and I just totally went that extra mile. That, in the end, worked out.
What’s your worst audition horror story? When I first came out of university, I spent years auditioning in London for everything, and then again doing the same in L.A. I just remember going from one meeting to another to another, sleeping on people’s floors. It was all just making the best of what I had. Sometimes you obviously have to audition, but at the moment I’m not—which is such a relief, because I used to find it incredibly nerve-wracking. Also, what’s expected of you—it’s extraordinary. Sometimes you’re given 10 pages of dialogue to learn overnight, and I remember thinking, God, I would love to be able to get to a point [where] I’m not needing to hang myself out to dry. That audition process is so much a part of building that thick skin that you need to keep going. It sometimes feels like you’re just going through the motions, but there’s a rite of passage in flogging yourself in auditioning, and everyone has to go through that.
How did you first get your Equity and SAG-AFTRA cards? Initially, in the States, I did a film called “The Tempest,” directed by Julie Taymor, with Helen Mirren. I played Miranda in that, and I remember very specifically it was through that job that I was able to become a member of the union. In the U.K., it happened much earlier. I did a TV series called “Servants” when I was about 18, and that was when I joined Equity. What performance should every actor see and why? It may sound like an obvious answer, but the person I always come back to for such a collision of emotion and technique is Leonardo DiCaprio. I grew up on a very strong diet of Leonardo DiCaprio, from “Romeo + Juliet” to “Titanic.” The emotion he brings, but also the skill, is pretty much one of a kind. I use him as a bit of a benchmark. He brings such physicality.
What’s the wildest thing you ever did to get a role? Probably the greatest length I’ve gone to was for a part in “Like Crazy.” Drake Doremus, the director, wanted an audition tape. I got
“As a producer, very early on, you have a direct dialogue with the writer so that you can create the character together.”
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HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! FACEBOOK.COM/BACKSTAGE
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Education
Yale School of Drama Goes Tuition-Free
The change is thanks to a $150 million donation from David Geffen By Diep Tran
BACKSTAGE 07.15.21
school’s dean, James Bundy, at a press briefing. “We believe the power of the simple message ‘tuition-free’ is going to counteract that impression, and that more prospective students will be able to imagine themselves at the David Geffen School of Drama.” The School of Drama is a graduate program that offers degrees in acting, design, directing, dramaturgy and dramatic criticism, playwriting, stage management, technical design and production, and
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CURRENT AND FUTURE STUdents of the Yale School of Drama will no longer have to pay tuition. Producer and entertainment executive David Geffen has gifted the school $150 million, earmarked for the cost of education. The school will also be renamed the David Geffen School of Drama at Yale University. “There are potential applicants who think that they could never afford graduate theater training at an Ivy League school,” said the
theater management. It enrolls around 200 students, who also receive work experience at the connected Yale Repertory Theatre. Alumni include Meryl Streep, Frances McDormand, Angela Bassett, Paul Giamatti, and Lupita Nyong’o. Bundy also said that “about half” of the current student body at the school is BIPOC, and that the school will continue to focus on recruiting students from diverse backgrounds. Yale president Peter Salovey said that making the school tuition-free will help students get a leg up in an industry that can be low-paying and especially tough for artists starting their career saddled with student debt. “This allows students of the theater…to take risks and to pursue their dreams,” he said. Yale will also continue to offer financial aid for students to go toward living expenses. “Our living expenses will
be based on need-based aid, so students will still submit financial aid applications,” said the school’s associate dean, Chantal Rodriguez. “And if they have demonstrated financial need, then they will be eligible for support for living expenses. And we also have a pretty robust work-study program. And so, with tuition being covered by David Geffen’s gift, then that means all work-study earnings will go towards offsetting the cost-of-living expenses as well.” The David Geffen School of Drama will eliminate tuition for all degree and certificate students beginning this fall semester. Yale is not expected to increase the number of students it admits to the drama school. Geffen is not an alumnus of the school, though he did teach a course at Yale in the 1970s. “Yale is well-known for having one of the most respected drama programs in the country,” said Geffen in a statement. “So when they approached me with this opportunity, I knew Yale was the right place to begin to change the way we think about funding arts education. Yale already provides some of the best professional training available to actors, writers, directors, designers, and theater managers from diverse backgrounds. Removing the tuition barrier will allow an even greater diversity of talented people to develop and hone their skills in front of, on, and behind Yale’s stages. I hope this gift will inspire others to support similar efforts to increase accessibility and affordability for arts education at colleges and universities across the country.”
MARGAUX QUAYLE CANNON
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“April 29, 1992,” a thriller that will follow a father and son as they unwittingly become part of a botched heist while sequestering themselves on the first day of the 1992 Los Angeles Riots. The film will take place throughout the city—especially South Central L.A.—over the course of the six days when riots broke out in protest against the acquittal of the four LAPD officers who brutalized Rodney King. The drama, directed by Ariel Vromen and written by Sascha Penn, is adding actors out of New York City through Billy Hopkins Casting. Production will start in mid-August in L.A. and Bulgaria.
What’s Casting
A Fresh Take on ‘Fresh Prince’ The ’90s comedy will return as a drama on Peacock 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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MARGAUX QUAYLE CANNON
“Bel-Air” When fans think of “The Fresh Prince of Bel-Air,” they remember the half-hour sitcom that
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hunt for the new Banks family. Production is set to start in September in L.A.
incorporated heartfelt lessons and sometimes drifted into serious, topical issues. On “BelAir,” which has a two-season order from Peacock, viewers will return to the mansion in high-rent Los Angeles—with a twist. Based on a 2019 fan film by Morgan Cooper that caught original star Will Smith’s attention, the premise (and the swagger) remain, but the series will be reimagined as an hourlong drama. The show will emphasize the complex relationships between race, wealth, and privilege as it explores the issues that brought Will from the streets of West Philadelphia to the gated communities of Bel-Air. Smith is developing the series with Cooper; both are executive producing. No actors have been cast, but Vickie Thomas Casting is on the
“April 29, 1992” Tyrese Gibson, Scott Eastwood, and Ray Liotta are revisiting a landmark day in American history. The actors have boarded
BROADWAY
Sara Bareilles Is Opening Up—Again By Casey Mink
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“Wedding Crashers 2” Dust off your rulebook: The wedding crashers are returning uninvited for another nuptial season. It’s a reunion for Owen Wilson, Isla Fisher, Rachel McAdams, and Vince Vaughn as they prepare for filming on the sequel to the 2005 comedy. Original director David Dobkin is back for the movie, with a plot that’s currently under wraps. Though the main original players are back, additional roles will be cast by Beach/ Katzman Casting. Filming will take place this fall in Atlanta and Puerto Rico. For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
SARA BAREILLES WILL RETURN TO Broadway in “Waitress,” for which she wrote the score and earned a 2016 Tony nomination. Though the musical opened with Jessie Mueller in the role of the titular pie maker and subsequently saw a number of actors step into her apron, Bareilles played limited stints throughout the show’s Broadway and West End runs. As “Waitress” closed on Broadway prior to the pandemic in January 2020, this new production at the Barrymore Theatre, beginning Sept. 2, will technically be considered a revival. Bareilles will star through Oct. 17, at which point an unnamed replacement will step in.
07.15.21 BACKSTAGE
extremely influential on me wanting to do this for the rest of my life. When I was a teenager, I was extremely lucky. I worked with these really successful and also extremely kind people, and I learned so many things from them.”
Jessica Barden in “Holler” Backstage Live
something and I know when I’m not. When I know that I’m not right for something, I step away from it. When I know I’m right for something, I want to work really hard for it and do whatever I can.”
Following Her Instincts
“Holler” star Jessica Barden is building quite the career—and she’s just getting started By Liza Rash
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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crew to help pay for school. The lifelong performer, who came up as a child and teen actor, had plenty of advice to share about making it in Hollywood.
FILM
Michelle Williams Gets the Royal Treatment
Barden knows herself well. “I feel like I really know myself a lot as a person and as an actress, and I feel really grateful for that. So when I read something and I audition for it, I know if I’m right for
By Casey Mink
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Want to hear more from Barden? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
THIS JUST IN FROM CANNES: Michelle Williams is set to star in “Firebrand,” a film in which she will portray the last of Henry VIII’s six wives, Katherine Parr. Directed by Brazilian filmmaker Karim Aïnouz in his English-language debut and written by Henrietta and Jessica Ashworth (“Killing Eve”), the feature is slated to begin production in the U.K. in 2022. No additional casting has been announced, nor is it known whether any of King Henry’s other wives will appear.
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COURTESY IFC FILMS
JESSICA BARDEN IS A YOUNG performer who has talent and wisdom beyond her years. The actor, best known for Netflix’s “The End of the Fucking World,” recently joined Backstage via Instagram Live to chat about her two latest features, “Pink Skies Ahead” from MTV Films and filmmaker Nicole Riegel’s “Holler,” which depicts the life of a Midwestern girl named Ruth who joins a scrap metal
She has a lot of gratitude for the big names who helped shape her career as a teen. “I worked with Mark Rylance when I was 16. I did a threehour [play called “Jerusalem”] with him…for a year and a half. I also worked with Stephen Fry when I was 17. He was
She prefers to work with laid-back, instinctive scene partners. “I like people who don’t want to talk about it a lot before we do the scene. What makes a great scene partner [is] someone who has their own process and someone that is confident in that. I love acting with other people. I love not knowing what they’re going to do. I love not knowing what to expect. I don’t care if people forget their lines. I like things to be really in the moment. I don’t want to talk about it; so many people probably don’t want to work with me because of that. I don’t like rehearsing. I’m really happy to just turn up, see the lines, and see what’s going to happen. I love working with people who are the same, who get that it’s not a big deal. Doing acting, making a TV show, doing a scene—it is fun. It’s make-believe. If it doesn’t go right, you can just do it again. So I like people who are relaxed and just go with the flow of it.”
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Zoe Lister-Jones, “How It Ends” co-writer, co-director, and star By Casey Mink
Cailee Spaeny and Zoe Lister-Jones in “How It Ends”
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Lister-Jones stars in the feature, too, along with Cailee Spaeny; there are also cameo performances from Fred Armisen, Olivia Wilde, Nick Kroll, Ayo Edebiri, Helen Hunt, Bobby Lee, Paul W. Downs, and many others, most of whom are friends with the filmmaker. As such, the casting process looked more like placing a few phone calls and asking actors if they would be up for doing something experimental, “in which we are leaving the door open to bring whatever emotional baggage you have to the set,” Lister-Jones recalls. “There was some apprehension on some cast members’ parts, because for most of them, this
“I’m not going to be perfect, and there’s still stuff I have to learn, but I’m just gonna fucking do it.”
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was their first time in front of the camera since quarantine [began]—and it was a comedy. I think the bleakness of what we were all facing was a difficult thing to reconcile with—like, ‘Can I be funny today?’ Part of the intention of the story we chose to tell was: You can be wherever you are.” In addition to her multihyphenate role behind the camera—“How It Ends” is her third outing directing a feature—Lister-Jones has also worked steadily as an actor, having starred on “New Girl” and “Life in Pieces,” among many other series and films. And while she calls being at the creative helm both “rewarding and a real means of catharsis,” she also relishes wearing only the actor’s hat—in part, she notes succinctly, “because making movies is hard as hell.”
