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The Road to Emmys 2021 6 Pages OF CASTING NOTICES
For
Thuso Mbedu, “The Underground Railroad” is just the beginning
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Contents
vol. 62, no. 21 | 07.29.21
Cover Story
Finding Cover Story Her Refuge Prospecting for Gold From facing down her own trauma to the trauma of a nation, Underground Your“The official guide to the Railroad” had Thuso Mbedu 2020 Oscar nominations digging deeper page than 16 ever—to startling results page 12
The Green Room 4 The eclectic 2021 Emmy
nominees The Green Room
5 This week’s roundup of who’s 6 Broadway’s audience boom casting what starring whom
8 This week’s roundup of who’s
6 Sonequa castingMartin-Green what starringon whom “Space Jam” and starting out
10 Annie Murphy reflects on
“Schitt’s Creek” Advice
9 Advice NOTE FROM THE CD To be a better actor,
your remote 13 grab CRAFT
Survive and thrive
10 #IGOTCAST Foster 13 Delano #IGOTCAST
Mark Beauchamp
10 SECRET AGENT MAN No, SECRET really, please don’t 14 AGENT MAN
The power of intention
Features Features 3 BACKSTAGE 5 WITH...
Hawke 5 WITH... 4 Ethan BACKSTAGE
David Alan Grier 8 MEET THE MAKER Jen 12 MStatsky, EET THE“Hacks” MAKERco-creator Cathy Yan, “Birds of Prey” 9 THE ESSENTIALISTS director Stuart Biddlecombe and Adam Taylor, cinematographer 14 THE ESSENTIALISTS and composer Jeremy Woodhead,
makeup 11 IN hair THEand ROOM WITHdesigner Ellen Lewis
15 IN THE ROOM WITH Victoria Thomas 17 BEST OF THE FEST
Our inaugural BackstageFest
21 this OUR BALLOT several pastDREAM spring featured And Emmy the 2020 Oscar SHOULD future nominees; here’s have gone what they hadto… to say
ASK EXPERT 24 32 ASK ANAN EXPERT
Amy Russ principal Mae Ross onon when to useand your background work stage name
Casting Casting
New York Tristate 18 22 New York Tristate California 19 27 California
28 National/Regional 20 National/Regional Cover illustration by John Jay Thuso Mbedu photographed by Cabuay. Gari Askew Cover by Studio Ian Robinson. II on June designed 29 at Forge in Los Angeles. Cover designed by Ian Robinson.
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Ethan Hawke By Jack Smart
ILLUSTRATION: NATHAN ARIZONA/PHOTO: LEV RADIN/SHUTTERSTOCK.COM
Ethan Hawke, writer-producer-star of the Emmy-nominated “The Good Lord Bird,” has reached the rarified point in his career where he no longer has to audition. “Every time I audition now, it means they don’t really want me,” he says. “They’ve seen my work, for the most part, so if they wanted me, they’d give me the part.” But as he tells Backstage in his “In the Envelope” podcast interview, auditions are where actors can stretch themselves and surprise casting directors.
What project got you your SAG-AFTRA membership? I was 13, and they were doing these giant casting calls for a movie called “Explorers”…. [After] 17 auditions or whatever, I ended up getting the part. It was amazing. Ronald Reagan was president; he’d been a member of SAG. And I went up there and I got my SAG card. It was so exciting.
Warren Beatty, “Bonnie and Clyde.” There’s a bunch of silver bullet performances, [which] means if they’d died after that performance, they still would be entered into the hall of fame.
What’s a piece of advice you’d give your younger self? I think that confidence is what we’re all looking for. Confidence only comes with experience. Confidence without experience is bravado; it’s ego. True confidence is rooted in experience. And confidence is fragile. Talent’s not…. And I’ll say the really corny thing that makes everybody’s skin crawl, because it’s so difficult to do and it’s so obvious, which is: Love yourself. And [then] good things happen—you’re a better friend, you’re a better citizen, you’re a better artist, you’re a better lover if you treat yourself with respect. It just starts there.
What’s your philosophy around auditions? Auditioning was the most painful part of my life—and I really miss it. It’s a great, great opportunity to learn. Through auditioning, you end up performing parts outside of your comfort zone. Once you start making a name for yourself and not having to audition—if you don’t audition, it means they’re casting you to do something you’ve already done. That’s what happens. And so you stop being able to push open the boundaries of what you’re capable of doing, and you just end up playing into the way the world sees you.
What screen performances do you think every actor should see and why? There [are] a handful [of performances] that permanently changed me. Denzel Washington in “Glory” and “Malcolm X”—those two really, really blew me away. Paul Newman in “Cool Hand Luke.” I’ve watched it again recently, and it’s an entirely nonverbal performance, basically. It’s amazing what he communicates through body language…. [John] Malkovich in “True West” changed my life. Jack Nicholson in “Reds” and “One Flew Over the Cuckoo’s Nest.”
Do you have an audition horror story? I had an audition where, I remember, I had to meet the director outside. He was coming from somewhere, and he was gonna take me inside. I was so nervous and wound-up for this damn audition that I kind of bounded down the steps to shake his hand. I slipped, and I fell hard down these stairs. I ripped my pants, and my knee was gushing blood. And he kept saying, “I think we should go to the doctor.” I’m like, “No, I’m fine! No, it’s nothing!” Meanwhile, blood’s pouring down my leg. I’m like, “You’re ready to read?”
“Failure is our greatest teacher. Success mostly just teaches you how to be an asshole.”
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“The Crown” Awards
‘Ted Lasso,’ ‘The Crown’ Lead 2021 Emmy Nominations Announced July 13, this year’s nods are especially eclectic By Jack Smart
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(compared with last year’s 160), followed by Disney+ with 71 and NBC with 46. Outstanding comedy series will come down to newcomers “Ted Lasso,” Netflix’s “Cobra Kai” and “Emily in Paris,” Hulu’s “PEN15,” and HBO Max’s “Hacks” and “The Flight Attendant,” alongside two returning nominees: ABC’s “Black-ish” and Netflix’s “The Kominsky Method.” Meanwhile, the drama race sees “The Crown,” “The Mandalorian,” Hulu’s “The Handmaid’s Tale,” Netflix’s “Bridgerton,” Amazon Prime Video’s “The Boys,” HBO’s “Lovecraft Country,” FX’s “Pose,” and NBC’s “This Is Us” in contention.
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In an especially impressive year for scripted limited series, just five made the top category: Netflix’s “The Queen’s Gambit,” Amazon Prime Video’s “The Underground Railroad,” HBO’s “I May Destroy You” and “Mare of Easttown,” and Disney+’s “WandaVision.” Stars from most of the above—including leads Anya Taylor-Joy, Kate Winslet, Michaela Coel, Elizabeth Olsen, and Paul Bettany, plus supporters Kathryn Hahn, Julianne Nicholson, Jean Smart, and Evan Peters—will compete for limited series acting Emmys. The original cast of Broadway’s “Hamilton” also achieved recognition for the Disney+ TV movie recording: leads Lin-Manuel Miranda and Leslie Odom
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DES WILLIE
WITH THE ANNOUNCEMENT of the 73rd Primetime Emmy Awards nominations, the race for television’s top honors is officially underway. Presented July 13 by Emmy-winning father-daughter duo Ron and Jasmine Cephas Jones and Television Academy chairman and CEO Frank Scherma, the 2021 list of nominees saw plenty of recognition for NBC’s “Saturday Night Live” and Apple TV+’s “Ted Lasso” in the comedy races; meanwhile, Netflix’s “The Crown” and Disney+’s “The Mandalorian” tied for drama with 24 nods each. HBO and its streaming service, HBO Max, led the nominations tally with 130. Netflix was just one shy, with 129 total
Jr., plus supporters Renée Elise Goldsberry, Phillipa Soo, Daveed Diggs, Jonathan Groff, and Anthony Ramos. Coel joined the ranks of acting, writing, and directing nominees for “I May Destroy You”—her first three Emmy nods. Along with “Mare of Easttown,” Smart is also nominated for her leading role on “Hacks,” upping her total nominations over the years to 11. Other contenders earning multiple nods this year include Kenan Thompson, Maya Rudolph, Sterling K. Brown, Aidy Bryant, Bo Burnham, Steven Canals, Dave Chappelle, Jon Favreau, and Jason Sudeikis. For her work on “Pose,” leading actress Mj Rodriguez made history as the third openly transgender performer to ever be Emmynominated, and the first in a leading category. Despite the ongoing COVID-19 pandemic causing delays and interruptions in TV filming schedules, the Emmys have once again endured, with over 23,000 members of the Television Academy recognizing talent in competitive categories across Primetime and Creative Arts classes. The 2020 Primetime Emmy ceremony featured presenters socially distancing and winners rewarded remotely; details on the specifics of this year’s Creative Arts and Primetime Awards ceremonies are forthcoming. The latter will be held on Sept. 19 at the Microsoft Theater in Los Angeles and broadcast on CBS and the network’s newly launched streaming platform, Paramount+. Cedric the Entertainer, the star of CBS sitcom “The Neighborhood,” has been tapped to host the ceremony in front of a limited in-person audience.
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Hulu. Based on the award-winning novel by Esi Edugyan, the series will follow the story of 11-year-old George Washington Black, who escapes from the Barbados sugar plantation where he’s enslaved. The boy goes on the run in the company of the plantation owner’s brother, an eccentric inventor, in his flying machine. The series, cast by Kamala A. Thomas, was a victim of the COVID-19 shutdowns and was subsequently pushed from the 2019–2020 programming calendar. The project is still looking for talent. Production is set to begin sometime in the first half of 2022 in the United States, Mexico, and Canada.
What’s Casting
conviction was ultimately overturned when it became clear that family friend Hupp was likely responsible for the crime. Zellweger is currently the only performer attached to the project; Terri Taylor Casting is looking for additional actors. Production on the true-crime drama is expected to start in mid-September.