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COURTESY MGM
IN THE SPRING OF 2020, while most of us were doing nothing more than binge-watching television with periodic breaks for panicking, Zoe Lister-Jones was at work inventing a new genre: the feel-good apocalypse movie. Her indie feature “How It Ends,” which premiered at this year’s Sundance Film Festival and will hit theaters July 20, tells the tale of humankind’s last day on Earth before an asteroid strikes—and everyone knows it’s coming. “I think it was so nourishing and sort of life-affirming—at the risk of sounding hyperbolic—to show ourselves that we could laugh and be funny and have a sense of play amidst the real-life apocalypse that we were facing,” says Lister-Jones, who co-wrote and co-directed the film with her frequent collaborator Daryl Wein.
But acting, she adds, also feeds every aspect of her filmmaking, and vice versa. “Writing, directing, producing, and acting are all so mutually informative, because the more you know as an actor about what’s happening behind the camera, [it’s] really helpful to self-guide one’s performance,” she says. “Even with producing—because as an actor you tend to live in a bubble and complain about how long something is taking. Once you’re on the other side of it, you’re like, ‘Oh, shit, I understand why this is taking so long.’ ” That isn’t to say expertise in one area is instantly transferable to another. When she was making her directorial debut, 2017’s “Band Aid,” Lister-Jones admits to not having known quite a lot. But—she cannot stress it enough—that is completely fine. “I think, as a woman, especially, there is this idea that serves as a barrier that is like: I don’t want to do something unless I’m perfect at it,” she says. “This perpetual impostor syndrome that stops us from actually taking those next steps. I started to watch myself do that, and I was like, I gotta stop that. I’m not going to be perfect, and there’s still stuff I have to learn, but I’m just gonna fucking do it.” One practical solution to nip those doubts in the bud? In Lister-Jones’ case, she hired an all-female crew. “It’s not that there can’t be shitty women, too, but I think, because the decks are so systematically stacked against women behind the camera and on crews, I just wanted to see what that would feel like for all of us,” she says. “It was about fostering an environment where women could feel encouraged in a way that, even if [it was] unintentional, I just wanted to take that condescension off the table.”
ILLUSTRATION: MARGAUX QUAYLE CANNON; “WEREWOLVES WITHIN”: SABRINA LANTOS
Meet the Maker
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THE ESSENTIALISTS
CONSTANTINE SEKERIS concept artist
A film called “Werewolves Within” obviously needed a werewolf. So the IFC feature, which is now available on demand, enlisted concept designer CONSTANTINE SEKERIS, who, by his own account, is known in the industry as the “werewolf creature guy.” To understand creature design, understand biology. “It’s about studying life, biology. I get asked, ‘What’s your inspiration in designing a creature? Do you look at other artists?’ Yes, you do look at other artists and you see their work, but I try
By Casey Mink
not to get influenced by their work. I try to get influenced by life…. It’s great to be able to sketch and paint and draw at the beginning, but then, eventually, what you need to be able to do is take your idea, your design, and implement it into 3D.” The final design comes down to the actor. “I start with sketches, and [the production] leaves me alone for a week or so. And as soon as I have something, I’ll pass it to them, and then it’s a back-andforth dialogue…. After exploring a few options, we start to funnel down
to a design and aesthetic that everyone likes. It’s important to then put it on the actor, because, especially with a werewolf design, it’s important to see the bone structure and how that will move and to adjust the makeup to the bone structure of the actor.”
Note From the CD
Leave Your Mark on Every Set
COURTESY MGM
ILLUSTRATION: MARGAUX QUAYLE CANNON; “WEREWOLVES WITHIN”: SABRINA LANTOS
By Marci Liroff
IN THE LAST YEAR OR SO, I’ve fallen in love with podcasts. From mysteries to those that feature world leaders, policymakers, and actors, there’s certainly a lot to choose—and learn—from. Actor-director Dax Shepard has a thoroughly enjoyable podcast called “Armchair Expert,” in which he’s interviewed everyone from Prince Harry to your favorite performers. In a recent episode, he interviewed actor Julianna Margulies, who was talking about her new book, “Sunshine Girl.” The two got into a conversation about set etiquette, and Margulies declared that she always hangs up her costume at the end of the day so that wardrobe doesn’t have to pick up after her. Shepard emphatically
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agreed and added that not only does he do this, but he also grills the costumer to ask which cast members leave their costumes on the floor! I reached out to some of my actor friends to gather some more nuggets about set etiquette that are guaranteed to make you a superstar on set— whether you’re in an indie short or on a long-running TV series. “Always know your lines. Always be on time. Know how to hit a mark and give 100%, even if the camera isn’t on you.” —Rob Lowe, “9-1-1: Lone Star” “I always remember to say thank you to the drivers. They are always there waiting to take us wherever we need to go, and I think we can be so involved in our lines, world, [and] meeting people who are in
the van with you [that] we can forget to say thank you to the ones who are the first ones to set and the last ones to leave for the day.” —Camille Guaty, “The Good Doctor” “Treat everyone on the set with respect. You are neither above nor below them. You’re all equal. Remember, everyone behind the camera is trying to make you, the actor, look good. So, recognize this. You are just one cog in a wheel among the other 150 people on set. Always say thank you, always be prepared, and always be grateful you have a job. Always arrive early on set. That way, you’ll never be late. Leave your personal problems at home. They don’t put up with bad behavior. You’ll be replaced. Oh, and be nice to everyone you grow up with!” —Jon Lovitz, “Saturday Night Live” “As an actor, I always remind myself that I’m also a member of the crew.” —Cary Elwes, “Mission: Impossible 7”
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“Every set has its own culture and vibe. Some are run like a military offensive, and some are run like a hippie-dippie summer camp. Assuming you’re not up first, arrive 30 minutes before your call time, get into wardrobe and hair and makeup ASAP, and then ask the PA or second AD if you can go to the set to just watch. It will be very useful to get a sense of how the director and actors speak to each other, and how the actors speak to one another, before you actually start work.” —Amir Talai, “American Dad!” “Make friends with your ADs. I always get ready, study lines, and meditate up to the moment I’m called on set. I’m cordial but focused on set. I’m not there to party.” —Betty Buckley, “Split”
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Spotlighting the people and projects you need to know
Tapping Into Greatness By Lyndsy Fonseca
The following Career Dispatch essay was written by Lyndsy Fonseca, who stars on the Disney+ series “Turner & Hooch,” premiering July 16.
BACKSTAGE 07.15.21
Making that connection between dance and acting was a pivotal moment for me.
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Marilyn Busch By Jalen Michael
MARILYN BUSCH doesn’t like limiting her options, which is why Backstage has remained her best tool for finding projects in any medium. Play the long game. “The audition you are submitting for today is most likely not the project you will be cast in. Down the line, these directors and casting directors will remember you and tap you for their next project if you make an impression today.” Keep working through the setbacks. “Due to the pandemic, I was in lockdown in Rhode Island, and I auditioned for projects across the country via self-tape submissions and Zoom.” Strike gold with Backstage. “[Backstage is] a lot like people sifting for gold. Once you’ve found it once…you can’t stop searching for another ‘perfect’ project. I have three different active searches: one for TV and film projects, one for voiceover jobs, and one that is just for theater. [It’s] easy peasy, and so useful for narrowing down projects that I might be interested in submitting to.”
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; BUSCH: NILE SCOTT STUDIOS
WHEN I WAS GROWING UP, I tripped a lot. I managed to fall up most flights of stairs, as well as down. My dresses always hid bandaged knees and perpetually bruised shins. Ask me to carry a glass of juice, and it was certain to end up staining the carpet. Clumsy, awkward, klutzy, heavy-footed, bumbling, and clodhopper were all pretty accurate descriptions of my physical dexterity (or lack thereof). So it was always a surprise
when people discovered that I danced—and that I was actually pretty good at it. I was 2 years old when I put on my first tap shoes. I was still in diapers during my first ballet recital. I went on to dance 10 hours a week for my whole childhood at the West Coast Dance Theatre in Alameda, California. For a kid with two left feet, when I put on dance shoes, I was suddenly, dare I say, graceful. Dance gave me a rhythm and balance that I didn’t have the rest of my day. Eventually, I stopped dancing
#IGOTCAST.
RAQUEL APARICIO
Career Dispatch
when I began working as an actor. I always considered my dance work and my work in film and television to be separate practices—that is, until I landed a role on the action series “Nikita” on the CW. Playing an undercover assassin who used her body as a weapon, I was regularly called upon to do elaborately choreographed stunt work. I realized that my ability to learn and repeat all these complicated fight sequences (with zero martial arts training) was directly related to my experience as a dancer. Making that connection between dance and acting was a pivotal moment for me, and it soon went beyond just stunt work. I began to think about the style of movement and internal rhythms for all my characters, not just those who were doing roundhouse kicks. When I was shooting the upcoming family comedy “Turner & Hooch” for Disney+, I discovered how dance could help bring the physical comedy alive in my body. Playing a single mom who is overworked, overstressed, and way overdue to cut loose, I created a frenetic energy for the character that was similar to what I felt as a tap dancer. More recently, shooting the film “Spinning Gold,” which is all about the music industry of the ’70s, I wanted to feel more smooth and lyrical in my movements. I thought about ways to bring ballet into my character, from the tilt of her chin and a more elegant posture to a fluid walk and tempo. I will always be a clumsy person; that’s who I am. But thanks to all those endless hours of shuffle-ball-changing as a child, I don’t have to be a clumsy actress. I am able to use the elements of dance to help bring my characters to life—and hopefully not bump into the furniture. While I may no longer call myself a dancer, I know that dance is always there, ready for me to tap into (pun intended).
culture +
Spotlighting the people and projects you need to know In the Room With
6 Indie Filmmakers
How 2021 Tribeca Film Festival selectees used Backstage to populate their projects By Elyse Roth
“We explored casting through a casting director, but in the end, we mainly populated the film with friends and family. I come from an acting background, and we’re lucky to know some pretty amazing artists. Anyone we hadn’t known before we found through a combination of Backstage and social media posts.” —Justin Fair, “Sloan Hearts Neckface”
ILLUSTRATION: SPENCER ALEXANDER; BUSCH: NILE SCOTT STUDIOS
RAQUEL APARICIO
THERE’S NO ONE WAY TO KICK OFF YOUR CAREER, BUT GETting your film selected for a film festival or appearing in a festival-selected film is a great way for creators and performers alike to take early steps in entertainment. As it turns out, Backstage has been helping make this happen for years. When filmmakers and actors connect on our platform, onscreen magic is made, and that translates to attention from festival programmers like those at the Tribeca Film Festival. We spoke with filmmakers behind the 2021 TFF selections about how they use Backstage and what kind of talent they look for when they’re casting. Backstage provides opportunities for roles of all sizes and for actors of all experience levels. “I worked with amazing casting directors. Given my limited budget, the casting directors focused on the principal actors. For our supporting roles, I relied on Backstage, which has been a service I’ve used for all my short films. I love the search feature of Backstage because it allows me to reach out directly to actors I think would be a great fit for my
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project, in addition to the wonderful applications I receive through my casting post. Backstage’s platform gives me the power to create relationships with actors and share why they might be a strong fit. I also like that Backstage has a feature for actors to include reels and links to past work. I use those a lot before reaching out to an actor for an audition.” —Ria Tobaccowala, “Shadows” “We used Backstage to cast some great kids that we filmed
eating tasty fries around New York City. Using the site’s messaging function, we were easily able to communicate with parents, which made the process seamless for everyone.” —Nuria Botella, “Fries! The Movie” Even professional casting directors use Backstage to discover talent. “We used Backstage as well as our casting director, Juliet Brett. Juliet, being an extremely talented actor herself, has a great ability to see an actor’s potential—not just in the performances, but in an actor’s ability to embody a character and really walk in their shoes. And Backstage was extremely helpful for her to get the variety of talent required for such a project. As a tool, it really helps streamline the casting process.” —Austin Hall and Zach Visvikis, “Molly Robber”
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Backstage can help you take those first few steps toward adding work to your résumé. “Backstage played a central role for us in our ability to flesh out the world of the film outside of the Tohono O’odham Nation. Knowing that we’d need the interest and support from local actors in and around Tucson, Arizona, Backstage allowed our team to cast remotely with half of our production team based in San Diego, California, during pre-production, allowing us to bring in local talent without the need for a large local production office. [We] found terrific people for the roles.” —Jefferson Stein, “Burros”
“Because we were new to Los Angeles, Backstage was a wonderful resource in casting the net widely and getting a lot of bites—uploading sides and using the video uploader tool on the platform. Backstage was a really useful forum to tease through all of the actors interested in the project!” —Emily Kron, “Deceased Ones”
Want more?
Read the full interview at backstage.com/magazine
07.15.21 BACKSTAGE
Hands Marlee Matlin is tired of being the only deaf Oscar winner, and with “CODA” and other projects, she’s now doing something about it By Jack Smart Photographed by Jeff Vespa
“WE NEED OTHER OSCAR WINNERS WHO are deaf,” says Marlee Matlin, the only deaf actor to win the coveted award. “We need to see more deaf actors hired, more disabled actors hired—and not only actors. I’m talking about producers, directors, writers—giving the entire Hollywood workforce an opportunity for deaf people and disabled people to participate.” What about Matlin’s other Academy Award record: her status as the youngest best actress winner in the ceremony’s history? “That one I’d like to keep,” she says with a shameless grin. “Anyone over 21, fine! Go ahead—win the Oscar. I don’t care.” That grin of Matlin’s appears often over the course of our hourlong video interview. Alongside Jack Jason, her producing partner and sign language interpreter for almost 40 years, the star of the upcoming indie film “CODA” is effervescent and wry, quick to follow an irreverent joke with a proud “Yeah, I said it. So what?” expression. And it’s clear Matlin is the kind of person who knows who she is, what she wants, and
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most of all, what she’s owed when it comes to accessibility for the Deaf and disabled communities—her call to arms since growing up legally deaf in suburban Illinois. “You have to keep reminding people that we’re still here and that we still deserve access just like everybody else,” she says. “I’m looking at theater [stage productions]: They’re still not open-captioned. We’re talking about televisions; we’re talking about press conferences. When the president is speaking on TV about a national emergency, you need to have an interpreter right there on the screen, because the captions don’t cover it all.” The most recent in an endless list of examples? At a screening of “Cruella” with her family, Matlin’s caption glasses worked just fine until the film’s first song. “They don’t provide captions for the music lyrics!” She shakes her fists, at a loss for words. “Oh, I was just burning up.” Deaf audience members should always be able to choose between a variety of accessibility options, she says. “They can’t decide for us.”
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The actor and activist is all too familiar with the two-steps-forward, one-step-back dance of championing inclusivity. An outspoken member of the National Association of the Deaf, she fought for the passage of the 1990 Television Decoder Circuitry Act, which requires TVs to include closed-captioning technology. In 2010, she found herself again appealing to Congress to demand the same of streaming sites—on the 20th anniversary of the Americans With Disabilities Act, no less. But Matlin’s impatience and frustrations are forever tempered with optimism. “I think we’ve come a long way,” she says. “People are learning as we go along.” Just look at the sea change that’s transforming the entertainment industry. “A Quiet Place” and its new sequel prominently feature American Sign Language, while Lauren Ridloff is poised to star as the Marvel Cinematic Universe’s first authentically deaf superhero in “The Eternals.” Deaf West Theatre has taken over Broadway, including with its 2015 production of “Spring Awakening,” in which Matlin starred. And this year’s Academy Awards recognized “Crip Camp,” a documentary on the disability rights movement; best picture nominee “Sound of Metal,” which features deaf characters; and “Feeling Through,” Doug Roland’s live-action short film that included Matlin and Jason as executive producers. Featuring a deaf-blind character played by deaf-blind star Robert Tarango, “Feeling Through” is a prime example of a project that “walked the walk and talked the talk,” as Matlin puts it. She signed on as a producer
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upon her first viewing—“18 minutes of probably the most incredible feeling I’ve ever had, that really struck me at my core,” she says. The film has appeared in accessible screenings and talkbacks across the country, winning more than a dozen festival awards in addition to the Oscar nod. If all of Hollywood took authenticity as seriously as Roland did, Matlin says, there wouldn’t only be “little inclusivity cliques.” So is there hope for the industry to make good on its promises of authentic minority casting, representation, and opportunities? Are artists with disabilities finally getting their due? “There are a lot of people in the
I don’t want this all just to be the flavor of the year: deafness and disabilities just this year, and then, next year, we’ll move on to something else. It’s not a box to be checked off.
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business—people who are deaf—who are busier than ever,” says Matlin. “It’s all opening up! And people are very, very excited! And that’s great, and I don’t want to diminish the excitement. But I don’t want this all just to be the flavor of the year—deafness and disabilities just this year, and then, next year, we’ll move on to something else. It’s not a box to be checked off.” The 2021 Oscars also marked a watershed moment for Matlin, who returned as a presenter 34 years after the last time disability in entertainment received mainstream attention: her winning feature debut, Mark Medoff and Hesper Anderson’s “Children of a Lesser God,” from director Randa Haines. The producers of the 1986 film had seen Matlin as a supporting character in a local Chicago production of Medoff’s play, and selected her after a yearslong, nationwide search for an authentically deaf actor. “That was my first Hollywood experience,” she says, reflecting on her whirlwind introduction to the industry. “The whole world was watching…. There I was, thrust onto the world stage.” What many people don’t know is that within 48 hours of winning the Golden Globe for her performance, Matlin checked herself into rehab for drug and alcohol abuse. She learned of her Oscar nomination, and began working with Jason on coordinating press interviews, from behind closed doors at the Betty Ford Center near Los Angeles. “The bottom line is: I listened to myself. I listened to what I needed to do in order to be healthy and proceed with a clear mind,” Matlin explains. “So now, it’s been 34 years that I’ve been sober,” she adds proudly. As if that full-circle moment at this year’s Oscars wasn’t enough, bookending it is Matlin’s buzzy new film. “CODA,” which won the 2021 Sundance Grand Jury Prize, sold to Apple TV+ for a record-breaking sum and is premiering Aug. 13. It’s the story of Emilia Jones’ Ruby, a hearing child of deaf parents (known as a Child of Deaf Adults, or CODA) who is torn between familial loyalty and pursuing her dreams of becoming a singer. Playing her family are Matlin and her Deaf West co-stars Troy Kotsur and Daniel Durant in roles that, according to writer-director Sian Heder, the project’s initial investors tried giving to hearing actors. “I felt like I would rather see the movie not get made than see it get made with hearing actors playing deaf roles,” says Heder, noting Hollywood’s offensive tendency to reward nondisabled performers in disabled parts. “There are amazing stories in those worlds, and there are amazing actors. I mean, I was stunned by the talent in the Deaf community…. It was an asset to the project to have the kind of creative freedom that came along with having authentically cast actors.” “I said to [the producers], ‘If you don’t listen to me, and you don’t respect me and my community, then I won’t be in the film,’ ” reveals Matlin. “People think that, like with makeup backstage.com
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or a costume, you can just put on being deaf or being disabled. It doesn’t make sense, because there are so many deaf actors out there who can represent our community.” “CODA” also marks a long-overdue milestone for Matlin; from “The West Wing” to “Dancing With the Stars” and her Emmynominated performances on “Picket Fences,” “Seinfeld,” “Law & Order: Special Victims Unit,” and “The Practice,” her onscreen appearances have almost never included BACKSTAGE 07.15.21
deaf scene partners. “I think it was a very different experience for her to be acting alongside two other deaf actors and be able to improvise and have unscripted moments,” says Heder, who hired ASL masters to establish a cohesive signing dialect and learned the language herself to facilitate on-set communication. As it turns out, ASL is an ideal language for a film set, where directors can give actors notes from far away or while cameras are
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rolling. “Suddenly, the whole crew was signing even when there weren’t deaf actors on set,” says Heder with a laugh. “Like, you’re working boat to boat and you need to communicate with someone, and you don’t have a walkie! I think people are daunted by how [procedures] would have to change in order to create an accessible set. But I will also just say: Moviemaking is problem-solving.” Matlin would do it all again in a heartbeat. She remains, as ever, cautiously optimistic about the progress the film’s success may indicate: “I hope that with ‘CODA,’ we can start a trend again where deaf actors, as we did with ‘Children of a Lesser God,’ carry the film,” she says. “I want to see more of us carrying films, rather than playing third and fourth and fifth on the IMDb list.” How, then, do we capitalize on the industry’s momentum and create inclusive spaces in front of and behind the camera? “In order to make sure that it doesn’t stop,” answers Matlin, “we need to continue creating; we need to continue collaborating. We need to continue! I mean, you can’t just sit back quietly and complain. You have to be proactive. And I’ve always been that way. That’s part of the business.” That advice goes for getting cast as much as fighting for inclusivity. Aspiring actors looking to endure only a handful of auditions, as Matlin has, should follow her lead. “I’m the kind of person who thinks, Who is it that I can reach out to? It’s not necessarily easy to do. But it shouldn’t stop you from giving it a try.” When a character on Aaron Sorkin’s series “Sports Night” mentioned having a deaf sister, Matlin reached out to say she was a fan and, yes, asked for the part. Not long after she took Sorkin to lunch—“Chinese food,” she remembers—he created Joey Lucas on “The West Wing” for her. “So I’m always happy to approach people, to be assertive,” she says with a shrug. “I’ve never been one who’s been afraid. I hustle.” A quote from Matlin’s memoir, “I’ll Scream Later,” gets to the root of that philosophy. Reflecting on a childhood spent in frustration over her inability to communicate, she writes, “Whoever or whatever was trying to hold me back—I would fight against it as if my very life depended on it. And I now believe that it did. That fight, that intensity, that relentless need to break through and connect, has, in many ways, propelled me through this life.” For deaf or disabled artists, or anyone from underrepresented communities struggling to gain access to the business of authentic storytelling, the roadblocks—and the odds of getting past them—are abundantly clear. But what can Matlin do but meet every challenge head-on? “You can de-challenge it,” she advises. “I don’t know if that’s even a word! It means that you can either barrel through it, break the barrier, or just simply walk around it.” Matlin’s ultimate point is quite simple: Dare to claim what you deserve. “It’s up to you,” she says. “It’s up to you.” backstage.com
Go Smaller, Get Bigger There are many benefits to actors booking work in indie film
By Charis Joy Jackson A LOT OF ACTORS AND FILMMAKERS SHUN INDEPENDENT film, especially when it’s a passion project and you’re getting paid in exposure. However, there’s still a place in your career for independent film, and there are reasons you should consider getting involved—even if it is a passion project. Here are three ways you can benefit from acting in an indie film.