A Killer Role
Renée Zellweger will take a sinister turn on the small screen 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!
DES WILLIE
MARGAUX QUAYLE CANNON
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. “The Thing About Pam” Film actors are increasingly finding roles on the small screen. The latest in this phenomenon is Renée Zellweger,
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who has signed on to play Pam Hupp on the NBC limited series “The Thing About Pam.” The project is an adaptation of a “Dateline NBC” episode and its associated podcast, which focused on the 2011 murder of Betsy Faria and the suspicious details surrounding her death. All eyes turned to her husband, Russ, as the potential perpetrator, but his wrongful guilty
“Washington Black” Sterling K. Brown is set to executive produce “Washington Black,” a new limited series on
FILM
Julio Torres Starts His Next Act
Get cast!
For more upcoming productions and casting news, visit backstage.com/news/casting
By Casey Mink
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“Meet Cute” Kaley Cuoco and Pete Davidson are coming together for “Meet Cute,” a film that will deconstruct classic romantic comedy tropes. The film’s premise centers on the idea of a couple going back in time to address the traumas that led to earlier dating failures. CD Amey René will be adding additional talent to the film, which will be written by Noga Pnueli and directed by Alex Lehmann (“Paddleton”). Production is aiming to begin in August. A location has not yet been announced. For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
WELL, THIS OUGHTA BE GOOD. “LOS Espookys” creator Julio Torres is writing, directing and starring in a forthcoming comedy for A24, with Tilda Swinton also attached to star. Torres will additionally produce the still-untitled feature, alongside Emma Stone and Dave McCary, under their Fruit Tree banner. Further details about the project are being kept tightly under wraps, including additional casting and a production timeline. But needless to say, it is already highly anticipated.
07.29.21 BACKSTAGE
I sort of set up these boundaries, and the boundaries are the story. I create a world within those boundaries. I make it as real and specific as I possibly can. A lot of my work is just creation—imaginative creation, empathetic creation. I go back to certain memories and reshape them and make them even more specific, and that’s really my process. Everything comes from that, [followed by] all the technical things, like what you want and what you need.”
Harper Leigh Alexander and Sonequa Martin-Green in “Space Jam: A New Legacy” Backstage Live
City—culture shock galore, coming from Alabama. Accent was still thick, I thought people were mean, I didn’t have any money, I was struggling. I was auditioning a lot and just getting acclimated to the city and also to this professional life as an actor. I was a temp receptionist in the meantime to pay the bills.”
A Slam Dunk
Sonequa Martin-Green talks “Space Jam: A New Legacy” and her early days in NYC By Rebecca Aizin
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.
Martin-Green is a big fan of the NBA, so working with
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James was exciting. “[LeBron is] somebody youth can really look to. You would think there would have to be that negotiation with a non-actor, but in this case, there wasn’t. We were able to just tell the story. He knew exactly what was going to be expected of him.”
FILM
A Reunion for Murray + Anderson
She experienced the same struggle most actors do when she was starting out. “It was a struggle in the beginning. I was that typical starving artist in New York
By Casey Mink
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Want to hear more from Martin-Green? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
FREQUENT COLLABORATORS BILL Murray and Wes Anderson will again join forces for the latter’s upcoming feature, which is slated to begin production this August in Spain. Murray has starred in nine of Anderson’s films to date, including “The Grand Budapest Hotel,” “The Royal Tenenbaums,” and most recently, “The French Dispatch,” which just had its world premiere at the Cannes Film Festival. Beyond production location and a tentative start date, details of the project—including its title—are not yet known.
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COURTESY WARNER BROS. PICTURES
WHEN “THE WALKING DEAD” and “Star Trek: Discovery” star Sonequa Martin-Green first got the call to join “Space Jam: A New Legacy,” she was hesitant. But after reading the script and completing her screen test with NBA legend LeBron James, she was sold. Managing editor Benjamin Lindsay sat down with the acclaimed performer to talk about how she got to this point in her career, her advice for fellow actors, and more.
She doesn’t take inspiration from her daily life for her acting process. “I really prize my imagination; I don’t use my own life at all. It’s only the story on the page.
Both professional and internal training are essential to becoming a strong actor. “It’s important to see all the aspects of training to open your mind to what training can be. It’s not just a theater degree; you have to dedicate yourself to it in the beginning and all throughout your career. Everywhere you go, you need to be learning. There’s a certain amount of training you need to go through internally, as well, because the person you are is the actor you are. I’ve realized that in such a big way the older I get. Whatever your flaws are as a person will be reflected in your acting. You have to develop yourself to be of greater service.”
AMDA CONGRATULATES our Emmy-nominated alumni ANTHONY RAMOS (Hamilton) and MADELINE BREWER (The Handmaid’s Tale)
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Jen Statsky, “Hacks” co-creator By Elyse Roth
Hannah Einbinder and Jean Smart on “Hacks”
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accolades and have a more seamless career path. We realized we were really interested in telling that woman’s story.” That woman became Deborah Vance, a Joan Rivers–level comedian (played by Jean Smart, who’s been nominated for an Emmy for the role) whom “Hacks” introduces just as her career is beginning to sundown. At the same time, an upcoming comedy writer, Ava Daniels (played by newcomer Hannah Einbinder, who’s also received an Emmy nod), has recently been blacklisted from Hollywood after posting a controversial tweet. Their shared manager (played by series co-creator Downs) pairs them
“Comedy is about finding the other people that make you laugh.”