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SUNDANCE INSTITUTE
Independent film gives actors more opportunities to have creative input. When I first dreamed of acting and working in film, I had no idea what kind of influence I’d be able to have. But it’s opened doors I never even imagined. For example, I never thought I’d be a producer or write the novelization of a feature film, but working with the Initiative Production Company, I’ve done both and more. Most independent films are
all about collaboration, which means the director is often more interested in seeing what the actor brings to a character and may even give them opportunities to have more creative control. For example, filmmaker Zal Batmanglij (whose indies include “Sound of My Voice” and “The East”) brought that collaborative mentality to Netflix’s “The OA.” He wanted to give one young actor, Ian Alexander, the chance to create a wardrobe piece for
their character. They used this opportunity to create a shirt with an Easter egg so incredibly hard to see that even the director didn’t notice right away. Other actors even use the independent space to write their own films. “Ruby Sparks” is a great example of this. Zoe Kazan starred in the film, and she also wrote the screenplay. She then went on to co-write “Wildlife” with fellow actor Paul Dano.
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Independent film can forge deep friendships. I’ve worked in indie film for over 10 years and continue to collaborate with the same core creatives. These people have become more than just a professional community for me; they’re now lifelong friends.
Carey Mulligan, Ed Oxenbould, and Jake Gyllenhaal in “Wildlife”
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We’ve been in each others’ wedding parties, celebrated achievements, and mourned together. We go through our lives together, which honestly makes it so much more fun to create new films and stories with them.
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Independent film gives you the chance to have bigger roles. One of my favorite aspects of working in indies is when I get to give an up-and-coming actor a larger role to play. I remember one actor whom I had the privilege of teaching who came to work on one of my first feature films. She was part of the main cast; it was a role an aspiring actor could only dream of; but, thanks to indie film, she got the opportunity of a lifetime. While major Hollywood studios are trying to get the most popular actors in their next films, independent flicks are looking for fresh new faces to celebrate. We want the raw talent because we want to help push them to that next level, get them out there, and give them a chance to show the world how great they are. That also means there are going to be more original characters for you to sink your teeth into, giving you an incredible opportunity to tell unique stories. Even popular actors like Daniel Radcliffe from “Harry Potter” left the world of popular movies to do a stint in independent film, making “Swiss Army Man,” “What If,” and “Horns” to give Hollywood an idea of his versatility. This helped the world see him as more than just “the boy who lived.” The next time you see auditions for an indie film, give it a go. You never know how much it could bring to your life. Consider the community of dreamers and creatives that will light up your passion with theirs, giving you more inspiration to keep creating awesome characters.
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Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Plays ‘Complete Works of Shakespeare (Abridged)’
• Casting three Equity actors with acting
chops and a great sense of spontaneous comedy for this physical, outdoor production of “Complete Works of Shakespeare (Abridged).” • Company: Shadowland Artists Inc.
Staff: Brendan Burke, dir.
• Rehearsals begin on or around July 20;
runs Aug. 12-Sept. 5 outdoors in Ellenville, NY.
• Seeking—Jess: 18-39, all ethnicities,
the ‘smart one’, especially in their own mind. This is important work for them. Daniel: 18-39, all ethnicities, perhaps a little more of a jock; doing their best and keeping on task, but willing to enjoy the experience since it’s happening anyway. Adam: 18-39, all ethnicities, the wild card. Easily excitable, with an honestsense of wonder about things, and thrilled tobe on the ride. And, at times, oddly principled. • Seeking submissions from NY. • For consideration, submit a video of a 2
minute monologue; and a brief (less than 1 minute) joke of your choice. Submit video as attachment or link to casting@shadowlandstages.org, along with headshot and resume. Submissions deadline is July 21. • 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 $354/wk. Equity SPT 3 Contract.
Musicals ‘Rathskeller: A Musical Elixir’ • Casting “Rathskeller: A Musical Elixir.”
Synopsis: “Welcome to Rathskeller, the
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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. last dive bar you’ll ever visit. Some drinks make you forget, ours make you remember. We’ve got a barstool saved just for you. Tonight, like every other night, we have an honored guest and a story to tell. Join us for a dark, folk-rock fable about love, hurt, and the painkillers we choose. Our handy bar staff will make sure you’re comfortable and that your glass stays full until it’s time to pay your tab. What happens after that is up to you. Are you the forgiving type, or do you prefer to be judge, jury, and executioner? We offer you the chance to find out. So join us, and roll the dice. What’s the worst that could happen? Cheers.”
Casting picks of the week BY LISA HAMIL
stage
‘Ghost Story’ See spirits in Durango, CO in this mysterious tale
• Company: Dame Productions. Staff:
musical
• Rehearsals Sept. 12-23; runs Sept.
stage
Julian R. Decker (Dame Productions), prod.; Brianna Barnes, composer-lyrics; Collin Kessler, book; Rachel Rudd, dir.; Grace Rudd, choreo.; Cameron Hill, casting.
‘Rathskeller: A Musical Elixir’ Revisit your youth in this dive bar musical in NY
24-26 in NYC. Dates are not negotiable. Must be available for all rehearsals and performances.
‘Complete Work Of Shakespeare (Abridged)’ Brush up your Shakespeare in Ellenville, NY
• Seeking—Man: male, 40-59, all ethnic-
ities, identifies as male; distinguished guest at Rathskeller. An observer until he’s not, he needs to be able to say a lot without speaking much, and when the time comes, put it all on the line. He’s flawed, he’s got a past, he needs a drink in his hand at all times. He could be any of us; principal. Pride: male, 40-55, all ethnicities, identifies as male; proud to a fault. A full-blown alcoholic, he’s not a monster, he just can’t accept help. He’s hardened his soul so many times that he’s not sure he could find softness if his life depended on it. He sold his soul for what he thought would make him happy but lost his authentic self along the way. Classic rock baritone with a voice that sounds like he’s been drinking for decades. We should hear more real life in his voice than excellent vocal quality. Definitely leans into the growl/raspiness and yell/speak singing. Lust: female, 18-33, all ethnicities, identifies as female; Greed’s girlfriend. Lust is not a bimbo. But she is hot and that has both defined her and held her back. She knows who she is but still allows Greed to undervalue her. She loves him but can’t change him, or can she? Warm folk rock mix with an authentic approach to the text that doesn’t oversing it. A la Joni Mitchell/ Regina Spektor. Open to different vocal tones and qualities; principal. Envy: female, 25-35, all ethnicities, identifies as female. Greed’s assistant. Envy doesn’t want to be Greed’s girl-
tv
‘Empires’ Take a shot in this NJ filmed network miniseries about the invention of Jack Daniel’s whiskey
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‘Ben Butler’ Explore your morals in Solana, CA for this Civil War story
friend, she wants to be Greed. She’s just as smart and driven as he is but more principled and ultimately finds her strength. She is not willing to sell her soul to find success. Strong pop rock voice with high mix/belt a la Katy Perry/Olivia Rodrigo. Open to different vocal tones and qualities; principal. Gluttony: female, 18-25, all ethnicities, identifies as female. This expression of Gluttony has nothing to do with size or relationship to food. She lives her life in excess. Fashion, make-up, money, sex, alcohol, drugs, general zest for life she’s overflowing with all of it. She’s your friend that you truly love, but can only deal with every so often. She sees
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something in Wrath that intrigues her a kindred spirit perhaps, but also an opportunity to profit. Will her indulgent ways catch up with her? Comedic skills are a plus. Dynamic dark & smokey rock voice with the ability to move between breathy pop moments to high rock belt with equal power. Lots of flair; principal. Sloth: female, 18-25, all ethnicities, identifies as female. Not lazy. A dear friend of Wrath’s from childhood, she’s been there for his lowest moments and perhaps thought they would end up together. But she doesn’t understand his fire to be something bigger than he is. She’s made a conscious decision to be happy with who and where she is in life. An easy going, quirky personality who faces her own trials and tribulation with as much grace & dignity as the world she lives in allows. Strong pop rock voice a la Sara Bareilles. Open to different vocal tones and qualities; principal. Ensemble: all genders, 18-55, all ethnicities, the Rathskeller bar staff. At the beck and call of The Bartender, they help keep everyone’s glass full and this story running as it should. They have a fun job, they know it, and, like many bar staff, this particular night is not that important to them on its own. They do this every day, and with that comes a gallows humor that can border on maniacal. Ability to interpret choreography and make it their own. Strong pop rock/contemporary vocalists that can move and energize a crowd. Principal Coverage will come from the ensemble. Review breakdown above. Bartender Understudy: all genders, 18-45, all ethnicities, they run this place. Like a lot of bartenders, they want you to have a good time, but they’re not too sympathetic if you make an ass of yourself. They are here to keep you happy til it’s time to pay your tab - then you better make her happy. They keep the night running smoothly, with the quick wit and sharp eye of someone who’s seen far too many cautionary tales come through here. Thrilling and dynamic rock voice with high rock belt (Not musical theater). Smokey quality and ability to incorporate rasp/growling a plus. Note: This role is cast. Seeking an understudy only. Wrath Understudy: 18-25, all ethnicities, identifies as male. He’s been through more than someone his age should. Abused and orphaned, he has a righteous fury that he hasn’t found a way to tame - yet. Hopes for more for himself, even if it’s just to spite the ones who said he would never amount to backstage.com
New York Tristate casting
Student Films
anything. Punk rock power tenor a la Green Day/My Chemical Romance/ Panic! At the Disco. Plays guitar.; principal. Note: This role is cast seeking understudy only. Greed Understudy: 18-39, all ethnicities, early 30s; identifies as male. There are no qualifications for this one - he’s Greed, exactly how you think of it. But he doesn’t know it quite yet. Why wouldn’t he want more? Who doesn’t? There are the people who want more, and there are people who get more, no matter what it takes. He also wants more for the people in his life, so he can be who he wants to be in their eyes - rich, a hero, a boss, the man. Will money ever be enough to finally fulfill him?Classic rock bari-tenor with a voice that gets the party going. Raspiness, growling, and scooping/sliding welcome. Note: This role is cast. Seeking understudy only.
‘Gift Of The Magi’
• Casting “Gift Of The Magi,” an NYU
Grad Film 2nd year narrative short film. Synopsis: The film follows a young AfroLatino, Yoenis, and his mother, Cari, on the celebration of Three Kings Day. There is a shortage of food that prevents Cari from cooking their ceremonious dinner and when she leaves to get groceries, Yoenis answers a forbidden phone call. He discovers a strange man who claims to be one of the Three Kings and his unexpected relationship with him. Cari finds out and punishes him, but on the morning of Three Kings Day, they come together for a holiday meant to enjoy family, only it has been completely redefined for Yoenis.