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up in a Hail Mary to save both their careers. Among the themes of the show, collaboration, as well as the need for others to stay afloat, is threaded throughout. Appropriately, that’s how the show came into existence over the course of about five years. “We have this very long email chain with the subject line that’s something like ‘Jokes,’ ” Statsky says. “We’d just send each other ideas for various projects, mostly ‘Hacks.’ When we finally were all creatively and professionally in a place where we felt ready to go take it out, we took it out. Luckily, HBO Max and Universal were incredible partners and got it.” Although they were building the show around a comedian, it became more than a comedy. “We knew we wanted it to be
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ANNE MARIE FOX/HBO MAX
LIKE MANY GREAT FILMS and TV shows before it, “Hacks” started with a road trip. At least, that’s where the idea for the series—which concluded its first season in June and has been nominated for a best comedy series Emmy Award—began. “[Paul W. Downs, Lucia Aniello, and I] were on this road trip to shoot at a monster truck rally. The idea for ‘Hacks’ was born out of a monster truck rally,” co-creator Jen Statsky tells Backstage. “We started talking about female standups and entertainers and women in the arts in general. We talked about how they’ve had to fight against so much and keep their heads down and pound the pavement and fight for their careers, whereas their male counterparts are much more easily given
really funny, but also really grounded and dramatic at moments. We knew whoever was playing this part would have to embody that tone,” Statsky remembers. This made casting particularly tricky. “When you start making a list of actors who can be both so funny and so dramatic, so grounded, so real, it’s not a super long list.” It’s no surprise that triedand-true talent Smart—who was simultaneously starring on “Mare of Easttown,” also on HBO, as “Hacks” was airing— was their first choice. But to find an upstart to play opposite her proved more of a challenge. “It’s this incredibly exciting moment, but also incredibly scary, because you’re like, [Who can you get] to play opposite Jean Smart? Crap. Should we have cast someone not as good?” After a casting process done almost entirely on Zoom, the team still felt it was essential to find a way for Smart to meet with potential Avas in the flesh—including Einbinder. “As we moved through the process of callbacks and then testing with Jean, their chemistry was palpable, which is insane, because they were seated, I think, 15 feet apart from each other with a plastic divider between them,” Statsky says of the pair’s first meeting. If you’re eyeing Statsky’s career (which includes writing positions on hits like “Parks and Recreation,” “Broad City,” and “The Good Place”) as one you’d like to emulate, you’re going to have to learn to work with a team. “Comedy is about finding the other people that make you laugh, because they make you better and you make them better,” she suggests. “If you want to work in comedy, find the people who make you laugh and the people that you make laugh, and just lean on each other.”
ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE HANDMAID’S TALE”: SOPHIE GIRAUD/HULU
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THE ESSENTIALISTS
STUART BIDDLECOMBE + ADAM TAYLOR
To Be a Better Actor, Grab Your Remote
cinematographer and composer
ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE HANDMAID’S TALE”: SOPHIE GIRAUD/HULU
By Marci Liroff
WE’RE LIVING THROUGH THE most prolific time in television history. Just 10 years ago, a “name” actor wouldn’t even consider guest starring on a TV show, much less starring on a series. These days, you see big movie stars with television production companies developing, starring in, producing, and sometimes directing series. With streaming TV platforms releasing a steady flow of content, we’re being flooded with phenomenal shows like “Hacks,” “Mare of Easttown,” and “The Handmaid’s Tale,” to name just a few. Each episode has the quality (and budget!) of a feature film. To be a fully informed and prepared actor, you’ve got to watch a few episodes of everything out there. The other night, despite trying to keep up with all the great shows, I thought I’d wander back to movies—not just new films, but classics. I
ANNE MARIE FOX/HBO MAX
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was pleasantly surprised to find “Broadcast News.” This film was written, produced, and directed by the genius James L. Brooks. Many folks aren’t aware that Brooks also wrote, produced, directed, or created some of our most iconic TV shows, including “The Simpsons,” “Taxi,” “Lou Grant,” “Rhoda,” and “The Mary Tyler Moore Show,” and also directed many well-known TV pilots. Watching “Broadcast News” again confirmed my belief that actors need to immerse themselves in iconic movies for research. Directors, bless them, don’t always know how to articulate in “actor speak,” but they know exactly where to put the camera. These directors tend to rely instead on film references. If you were having trouble with a scene and the director said, “It’s like the camaraderie that Holly Hunter and Albert Brooks have as coworkers
Hulu’s Emmy-winning “The Handmaid’s Tale,” set in a dystopian, fundamentalist society, has captivated audiences since its 2017 premiere. While gruesome, the series is aesthetically stunning, which poses an exciting—though challenging—juxtaposition for its creative team to tackle, including cinematographer STUART BIDDLECOMBE and composer ADAM TAYLOR.
beauty. On the flip side of that, we never draw attention to ourselves. That’s never our intention. The story should always come first, and we’re incredibly lucky to have such incredible scripts in every episode. It’s not my job to try and beat that. I always let the story do the talking; the story does that for me. The story is so good; I don’t have to do a lot. I just photograph what’s in front of me.”
That gory-gorgeous contrast is intentional. STUART BIDDLECOMBE: “We intentionally make it very beautiful. It is part of our plan to show that contrast and juxtapose the horror, but also the
The musical journey is June’s journey. ADAM TAYLOR: “As the story has been progressing, my main feedback from [creator and showrunner Bruce Miller] was always just to be with
and best friends,” would you know what they are getting at? Unless you’ve seen “Broadcast News,” you won’t get what the director is trying to draw out of your performance. Not only should you be seeing every iconic film you can find, you should also be reading books about both acting and filmmaking. I just finished a brilliant book called “The Big Goodbye” by Sam Wasson, which chronicles the making of the film “Chinatown.” Not only does it break down the behindthe-scenes journey of how the film came to fruition, but it also teaches you some cinematic history. As an actor, you should be watching this movie and taking notes to analyze how still these actors’ performances are. There are no major action sequences, no snappy dialogue—just extremely centered and rich performances that hold our attention on the screen. Tastes and trends in film may have changed, but the classics should
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By Liza Rash
[protagonist] June and score where June is and what she’s feeling, what she’s seeing. It’s always the approach of what’s going on with June, and having access to [star and executive producer] Elisabeth Moss while they’re filming, or even after. She’s involved in the music-spotting sessions, where we watch the episode and discuss where we want music and what we want music to enhance.”
still be part of your frame of reference. In the 1970s, films like “Midnight Cowboy,” “The Godfather” and its sequel, “Heaven Can Wait,” “Jaws,” and “Star Wars” debuted and changed film history. These films redefined the modern blockbuster, and what we’d call small stories back then are now called indie films. It took decades for the pendulum to swing back to “people” stories like “Nomadland,” “Minari,” and “Sound of Metal.” I’ve prepared a list of must-see films that should be in every actor’s arsenal. Start doing your homework, and check out my blog at marciliroff.com to read my post entitled “My Must-See Films 1960–1990s.”
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Secret Agent Man
No, Really, Please Don’t
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heard on the radio that aliens landed in the Hollywood Bowl. That has to be a joke, right?” See the difference? (By the way, that’s a real line. An actor actually said that. It made me laugh, and laughter releases endorphins. So that was a positive way to kick off a meeting!) You should also hold back any comments that might offend someone. I remember one actor who came in complaining that he was late because all the damn homeless people in his neighborhood were blocking his driveway. Well, I’m sure that was frustrating, but I volunteer at a rescue mission in Los
It’s a funny thing—actors without representation are constantly trying to get a meeting with someone like me, but they rarely know how to behave when they’re actually in my office.
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#IGOTCAST. Delano Foster
By Jalen Michael Young actor DELANO FOSTER doesn’t waste time when it comes to his burgeoning career. And with Backstage on his side, gaining experience is all the more possible. Take your time and enjoy the ride. “I’d just say to keep looking, and give it some time. The more you look for projects that are just right for you, the more you get. Also, have fun with whatever you audition for!” Find what you need—with ease—on Backstage. “I found these [recent] projects through Backstage and was ecstatic about it! I just love this platform. It’s super easy and simple to navigate and use. Plus, there’s a lot of work for me on Backstage. [I typically look for] commercials, TV shows, internet projects, and films.” Open doors and connect with your community. “My advice would be to take acting classes, either at school or anywhere else. You can actually find [representation] through some classes. I’ve built multiple relationships with casting directors and actors that I have worked with.”