‘The Fantasticks’
• Casting “The Fantasticks,” a musical.
Synopsis: “The Fantasticks” is a funny and romantic musical about a boy, a girl, and their two fathers who try to keep them apart. The narrator, El Gallo, asks the audience to use their imagination and follow him into a world of moonlight and magic. The boy and the girl fall in love, grow apart and finally find their way back to each other after realizing the truth in El Gallo’s words that, “without a hurt, the heart is hollow.” • Company: TheatreWorks New Milford.
Staff: Brad Blake, dir.; Charles Smith, musical dir. • Rehearsals and production will take
place at TheatreWorks New Milford beginning in July; performs on weekends from Sept. 16-Oct. 9. Note: Performers must live in the general area of New Milford, CT as no housing or pay is provided. • Seeking—The Narrator (El Gallo): male,
30-50. The Girl (Luisa): female, 15-25. The Boy (Matt): male, 18-25. The Girl’s Father (Bellomy): male, 40-60. The Man Who Dies (Mortimer): male, 30-50. The Mute: 20-50.
• Seeking submissions from CT. • Apply on Backstage.com. • Video submissions only. Use the follow-
ing link to submit: https://theatreworks. us/actors/index.php. • No housing provided. A small honorar-
ium is provided at the end of the production.
• Seeking submissions from NY and NJ. • Send submissions to crh401@nyu.edu. • Submit a reel, self-tape, or any clips
you have when applying. Auditions from July 8-31.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
backstage.com
• Travel, food, and other accommoda-
tions will be compensated.
19
Cinema. Staff: Julia Zanin De Paul, dir.; Jores Philippe, prod. • Shoots in the fall. Principal photogra-
phy begins Nov. 22.
• Seeking—Mary: female, 7-12, all eth-
nicities, witty and wise. A super child. Vane Nicholas: male, 40-70, all ethnicities, abandoned pirate, Vane was marooned after treason. • Seeking submissions from NY. • Send submissions to Jores.philippe@
feirstein.film.
• Pays $100/day. Transportation and meals
are covered by the production team.
short film with a strong script, written, directed, and produced by Columbia University Film School students going into their third year. It will shoot over two days in New York City. Logline: Now that she’s moving forward in a new relationship, Jacqueline confronts her adult son Calvin to move out of the family home, finally threatening to break their torturous enmeshment.
African Descent, Latino / Hispanic, seven-year-old Afro Cubano New Yorker and son of Cari; he is a first-generation Cuban American, a momma’s boy, and filled with curiosity; he has inherited a lot of the NYC Latin American culture and tends to keep his inappropriate interests away from Cari, including a few dance moves and a phone call with a stranger. Cari: female, 25-45, Black / African Descent, Latino / Hispanic, is a 30-year-old Afro Cubana New Yorker and mother of Yoenis; she has emigrated to Fordham Heights from Cuba while pregnant with her son and has been able to support him, support herself, and proudly strive for the American Dream by herself. Luis/ Phone Voice: male, 27-50, Black / African Descent, Latino / Hispanic, late 30’s Afro Cubano who is entrenched in the listless bachelor life in Havana, Cuba; he contributes his invisible hand to his wife and only son ‘Yoenis’ through his Cuban connections in NYC; he can’t manage to escape the island and join his family as he promised but when the holidays/birthdays come around he makes it his business to let his wife know that he still contributes to the family by arranging money and gifts to be sent to them; one afternoon he calls his wife Cari from a busy call/wifi center in Havana and unexpectedly gets in contact with Yoenis; he knows it may be his only chance to speak with him; so he makes the most of it. Neighbor: male, 30-65, White / European Descent, neighbor, a fellow Brooklynite, by way of Boston, MA; he and has family have recently moved to the up and coming neighborhood of Bushwick for a new job in the city; he has just finished celebrating his family’s first Christmas in New York when he is caught by Yoenis (Afro-Latino, Brooklyn Native) throwing out gifts he bought in the trash.
formance footage/photos and food on longer rehearsal days.
• Company: Feirstein Graduate School of
• Rehearses Aug. 9-16 and Aug. 26-29;
• Seeking—Yoenis: male, 6-13, Black /
• Nonunion. Pays $375 stipend plus per-
project. Logline: A long-retired pirate has his life gut open when his boat gets pillaged by a little girl.
‘Room on Fire’
shoots Aug. 30-Sept. 7 in Brooklyn, NYC.
shot and resume along with a video. Include a slate and 32 bars of pop/rock song (No musical theater) as well as a video of the dance combination which can be found at https://www.dropbox. com/sh/dw4xom4j8vimn9g/ AABkbpS5FqDVRDeT5thq-VEKa?dl=0. Record yourself in landscape (horizontal) only.
• Casting “Pirate’s Abandon,” a thesis
• Company: New York University. Staff:
Casiano Hamer, dir.
• Seeking submissions from NY. • Apply on Backstage.com. • For consideration, submit your head-
‘Pirate’s Abandon’
07.15.21 BACKSTAGE
• Casting “Room on Fire,” a 10-15 minute
• Company: N/A. Staff: Prash
Sampathkumaran, writer-dir.; Alexis G. Stodghill, prod. • Rehearsals will take place from mid-
July through July 30; Shoots July 31 and Aug. 1.
• Seeking—Jacqueline: 50-59, White /
European Descent, passionate, graceful and alluring. A caring but overlyattached mother. A sensual, intimidating exterior that can give way in a flash to a depth of burning emotion, something she struggles to control. Gives herself fully, feels things a little too deeply. Two smoking scenes (herbal prop cigarettes). Calvin: 23-28, White / European Descent, hot-headed, impulsive and juvenile. A youthful charm conceals his emotional fragility, his bitter and vindictive nature. Struggles with commitment and independence. Loves his mother dearly. One smoking scene (herbal prop cigarette). Roy: male, 50-60, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, in a relationship with Jacqueline, and wants to move in with her. They are both in their middle years, and feel lucky to have found love again. But, Jacqueline’s son Calvin, stands in the way. Roy is trying to convince Jacqueline to make her grown son move out, so that they can start their lives together. But it is a struggle. Can he convince her to let go of her son, and take a chance on their mature love? Kelly: 22-28, Southeast Asian / Pacific Islander, met Calvin while out on the town in New York City. Their relationship is new and superficial, and she just wants to have fun. One night, she decides to go home with Calvin for the first time. But, she discovers that
ACTOR HEADSHOTS -NEW YORK CITY DATES:
Acclaimed headshot and editorial photographer Tracy Bosworth Page will be in NYC on August 4-5, 2021 for limited openings. With make up artist Pamela Pimpleton. tracy@tracybosworthpage.com to book. @tracybosworthpage
casting California Calvin lives with his mother, who is creepily hanging out outside his bedroom door. Kelly gets pulled into a confrontation with Calvin and his mother when it’s revealed that Jacqueline may have stolen her son’s condoms. In the end, Kelly has to take the situation into her own hands and stick up for herself. • Seeking submissions from NY. • Apply on Backstage.com. • For consideration, include a video with
your submission.
• The producers have a SAG micro-bud-
get agreement that allows for deferred pay for SAG actors. Non-SAG actors can also apply for this project.
‘The African King’
• Casting “The African King.” Synopsis: A
struggling actor named Lenden has been out of work for a while and is ready to get back in the game. He likes the script of this new movie, “The African King” and studies tirelessly for it. But what will happen when he goes to the most bizarre audition he’s ever been to? • Company: Reel Works Teen
Filmmaking. Staff: Sekou Cherif, writer-dir.
• Shoots TBD in Brooklyn, NYC. • Seeking—Fatin: 22-30, Black / African
Descent, Middle Eastern, while naive, is fast on her feet and not afraid to criticise and speak her mind; she’s an independent, hardworking, Muslim woman; her optimism and belief in Lenden’s talents are what drive him to audition again; she views the world differently then Lenden, who’s experienced defeat and loss; she’s been a winner throughout her life because of her work ethic; in a way, she plays a maternal figure in his life; she is in essence, his pillar of hope and strength. Man 1: 22-35, White / European Descent, cruel and bitter, goes through life with an ego so huge you can smell it; he’s a hot shot casting director; everything he says feels calculated and thought out; he is stern, direct, and concise. Man 2: 22-35, Asian, White / European Descent, longing for Man 1’s approval, tries to emulate Man 1’s persona to no avail. It’s not effortless; he’s clumsy, nervous, and quiet; his attempt to present as something he’s not is obvious to everyone in the room. Clarise: 25-40, all ethnicities, an assistant who’s calling the actors in one by one; she’s in a horrible mood as she seemingly always is; she would rather be anywhere else right now; she’s also stern and unapologetic. Actress: 22-30, all ethnicities, the actress, while in character, immerses herself fully into the character and is talented at what she does; however, when not in character, it’s clear that she’s uninterested and would rather not be there right now; she comes off as pretentious and condescending and doesn’t maintain eye contact or respond when spoken to; she’s just waiting to go home after such a long day. • Seeking submissions from NY. • Apply on Backstage.com. • This is an unpaid role. Meals and travel
will be covered. You will receive a copy of the final film.
BACKSTAGE 07.15.21
Scripted TV & Video
Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
major cable network.
Legoland New York Resort! Legoland is hosting an entertainment audition for the following positions! Stunt and non stunt performer. Meet and greet character and guide performers. Full and part time year round in our hotel. Full and part time seasonal in our park. Must be over 16 to qualify.”
Staff: Barbara McNamara, casting dir. CSA.
Staff: Todd Hulet, Legoland Entertainers.
Short Films
NYC).
‘Ethan & Arlo’
amusement park and hotel operational role. Each performer will serve in many capacities and perform as many characters.
the feature-length script “Ethan & Arlo.” This promo will only be used as a pitch and will not be exhibited in any form. Synopsis: It’s 1974 and Ethan, a gay father, and his Woodstock son, Arlo, are driving the failing Midwestern highways trying to forge a semblance of family in the face of prejudices that want to tear them apart.
‘Empires’
• Casting “Empires” a miniseries for a • Company: Barbara McNamara Casting.
• Shoots in August 2021 in New Jersey.
Schedule tbd.
• Seeking—Actors With Disability and
Uses Crutches: male, 28-42, White / European Descent, a real actor with a disability who uses crutches. This role is based on a real person: Julius Schmid. Principal role. Nathen Green: male, 45-60, Black / African Descent, 50s, once an enslaved person on the Call farm, Nathan “Nearest” Green is now free, still serving in the same role running the small still on the property. He takes a young Jack Daniel under his wing and teaches him everything he knows, and Green is an integral part of developing the techniques that will one day make Jack Daniel’s Tennessee Whiskey the best selling liquor on the planet. He leaves the Call farm to help establish and build the brand with Jack Daniel, looking for a better life for himself and his family. But because of the inequality rampant at the time, he is largely written out of the brand history until his monumental role in the brand’s creation is rediscovered in modern times. • Seeking submissions from NY. • Apply on Backstage.com • Pays $400 +10% agency if applicable.
Note: Must be a New York local hire.
• Company: LEGOLAND New York Resort.
• Works in Goshen, NY (60 miles north of • Seeking—Legoland Entertainer: 16+, an
• Auditions will be held by appt. July 17
from 11 a.m.-4 p.m. and July 18 from 11 a.m.-4 p.m. at Thrive Dance Studio, 60 Erie Street, Goshen, NY 10924. • To sign up for an audition date and
time, visit https://lnkd.in/dXugMe6.
• Pay TBD. Job states: “Seasonal, part-
time, and full-time year round employment available. Current rates begin at $13.25 per hour based on experience and role.”
Southern California Plays ‘Ben Butler’
• Seeking video submissions from Equity
actors for roles in “Ben Butler.”
National Commercials Pizza Delivery App Commercials
• Casting actors for a series of short
commercials for a pizza delivery app. • Staff: Cindel, prod. • Shoots in July - location to be deter-
mined at later date - may be in Greater NYC area or as far as Beacon, NY. • Seeking—Suburban Mom: female,
35-50. Suburban Dad: male, 35-50. Pizza Loving Guy: male, 20-30. Pizza Loving Woman: female, 20-30. Pizza Loving Child: all genders, 5-15. • Seeking submissions from NY. • Apply on Backstage.com. • Pays $200-$400, depending on role.
Theme Parks & Attractions Theme Park, Legoland Performers
• Seeking performers for Legoland’s New
York resort. Production asks: “Are you an aspiring performer? Do you love to put on a show? Show off your skills at
• Company: North Coast Repertory
Theatre. Staff: David Ellenstein, artistic dir.-dir.; Christopher Williams, casting dir. • Rehearsals begin Sept. 21, 202; runs
Oct. 20-Nov. 14 with a possible extension through Nov. 28 (must be available) in Solana Beach, CA. • Seeking—Shepard Mallory: male,
18-39, Black / African Descent, runaway slave, witty, brash, very smart and great with wordplay. Lieutenant Kelly of the Union Army: male, 18-39, White / European Descent, West Point grad, career Army man, by the book. • Seeking submissions from CA. • For consideration, prepare and record
two contrasting monologues not to exceed three minutes total. Send link to your YouTube, Vimeo, or other platform for viewing. Do not send large files to download. Send headshot, resume and video links to casting@northcoastrep. org. Submissions deadline is July 16. Callbacks will be by appointment only. If selected for a callback, we will contact you with sides to prepare and record.
• Pays $508/wk. plus P&H. Equity SPT 6
Contract.
• Casting a five-minute promo/pitch for
• Company: SHANE. a casting company.
Staff: Shane Liem, casting dir.; Garth Twa, writer-dir.
• Scheduled to shoot in late July or early
August in the San Francisco/Marin County, CA area. Talent must be willing to work as a local or live in the San Francisco/Marin County area. • Seeking—Ethan: male, 26-30, White /
European Descent, strong actors, good with lots of dialogue. Interesting faces . Ethan is gay, a product of 1960s, and a young father finding his way. Ethan is sparky, fiercely independent, iconoclastic, vibrant, and ready for an adventure or a fight, treats his son like a friend instead of a child. Must have valid driver’s license. Arlo: male, 8-12, White / European Descent, strong actors, good with lots of dialogue. Interesting faces. Arlo is more quietly mature than his years would indicate as he’s been raised on the road by his gay father who treated him more like a partner in crime than a son. He’s intelligent, patient, forced to be the peacemaker. • Seeking submissions from CA. • Apply on Backstage.com. • Make sure that you are willing/able to
work as a local in the San Francisco/ Marin County area. Selecting talent and request talent to do a self-tape of a scene from the feature film script “Ethan and Arlo.” This is, however, a promo for the feature film. • Pays $200/day + 20% agency fee (if
applicable). Talent will receive a copy of the promo/film.
Student Films ‘Broken Canes’
• Casting “Broken Canes,” a student
• Note: The roles of Major General
short film. Synopsis: “Broken Canes” follows a young man struggling to accept his abusive father’s restrictions on his inheritance.
• Equity’s contracts prohibit discrimina-
| J & E Productions. Staff: Enrico Cecchi, dir.; Jessica Hernandez, prod.
Benjamin Butler and Major Cary of the Confederate Army have been cast.
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,
20
• Company: Columbia College Hollywood
• Table read Aug. 9-13; rehearsal dates
TBD via Zoom; shoots Sept. 3-4 in L.A.
• Seeking—Gus: male, 30-35, all ethnici-
ties, Gus is a caring father and husband who is constantly busy with his work as backstage.com
California casting
he tries to make ends meet at home financially. His wife Lily works part time as they try to support their five year old daughter. Gus’ father, Jack, abused him mentally growing up and is essentially out of his life. However, Jack is recently diagnosed with Alzheimers and tries to reenter his son’s life. Gus values the truth, courage, and compassion within his household. Jack: male, 50+, all ethnicities, Jack is in his 60s and hasn’t seen his son, Gus, in five years. Jack has also been recently diagnosed with Alzheimers and doesn’t have a lot of time on his hands. He wishes to make things right and be part of his son’s family by selling all his assets and giving the money to his son and granddaughter before he dies. Jack also wants to make sure the money is put to good use so he creates a contract for his son to sign. Jack values hard work, determination, and toughing things out when they need to be. • Seeking submissions from CA. • Send submissions to jefmproduction@
gmail.com.
• Must be available for all shoot dates.
Meetings will be held via Zoom. Only accepting self-taped auditions; no inperson auditions available. For more info on the creators visit www.jefilmproductions.com.
• Individual meals will be provided along
with personal protective equipment such as masks, gloves, and sanitizer. Reels will be provided after post-production completion.
‘Sonant’
• Casting “Sonant.” Synopsis: Steve lives
in a vacuum cycle, invisible to the world. He wakes up, he goes to work, he comes home, and then spends his nights alone. However, over a series of nights, Steve takes interest in the young woman living above him – who hums tunes in the shower and stomps around. A pleasant fascination becomes an unsettling obsession when terrible screams lead Steve to believe that something is incredibly wrong. Ignored by everyone he reaches out to, Steve takes it upon himself to find out what’s happening – only to suffer the consequences of his curiosity. • Staff: Vijay Singh, dir.; Tina Bui, prod.;
Mia Miller, CD.
• Shoots Aug. 20-22 in Orange County,
CA.
• Seeking—Steve: male, 20-30, Asian,
Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a homebody who lives an isolated and ignored life in his apartment. His nights are spent in gloomy detachment until the unnerving noises in the apartment above give him something to care about. Cassie: female, 20-30, all ethnicities, a carefree girl who lives above Steve’s apartment. She sings in the shower and stomps around her apartment without knowing that Steve can hear what she’s doing.
• Seeking submissions from CA. • Apply on Backstage.com. • Transportation, meals, credit, and foot-
age for reel provided. backstage.com
‘Swept Under’
• Shoots July 31-Aug. 9 in the Los
film. Logline: A Cambodian American man who is moving into a new house discovers that a rug may hide sinister forces that lie beneath its surface.
• Seeking—Alex: female, 28-40, all eth-
Angeles, CA area.
• Casting “Swept Under,” a short horror
nicities, stunning and drop dead gorgeous. Extremely confident, powerful and intelligent. In some subtle ways, Alex is genuinely attracted to Zack. Her choice is mostly about finding a victim, but it is driven by a genuine attraction. She may intend to eat you, but she has a compassionate side that will spare those who show her true honesty and that they are a good person. Alex seems to be a siren, but deep down she’s a good person with a good heart. Shoots Aug. 1 and Aug. 7-9. Young Moe: male, 18-21, Black / African Descent, young, innocent, and crazily in love with his girlfriend. He will receive the shock of a lifetime when his girlfriend turns into a monster and attacks him. His life, and one of his ears, will never be the same.Note: Stunt capability preferred but not required; shoots Aug. 2.
• Synopsis: Born in Cambodia, Ricky was
adopted into a white family at a young age. When his older sister, Beth, gives him a rug as a housewarming gift, she explains it was made by one of the survivors of the Cambodian genocide. He’s hesitant to accept the rug at first because of its gruesome history, but sets it aside amidst the hectic move-in. That evening, when he pulls out a clump of dead hair, he begins to notice that something is off about the rug. What, or who, is under the rug? • Company: USC School of Cinematic
Arts. Staff: Ethan Soo, dir.; Ruhi Mansey, prod.; Graham Byers, DP. • Rehearses the end of July in Los
Angeles; shoots July 31, Aug. 1, and Aug. 7 or 8 (to be determined) in Orange County. Must be available for 2-3 additional Zoom rehearsals in July based on your schedule.
• Seeking submissions from CA. • Send submissions to dsheahan@usc.
Asian, Southeast Asian / Pacific Islander, a Cambodian American who was adopted at a young age into a white family. While moving into his first owned house, his older sister, Elizabeth, gifts him a housewarming rug that was made by a survivor of the Cambodian genocide. His sanity unravels as he discovers there’s more to the rug than he initially imagined, evolving his quiet optimism into an unnerving paranoia. Elizabeth Miller: female, 30-40, White / European Descent, would be the first person to call herself “woke”. After all, she’s a popular, tenured professor of Southeast Asian history at the local university, which shows in her self-assured and maternal nature. She unknowingly puts her adopted brother in danger while moving him into his new home and is quick to blame ignorance for what happened to him.
Asian, works at the diner attended by Vincent and the Mascot—her son and former husband, respectively. Informed by memory, the Waitress is an imagination of a woman torn between autonomous self-preservation and attachment to the burden of her grief, as a scorned and scarred person.
• Casting “Backstage: Profile of a Casting
Director,” a short form ad focusing on a casting director’s day in the life while using the Backstage app to find talent. • Production states: “Seeking a casting
director with a unique opportunity and history casting on Backstage! Please share any media examples of your skills and talent to be considered.” • Company: Grow With Bamboo. Staff:
Stavro Victor, content prod.
• Company: USC. Staff: Yalian Li, dir.;
• Talent works mid Aug. (will happen on a
Daniel Sheahan, prod.
Monday-Friday) in the San Francisco
21
Rumley, talent prod.
• Shoot is TBD in-studio in DTLA. • Seeking—Hand Models: female, 18-35,
all ethnicities. Hand Models with Tattoos: female, 18-35, all ethnicities.
• Seeking submissions from CA. • Apply on Backstage.com • Send footage of you with your hands.
Can be holding makeup products while filming. • Pays $150/hr.
Men’s Soap Product Commercial
• Casting various types of people to dis-
within a L.A. studio.
Backstage Testimonial, Casting Directors/ Producers
be following SAG COVID safety protocols, the health and safety of our talent and crew is important. SAG has very strict guidelines and rules in place for all SAG production during this time. All booked cast will be required to take and provide proof of a negative COVID test before shooting, production will provide details on how to get tested for free.”
• Company: TubeScience. Staff: J
• Transportation/meals/footage for reel
Online Commercials & Promos
• Production states: “This production will
• Casting enthusiastic talent for hand
cuss and demonstrate “manly” soap products. Synopsis: Men to demonstrate and react, women to discuss the need.
provided.
Thesis film and current finalist at the Sundance Institute. Logline: In a world where females devour males during sex, a seventeen-year-old virgin Zack is asked on his first date.
• Pays $600-$800/day for video/photo
• Seeking submissions from CA. • Apply on Backstage.com. • Auditions on Zoom. For consideration,
record a self tape using the provided sides.