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; FOSTER: LORENA JIMENEZ
SLOWLY BUT SURELY, agents are making their way back to the office. This means that soon enough, we’ll be meeting potential clients in person. Boy, that sounds like a refreshing break from Zoom! And I guess I’ll have to start wearing pants. It’s a funny thing—actors without representation are constantly trying to get a meeting with someone like me, but they rarely know how to behave when they’re actually in my office. So let’s take a look back as a way of moving forward. After all, you may find yourself in this position one day soon. To begin with, I don’t like social scripts. They’re mindless. “Hi, how are you?” “I’m good. How are you?” “I’m good.” What did that exchange accomplish? Nothing. So instead of making an empty first impression, kick off your encounter with a short, strong, and surprising opening. “I just
Angeles, so that little show of heartlessness torpedoed any chance he had of getting signed. Watching your mouth also applies to politics. Don’t just assume the reps you’re meeting are on the same page as you. They might not be—so please keep the Trump and Biden jokes to yourself. Now, let’s shift away from talking. The European Journal of Social Psychology explains that nonverbal signals are 12.5 times more powerful than our words. That’s a big part of how the FBI catches criminals: by studying their body language. Agents do the same thing. It’s best if you don’t sit there with your shoulders rolled forward, because it makes you look weak. Constantly shifting in your seat makes me think you’re nervous. And don’t cross your arms; that makes you seem defensive, like you’re trying to hide something. Eye contact is also important. Not enough makes you look insecure. Too much is creepy. So, how much is right? Well, it’s like knowing how much vermouth goes in a martini: It’s all about balance. Also keep in mind the unconscious things that could distract me from what really matters: you. You know what’s really annoying? An actor who cracks their knuckles during a meeting. I would prefer a fart— at least that’s natural. There’s absolutely no reason to create a series of popping sounds by yanking on your fingers when you’re trying to get signed. I’ve also had actors create noisy distractions by playing with their bracelets and assorted jewelry. It might be a nervous tic, but it’s such a bad idea. Please don’t wear this stuff if you can’t control yourself. First impressions are everything in this business. During an agent meeting, you have about 30 minutes to make a good one. Don’t waste that precious time by giving me reasons not to sign you.
RAQUEL APARICIO
h you.”
culture +
culture +
Spotlighting the people and projects you need to know In the Room With
Ellen Lewis
Martin Scorsese and Steven Spielberg’s go-to CD shares how she cast chess champions on Netflix’s “The Queen’s Gambit” By Elyse Roth characters. We knew from the first episode that we were going to be casting at least one younger actress to play a younger age. Then we were looking at two ages, the very young girl, and then, of course, the 13- to 14-year-old [Beth]. When you’re trying to make a match, we need to be thorough in the approach. We put out a breakdown and sat with an image of Anya. We got so lucky. Isla Johnston was British, and then the tiniest girl, [Annabeth Kelly,] is from Texas. How does the period factor into your casting process? A lot of casting is intuition. If somebody feels incredibly contemporary, you know that right away, and then know that somebody is not right.
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; FOSTER: LORENA JIMENEZ
ELLEN LEWIS’S EXTENSIVE WORK WITH LEGENDARY FILMMAKers like Martin Scorsese and Steven Spielberg has established her as one of the most prominent casting directors working today. Yet when it comes to choosing projects, Lewis seeks out stories in new worlds to fill out with actors from all over the globe. This was true of her work on “The Queen’s Gambit,” the Netflix limited series that shot to No. 1 worldwide on the streamer and created a newfound interest in chess among its audience. Lewis collaborated again with “Godless” creator Scott Frank to populate the 1960s city-hopping life of chess prodigy Beth Harmon. And she didn’t do it alone. When production moved to Berlin, she began working with British CD Olivia ScottWebb and a team in Berlin to assemble an international cast to tell a story that resonated with millions. Lewis shares her process with Backstage and explains why actors can find fulfilling work wherever they live. Describe the casting process for “The Queen’s Gambit.” Anya [Taylor-Joy] wasn’t attached, and this is an age group where there are amazing actresses. I had met Anya early on, after she had done “The Witch.” She came to New
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York, and she left a pretty vivid impression. We had a list of women in this age group, but Scott watched “Thoroughbreds” and loved Anya, and he went to London to meet her, and she became the first person that we had. I had also made Scott
aware of Bill Camp when we were doing “Godless.” Almost from the get-go, he knew that he wanted Bill for Mr. Shaibel. Mr. Shaibel was written into the first episode but was not in future episodes, and it developed so he does appear in other episodes, because of his amazing spirit. I shared this casting with my casting partner and associate Kate Sprance, and originally, the series was going to be shooting in and around New York and possibly Canada. When they decided to move to Berlin, I knew that we needed a third casting director; we would need somebody in London. And that’s when we brought in Olivia Scott-Webb. Talk a little more about casting the past and present of the
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Where do you like to look for new talent? We live in New York, where our theater community is so rich, and between Off-Broadway and so many of the theaters, and now there’s so much content on TV, I think we’re all looking at all of these shows to learn new talent from there. I’m reaching into all sorts of different worlds. There’s talent everywhere. It is really important for a casting director to be curious about humans and to be curious about whatever world it is you’re looking to create, and to reference films and photographs. I find casting so interesting and challenging and fulfilling.
Want more?