• Casting “The Mantis Club,” a USC
tion with the following information and answers to questions: Introduction: Name, age, location, and how long you have been using backstage for? Tell us more about your casting experience? How did you learn these skills?; What does your day-to-day look like as a casting director?; Talk to us about casting and finding talent via Backstage compared to other services/ platforms? Have you found success on the Backstage platform?; And anything else we should know about you?!
modeling for a beauty brand. Tattoos on hands and arms are a plus.
• Shoots July 30-Aug. 1 in Orange, CA. • Seeking—Waitress: female, 45-55,
‘The Mantis Club’
• For consideration submit a video audi-
‘The Mascot’
Felicity Childs Smith, CD; Mia Miller, dir.; Charles Schemm, prod.
copy, and meals provided. Project will be submitted to film festivals nationwide in Fall 2021 and published online afterwards.
bamboo.com.
Beauty Brand, Hand Models
• Company: Chapman University. Staff:
• Travel reimbursement, IMDb credit,
• Seeking submissions from CA. • Send submissions to stavro@growwith-
Eligible under USC-SAG Agreement
drama. Logline: A young man’s dream of reuniting with his long-estranged father, now finding work as a mascot in a deer costume.
https://seedandspark.com/fund/ swept-under#story.
Producers: 21-55.
use in perpetuity. One to two shoot dates.
• Casting “The Mascot,” a surrealist
• Seeking submissions from CA. • Apply on Backstage.com. • For more info on the project visit
• Seeking—Casting Directors/
edu.
• IMDB credit, copy, and meals, SAG-
• Seeking—Ricky Miller: male, 25-40,
Bay Area, CA. Note: Must be local to SF Bay area. Shoots early to mid August (will happen on a Monday-Friday). Specifics and details currently TBD, dependent on final talent selection.
• Staff: E. Kennedy, prod. • Talent works remotely and on occasion • Seeking—Men 18+: male, 18-60, all eth-
nicities, to discuss and demonstrate manly soap products. Must be willing to get into a shower in a bathing suit and actually use the products. Some specific categories are funny guys, handsome guys, rugged men, and younger guys, but everyone is welcome. Opinionated Women: female, 18-35, all ethnicities, attractive, opinionated women, to react to a manly soap. • Seeking submissions from CA. • Apply on Backstage.com. • No rehearsal. Auditions are remote. • Pay TBD, depends on shoot require-
ments. Non-union, all media buyout.
SomiSomi Ice Cream, Social Media Videos • Seeking ice cream/dessert fans who
would like to appear in social media ads for an ice cream brand. • Company: SomiSomi Ice Cream. Staff:
Nobi N., coord.
• Shoots are held monthly in the L.A. and
O.C. areas.
07.15.21 BACKSTAGE
casting National/Regional • Seeking—Ice Cream Fan: 18+, all
ethnicities.
• Seeking submissions from CA. • Apply on Backstage.com. • Pays $50-$200 stipend. Footage for
reel will be provided.
WorkBistro Commercial Shoot
• Casting an online content commercial
to launch a business.
• Company: WorkBistro, Inc. Staff: Adam
Goldstein, prod.
• Shoots July 17 or 18 in Berkeley, CA. • Seeking—Worker: all genders, 26-45,
to play a worker in a coworking setting in various scenes, some with and some without dialogue.
• Seeking submissions from CA. • Send submissions to info@liveworkbis-
tro.com.
• For consideration, include a video reel
and a headshot. Provide any content that may be applicable.
• Pays $100/day, no travel paid for. Food
included.
Print & Digital Modeling AARP Print Lifestyle Campaign in Los Angeles
• Casting a lifestyle print campaign for
AARP in the Los Angeles area in early September 2021. Casting personnel state: “We will be creating still images of our actors pretending to do various lifestyle activities (i.e. working in the garden, drinking coffee, reading on the couch).” • Company: 8112 Studios LLC. Staff:
Douglas Sonders, prod.
• Shoots early September 2021at a home,
park, and cafe location in the Los Angeles area.
• Seeking—Men & Women Ages 55-70:
all genders, 55-70, all ethnicities, Final talent selects will be photographed pretending to do various everyday lifestyle activities. Reading, gardening, cooking, etc.
• Seeking submissions from CA. • Send submissions to Douglassonders@
gmail.com.
• For consideration, include headshots
and full body images with your audition. • Pays $650/day.
Comedians & Improv Improv Performers, LA Connection Comedy Theatre • Seeking improv performers at LA
Connection Comedy Theatre.
• Company states: “We are reopening our
44 year old theatre in Burbank to the public Saturday August 7. Each Saturday night will feature 5 teams. Teens, Rookies, JV’s and 2 top level teams weekly. We are auditioning for new members to join one of these casts. Teams rehearse weekly with weekly/
BACKSTAGE 07.15.21
monthly performances. LAC also performs for camps, parties, events, corporations, TV and film. LAC also performs at outside clubs including the Comedy Store and Flappers. We are auditioning kids, teens and adults. Auditions are 90 minutes all improv nothing needs to be prepared. Famous alumni include Will Ferrell, Matthew Perry, Hank Azaria, Josh Groban, Jon Lovitz, Cedric Yarbrough, Sharon Lawrence, Mindy Sterling, Victoria Jackson and The Marvelous Mrs. Maisel producer creator Amy ShermanPalladino. Our founding Kent Skov has worked with Second City founder Paul Sills, long form Harold creator Del Close and is a member of the Writers and Directors Guild since 1984. Skov was the mastermind behind the cult hit TV series Mad Movies that ran for 7 years nationally on MTV, Nick at Night and syndicated. LAC does short and long form live improv shows.”
American play. Equity actor to play the young male character in this two-person play, for live performance and in-person rehearsals. Seeking an actor who is phenomenal with language and with silence, and who can swing instantly from very still to very intense. No stage manager positions available at this time. • Company: Marin Theatre Company.
Staff: Jasson Minadakis, artistic dir.-dir.; Nakissa Etemad, assoc. artistic dir.casting dir. • Rehearsals begin Aug. 16; teach begins
Sept. 3; runs Sept. 9-Oct. 3 with a possible extension through Oct. 10 at Marin Theatre Company (397 Miller Ave., Mill Valley, CA 94941). • Seeking—Christopher Dunn: 18-29, a
Yale freshman, perhaps slightly older than your average freshman college student. Quiet, smart and stubborn. Pretentious, with a confidence that could come across as cocky, but is actually just very self-assured. Troubled, dark, and lonely. Curious and full of questions.
• Company: LA Connection Comedy
Theatre. Staff: Kent Skov, dir.-prod.
• Rehearsals are once a week for two
hours. Shows are every Saturday night and rotate different casts from our rep company including teens, rookies, JV’s and 4 top level teams. Top level members also get 1 Thursday night a year to perform any show they want. Outside shows vary throughout the year with camp bookings mainly in the summer.
• Seeking submissions from CA. • For consideration, submit headshot,
resume, and links to one video for each of two sides, in an mp4 format (preferred) to casting@marintheatre.org. Sides available at https://drive.google. com/drive/folders/1iIoBBa_NNJb4R9U MQLz_3IFZAbD1zJje?usp=sharing. If you do not have someone to read with you, read both sides as monologues. Start each video saying your name, then announce the side number before performing each side. Name your videos: “Last name, First Name - Side 1, Christopher Dunn” and “Last name, First Name - Side 2, Christopher Dunn”. Submissions deadline is July 19.
• Seeking—Ensemble Performer: all gen-
ders, 18+, all ethnicities.
• Auditions will be held by appt. July 10
from 3-4:30 p.m. and from 5-6:30 p.m. at LA Connection Comedy Theatre, 3435 West Magnolia Blvd. Burbank CA, Burbank, CA 91505. • Send submissions to kentskov@aol.
com.
• All auditions are improv, 90 minutes
• Callbacks will be held digitally on or
and nothing needs to be prepared. Ages 5 and older may audition. All types may apply. Leave a contact number and we will call to schedule an appointment.
after July 19, times TBD.
• MTC is committed to equity, diversity,
and inclusion in casting and uses a color and culturally conscious approach to casting. Actors of every race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials and audition.
• Actors split 25% of the box office for
their shows split equally amongst each cast. Outside shows vary from 35% of the total to a set fee for each job. LAC is a monthly dues based company. Dues range from 0-$125/month and vary based on length of stay and trade of services.
• 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.
Northern California
• Pays $739/wk. Equity LORT D Non-Rep
Contract.
Plays
National/ Regional
‘Sound Inside’
• Seeking video submissions from Equity
actors for “Sound Inside.” Summary: A brilliant Ivy League writing professor. A talented yet mysterious student. An unthinkable favor. Everyone has a story— the question is how it ends. Penned by Pulitzer Prize finalist Adam Rapp (“Red Light Winter”), “The Sound Inside” takes you behind the ivy- covered walls of Yale, and into New York’s literary haven, Greenwich Village, in this riveting new
Plays ‘Ghost Story’
• Seeking video submissions from Equity
actors for “Ghost Story.”
22
• Company: Durango Playfest. Staff:
Felicia Lansbury-Meyer, festival dir.; Tom Wright, dir.; Jill Gold, stage mgr.; Tyler J. Gleason, prod. intern.
• Rehearsals begin Aug. 2; runs Aug. 6-7
in Durango, CO. Festival runs Aug. 2-8. • Seeking—Davis: male, 18-29, White /
European Descent, Midwestern, boyish, earnest, optimistic but sad, hasn’t let go of his ex. Lydia: female, 40-49, Black / African Descent, New Yorker, smart, opinionated, stuck, comfortable in her body.
• Seeking submissions from CO. • Record one videotaped dramatic mono-
logue , 60-90 seconds. Upload video to YouTube and email us with the link. Make Sure your video is “private” or “unlisted”. • For consideration, submit pic/resume
and all auditions to durangoplayfest@ gmail.com with the subject line “Your Name - Ghost Story Audition.” Submissions deadline is July 16.
• 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 $271/wk. Equity SPT 1 Contract.
Walnut Street Theatre
• Seeking video submissions from Equity
performers for Walnut Street Theatre’s 2021-2022 Season. All roles will be understudied in the musicals. Season includes “Beehive: The Musical” (Richard Stafford, dir.-choreo. Rehearsals begin Sept. 7; runs Sept. 28-Oct. 31); Disney’s “The Little Mermaid” (Glenn Casale, dir.; John MacInnis, choreo. Rehearsals begin Oct. 26; runs Nov. 16, 2021-Jan. 2, 2022); Noel Coward’s “Blithe Spirit” (Bernard Havard, dir. Rehearsals begin Dec. 21; runs Jan. 11-Feb. 13, 2022); Sherlock Holmes’ “The Adventures of the Speckled Band” (Bill Van Horn, dir. Rehearsals begin Feb. 1, 2022; runs Feb. 22-Mar. 27); and “On Your Feet! The Story of Emilio & Gloria Estefan” a coProduction with Riverside Theater (Alex Sanchez, dir.-choreo. Rehearsals begin Feb. 15, 2022; runs Mar. 7-27 at Riverside and Apr. 12-May 29 at Walnut). • Company: Walnut Street Theatre
Company. Staff: Brian Kurtas, assoc. artistic dir. • Season rehearses and performs in
Philadelphia, PA.
• Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from PA. • For consideration, submit audition
materials to Casting@walnutstreettheatre.org. In your email, include a PDF headshot/resume, the shows for which you’re interested and available, and your union affiliation (AEA, EMC, Nonunion). Submissions deadline is July 16. • Video submissions should not exceed
three minutes and should be Vimeo/ unlisted YouTube links. Prepare a short comedic monologue, two contrasting brief musical selections, or a combinabackstage.com
National/Regional casting
tion of both a monologue and song. We want video auditions to be accessible to everyone, and understand performers may not have access to a piano/accompanist to create a video. As an option, we have provided tracks + sheet music to a cut of “Under The Sea” that performers can use https://www.dropbox. com/sh/90w07yfakix1bv7/ AADnF1qUd-Sjy-xA_jcCUESLa?dl=0.
“West Philly Baby” is a one-hour drama that is bitingly funny and achingly dramatic. At the center is the Shealy Family, led by its feisty matriarch, Dot. Dot is at the start of her journey with Alzheimer’s. This is anything but a sad and tragic tale but instead a wild, funny, secret-filled, grounded and soapy drama with a family that has always had no filter.
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.
Staff: Christi Holliday, casting assoc.
• Equity’s contracts prohibit discrimina-
• Pays $1,207/wk. Equity LORT A Non-
Rep Contract.
Musicals ‘South Pacific’
• Casting “South Pacific.” Note: Seeking
Bloody Mary and Emile de Becque for the Non-Union National Tour. • Company: Paris on Tour LLC. Staff:
Paris on Tour LLC, prod.-theatre company; Daniel Sher, exec. prod.; Jeffrey B Moss, dir.; Bob Richard, choreo.; Matthew Lowy, musical supervisor; Oscar Hammerstein II Joshua Logan, book; Richard Rodgers, music; Oscar Hammerstein II, lyrics; Alison Franck, casting dir. • Rehearsals begin Dec. 13, 2021; runs
Jan. 22, 2022-May 23, 2022.
• Seeking—Emile de Beque: male, 40-45,
White / European Descent, 40 to 45 years old, male; is a worldly, cultured and dignified Frenchman; legit Baritone; ethnicity: White / European Descent. Bloody Mary: female, 35-55, Asian, Southeast Asian / Pacific Islander, a tough, smart and crafty Tonkinese souvenir dealer; playing age 35-55; Mezzo-Soprano; ethnicity: Asian, Southeast Asian/Pacific Islander. • Seeking submissions nationwide. • Apply on Backstage.com. • Have a video of you singing any legit
musical theatre song appropriate for South Pacific.
• Pays $1000 a week plus per diem, hous-
ing and transportation while on the road.
Scripted TV & Video ‘West Philly Baby’
• Casting “West Philly Baby.” Note:
ALLBLK, the first and largest streaming service for Black TV and film from AMC Networks, is partnering with the American Black Film Festival (ABFF) to kick off a nationwide casting call for the co-star of its latest original production, “West Philly Baby.” A new half-hour family dramedy created by “Fear the Walking Dead” alum Colman Domingo. backstage.com
Weight Watcher program and is glad to share their experience. Do not apply if you experience is not real, we will ask proof....Note: We will ask for an audition. Feel free to tell us in your application a little about your Weight Watchers experience. Individuals who are changing habits through Weigh Watchers: female, male, 23-48, all ethnicities, a person who is currently changing their old habits into healthier ones with the Weight Watcher program and is glad to share their experience. Do not apply if you experience is not real, we will ask proof....Note: We will ask for an audition. Feel free to tell us in your application a little about your Weight Watchers experience.
• Company: Leah Daniels-Butler Casting. • Shoots TBD in Los Angeles, CA. • Seeking—Elderly Customer: all gen-
ders, 55-70, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, BIPOC, Actors with disabilities are encouraged to submit.
• Seeking submissions nationwide. • Send submissions to cast.me@ready-
set.co.
• Seeking submissions nationwide. • Apply on Backstage.com. • Each participant will have to submit the
• Pay provided.
TubeScience Commercial, Mother/Daughter Teams
following: 1. A two-min profile video about themselves. 2. A dramatic monologue performance. 3. A comedic monologue performance. Actors with disabilities are encouraged to submit.
• Casting mother/daughter teams, one of
whom is tech savvy for a remote shoot where one person explains and demonstrates how to add a coupon extension to a desktop or laptop.
• Pay provided.
• Staff: E. Kennedy, prod. • Talent works remotely. • Seeking—Lead Person in a Mother/
Online Commercials & Promos
Daughter Team: female, 24-65, all ethnicities, at least one person is tech savvy and can explain to the other how to install a coupon shopping app extension onto her desktop or laptop. Bonus points if one of the duo likes to save money while shopping.
Commercial, Australian Women With Long Leg/ Armpit Hair
• Seeking submissions nationwide. • Apply on Backstage.com. • Pays $200 per person, non-union, all
media buyout.
• Casting women in or from Australia
who let their leg and armpit hair grow long, and are willing to shave it on camera, remotely. This is for a commercial with TubeScience.
Cruise Lines
• Staff: E. Kennedy, prod. • Talent works remotely. • Seeking—Hairy Australian Woman
RWS Entertainment Group, Rock Musicians for Guest Entertainer Cruise Line Show
Willing to Shave: female, 18-35, all ethnicities, strong-willed, funny Australian woman with personality who happened to let the hair on her legs and armpits grow and is ready to shave it off on camera. Production states: “Bonus points if you have light skin and dark hair, but open to any combination. Tattoos are a plus! Must be willing to demonstrate shaving product in shower in a bathing suit or bikini.”
• Seeking rock musicians for guest
entertainer Cruise Line Show. Note: RWS Entertainment Group is building a Band. We’re hiring high level Rock and Pop Musicians to perform original music productions consisting of four different high energy rock and pop shows onboard a cruise ship in the Caribbean! Each show/set will be performed up to two times per night. Currently seeking: Guitar, Keyboard, Bass, Drums. Instrumentalists who can sing will be prioritized. Must be high energy, experienced rock/pop musicians with fantastic stage presence and personality.
• Seeking submissions nationwide. • Apply on Backstage.com. • Pays $300 flat, non-union, all media
buyout.
‘My Weight Watchers Experience’
• Seeking current and former members
• Company: RWS Entertainment Group.
of the Weight Watchers program to generate content from home sharing your experience with changing into healthier habits.
Staff: Broc Power, music prod. mgr.
• Full Term of Contract: Aug. 26, 2021-
Dec. 31, 2021 (all dates subject to change). Rehearses Aug. 26, 2021-Sept. 9, 2021 at RWS Studios | New York City; travel to ship on Sept. 10, 2021 (Miami); disembarks Dec. 13 for destination (Caribbean).
• Company: READY SET. Staff: A S, CD. • HomebBased. • Seeking—Individuals who changed
habits through Weight Watchers: female, male, 23-48, all ethnicities, a person who changed their old habits into healthier ones thanks to the
• Seeking—Guitar: all genders, 18+. Bass:
all genders, 18+. Drums: all genders, 18+. Keys: all genders, 18+.
23
• Seeking submissions nationwide. • For consideration, complete the appli-
cation at https://airtable.com/ shr5KQkenUcUSbkvi. An RWS production member will reach out with next steps should you be selected for an audition/interview. • Onboard Compensation: $1000/wk -
$1200/wk commensurate with experience/role. You will be provided with single guest cabins onboard with full guest status and privileges (Pool, gym, restaurants, etc.). Travel and accommodations provided. Onboard Compensation: $1000/wk - $1200/wk commensurate with experience/role. You will be provided with single guest cabins onboard with full guest status and privileges (Pool, gym, restaurants, etc.). Travel and accommodations provided.
Stage Staff & Tech Porchlight Music Theatre
• Seeking Equity Stage Manager resume
submissions for 2021-22 season. Local Chicago stage managers encouraged to submit. The Porchlight Revisits series celebrates lost musical gems in fully staged productions for 3-4 performances on the set of the currently running mainstage production. Season includes Mainstage #1 (Rehearsals begin Oct. 5; runs Nov. 4-Dec. 31); Mainstage #2 (Rehearsals begin Dec. 20, 2021; runs Jan. 20-Mar. 13, 2022); Mainstage #3 (Rehearsals begin Mar. 22, 2022; runs Apr. 28-June 10); Revisits #1 (Rehearsals begin Nov. 2, 2021; runs Nov. 17-22); Revisits #2 (Rehearsals begin Jan. 22, 2022; runs Feb. 16-22); and Revisits #3 (Rehearsals begin Apr. 27, 2022; runs May 11-17). • Company: Porchlight Music Theatre
Chicago. Staff: Chris Pazdernik, prod. assoc.-company mgr.
• Rehearses and performs in Chicago, IL. • Seeking—Stage Manager: 18+. • Seeking submissions from IL. • For consideration, submit resumes to
chris@porchlightmusictheatre.org (preferred) or mail to Porchlight Music Theatre, 4200 W Diversey, Attn: Chris Pazdernik, Chicago, IL 60639. Submissions deadline is July 16.
• 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 $395/wk. (Mainstage) Equity CAT
Contract. $15/hr. + $65/per. (Porchlight Revisits) Equity CAT Per Performance Side Letter. VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
07.15.21 BACKSTAGE
Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover
Q:
I’m ready to finally put a short film script I finished on the screen! I have a cast, but I don’t know where to go after that. I had thought I would direct and star. I don’t have any camera equipment. What should I do next? —@Magicalgirl, Backstage Community Forum
Our Expert Cam Faull is an actor and 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 07.15.21
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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; FAULL: COURTESY CAM FAULL
There are a few different ways to go about this. If you have some money saved up to start filming, that’s great. If not, you’re in asking-favors mode, which is also fine. You’ll need to know which way to approach people: Are you asking for favors or offering a fee? Don’t be afraid to ask questions and borrow people’s brains. The film community can be very supportive, so it’s worthwhile to engage with it. For preproduction, if you have an iPhone, you do, in fact, have camera equipment; it’s the know-how that goes along with it—framing, lighting, etc.—that presents a challenge. It’s always good to approach a director of photography. Then, you can relax about all the technicalities. You also need someone to record sound, unless you want your project to look and sound bad. Everything else you can get by without. It’s also an option to get your cast to sound record. Next, you’ll need locations, permits, and insurance. I highly recommend making a shot list so you know what your running order is. For production, try to stick to the plan as much as possible by following your shot list. If you’re having trouble making decisions, allow more experienced members of your cast and crew to offer their advice. There’s no shame in learning on the job. Provided you get all your footage, sound, and scenes recorded on the scheduled shoot days, you’ll be moving along nicely. Once you get to postproduction, sitting down with all your saved footage to start an edit can be daunting. It’s best to outsource this job to someone who can cut it for you. If you note the takes you like in the footage and send your editor the script, that’ll allow them to deliver you a first cut. Always go with the version you like best. This is a basic outline and should start getting you thinking about how you’ll approach shooting your script. You can always do a test shoot, too, filming the cast as a rehearsal.
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