Read the full interview at backstage.com/magazine
07.29.21 BACKSTAGE
BACKSTAGE 04.02.20
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backstage.com
Finding Refuge From facing down her own trauma to the trauma of a nation, “The Underground Railroad” had Thuso Mbedu digging deeper than ever—to startling results By C. Taylor Henderson Photographed by Gari Askew II
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THUSO MBEDU’S EYES SPEAK THEIR OWN language in the opening shot of Amazon Prime Video’s “The Underground Railroad.” She stands still, silent at the lip of a lake, and flicks her head over her shoulder. Her gaze peers deep into the camera, aiming a million heartbreaks and an endless well of sadness like daggers directly at the viewer. “The first and last thing my momma gave me was apologies,” her character, Cora, says in a voiceover. If eyes are the windows to the soul, hers is a tortured one. Just a few days before her 30th birthday, Mbedu’s demeanor on our video call is nothing like Cora’s. She recalls that scene as a spur-of-the-moment shot from director and showrunner Barry Jenkins. “That wasn’t even planned,” she says. “Barry came there on the day, and he was like, ‘Oh, steal this moment!’ It became the opening of the show. He’s brilliant.” She sits comfortably, giant framed images from “The Underground Railroad” hanging on the wall behind her. Jenkins, whose previous work includes “If Beale Street Could Talk” and 2017 best picture Oscar winner “Moonlight,” is known for capturing Black faces with startling tenderness, an all-too-rare phenomenon in Hollywood. Mbedu, a trained theater actor, fit perfectly into his world. Mbedu began acting on a whim. At 16 years old, she had to choose an elective for school, and drama felt like the “more relaxing subject” compared with her other options in 07.29.21 BACKSTAGE
accounting and fine arts. She didn’t expect to fall in love with it. “Getting the opportunity to devise work—you know, create work from scratch—to write, to direct, to produce, helped me escape the reality of my everyday life.” Mbedu grew up in the borough of Pelham in Pietermaritzburg, the capital of the KwaZulu-Natal province in South Africa. Both her parents died when she was young, and she was raised by her grandmother. “It was me and my sister,” she says. “Sometimes, you wouldn’t have food. My best friend from school would bring food for me. It wasn’t the best of upbringings.” Acting was her refuge. “Having grown up as an introverted child who really enjoyed reading books, drama took it a step further, where I could perform these realities that I used to see in books.” In 10th grade, Mbedu performed an original poem onstage, and it moved some audience members to tears. “After performing that, I had grown-ups come up to me just, like, crying and bawling and saying, ‘Thank you for hearing me; thank you for being my voice. You have articulated something in me that I didn’t know how to articulate.’ It was in that moment where I was like: This drama thing is bigger than me. It’s bigger than anything I understand.” Despite her grandmother’s wish for her to devote her inherited smarts to the medical world, Mbedu knew acting was the path for her. “I told my grandmother that I would be paying for my tuition in university, so I’m going to pay to do what I want to do, not something I’m not even going to enjoy.” Initially, she wanted to direct, but in her years at the University of the Witwatersrand, she was “exposed to a whole different world. There was this thing called physical theater, which is almost like contemporary dance, that was completely foreign to me. I’d never danced in my life before that, but our lecturer saw something in me, and he was like, ‘You have to continue on with this.’ ” Through that program, she was “able to get a scholarship for an equity exchange program that my university used to have with NYU. Through NYU, I went to [the] Stella Adler [Studio of Acting] for their summer acting program, which was specifically for physical theater. If I hadn’t done physical theater at all, I never would have qualified for that scholarship.” Through its incorporation of musical, dance, and fine arts elements, physical theater taught Mbedu to pay attention to the smallest of details regarding her face and body. When she’s performing, she’ll ask herself, “What is your toe doing at this moment? Is it your toe, or is it the character’s toe?” “These are things that I apply even today. And they are things that I picked up at Stella Adler,” she says. “I can confidently say that the lessons that I learned there, I still apply in my performances now.” It’s a technique seen in her breakout screen performances from 2015–2017 as Kitso
on South African soap opera “Scandal!” and in her leading role as Winnie on “Is’Thunzi”; for the latter, she received two nominations for best performance by an actress at the International Emmy Awards. Her “Underground Railroad” audition came in 2018, and Mbedu didn’t think she had a chance. “I don’t have the accent,” she told herself at the time. “But perform, give it your all, and just hope that you will be in the archives, or you will be in the back of the minds of the casting director for other productions that they have coming up.” After weeks of acting preparation, a deep dive into Colson Whitehead’s Pulitzer Prize–winning source material and her own research, and two callbacks, she was in the room with Jenkins. “I pride myself [on] being directable,” Mbedu says of the experience. “You do the preparation, but be open to being directed. So with Barry and the test shoot, he was in the room, and we had four scenes, but we did them over and over in different ways. He’d give notes here, notes there. And at some point, he looked at me, and he’s like, ‘I’m not giving you notes and making you do it over again because you’re not giving me what I want; I just want to see your range.’ ” Cora was hers. To prepare for the limited series (which recently garnered seven Emmy nominations), Mbedu overprepared. She remembers reading the book five times by the end of filming, and she listened to hours of testimonials to hear the unvarnished stories they were bringing to the screen for the first time. “What I knew of the enslaved body in America is the little that they tell us in schools, and which they quickly glaze past,” she says. “And then it’s what Hollywood has produced and shown us.” The world of “The Underground Railroad” was something new. Language was the biggest piece, which she connected to some folks back in her home of South Africa. “Whenever we watch stories of the enslaved people, they speak a very fluent English; it just flows. Listening to the audio and reading the testimonials, it was really, really broken English that sometimes did not make sense to me.” Eventually, it “got to a point where I said to Barry, ‘How do we stay true to the characters and the essence of who they are without completely going all the way to the point where we would need subtitles to tell the story?’ ” She incorporated that history into her acting through voice movement therapy. “It helps you track trauma and tell the story of who you are through your vocal journey. There are certain things, as you’re growing up, that affect your voice because of life experiences. With Cora, that became really, really important to me. She’s someone who was abandoned by her mother. She was also gang raped on the plantation. The same people who gang raped her then spread rumors and lies about her, saying that she sleeps with animals, she howls at the moon, she’s a strange person. She was ostracized within backstage.com
her own community. We see that whatever chaos, whatever trauma, whatever it is that she has experienced is entirely within her. She is isolated—constantly within herself. Whatever world she imagines, she has to keep within herself. And so, for me, it became important to highlight and track what she sounds like when she does eventually open her mouth. What does that chaos and trauma and that life experience sound like for
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someone who is constantly quiet? She is not one who sounds like the rest of her community, because she does not interact with her community as often as everybody else interacts and connects with each other.” As a Black woman, Mbedu says just existing in her own body connects her to Cora. The series dedicated itself to exploring the “direct parallels between what happened in the 1800s and life today,” but 07.29.21 BACKSTAGE
there’s still an even deeper history that connects the actor to this character. “Cora and I were orphaned at a young age,” she reflects. “I lost my mother at the age of 4. When it happened, I didn’t understand what was happening. One day, my mother was here. The next, she was in a casket, and I was telling her to wake up, but she didn’t wake up. Whereas with Cora, she woke up one day, and her mother was just gone. There were no goodbyes. And, you know, life changed after that. I then went on to lose a number of people in my life. Mentally, I resolved to keep people at a distance because I was like: People leave.” It was originally Jenkins who opened Mbedu’s eyes to these parallels. Through conversations with him, she was able to harness that power in her performance, which she ultimately found to be healing. “With me and
Cora and I were orphaned at a young age…. With me and [my character], going through what she went through, I held those parts in me as well, where it’s like: You don’t have to live like this. You don’t have to keep people at arm’s length. You don’t have to die inside alone.
Cora, going through what she went through, I kind of held those parts in me as well, where it’s like: You don’t have to live like this. You don’t have to keep people at arm’s length. You don’t have to die inside alone.” It was one of many components of the project that took her by surprise. Preparation is always key prior to filming, but on set, like in the audition room, Mbedu is “just throwing all of it away. I don’t come into the moment with preconceived notions; I allow the character to just breathe, and [I also trust] fully in Barry, who showed me at the test shoot that he can get what he needs from me in any way; there’s no need for me to resist him. He told me at the very beginning that he BACKSTAGE 07.29.21
doesn’t direct the first take; he lets you make an offer, and then he guides you from there. There was a freedom in that where I can play; I can let the character fully realize itself without me having to have the right answers, because Barry will guide me from that.” As Mbedu noted in regards to her own limited education of “the enslaved body in America,” slave stories have circulated around Hollywood for decades. And many people, Black folks included, have expressed exhaustion with rehashings of this deep trauma for what appears to be white audiences and awards shows. However, “The Underground Railroad” hits differently from that very first frame. It doesn’t feel like the
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stories that came before it, perhaps because the gaze behind the camera is one of understanding—it’s Black, and it chooses to focus on the humanity of its characters rather than just the horrific acts inflicted upon them. It’s a brutal depiction and a heartbreaking story, but in the end, one Mbedu believes is necessary to share today. “[By] daring to tell people to stop telling [these] stories, we’re essentially erasing the past, and we are giving those who have the confidence and the boldness to tell us to get over it because it happened such a long time ago ammunition,” she says. “We cannot stop telling these stories, because not enough people know.” backstage.com
Best of the Fest Our inaugural BackstageFest this past spring featured several future Emmy nominees; here’s what they had to say
By Backstage Staff WE AT BACKSTAGE DON’T WANT TO TAKE SOLE CREDIT FOR THE 2021 Emmy nominations of the following artists, but at the first-ever BackstageFest—our virtual celebration of the year’s best and buzziest TV—the reasons for their Television Academy recognition became clear. From Barry Jenkins’ filmmaking advice to how to get cast on “RuPaul’s Drag Race,” below are just a few snippets from the illuminating, in-depth interviews that distinguished the three-day event. If you’re looking to break into any area of the TV industry, read on for key insights and advice that could score you an Emmy nomination of your own! Lucia Aniello ”Hacks” Co-Creator “I want to hire you for what your skills are. Tell me what you think you’re good at or why your life experience is applicable to the story. Unfortunately, you are selling yourself and your experience and your strengths. I don’t mind when people tell me why I should be hiring them. I’m
excited, because I’m like, ‘Great, now I know why I should be hiring you,’ instead of making me think about why you should be right for the room.”
Ashley Nicole Black
”A Black Lady Sketch Show” Writer-Actor
“I usually start all of my ideas— whether it’s a character or a
location or whatever the idea for the sketch is—it’s always something that’s happening in real life. I have a friend in real life who is the biggest hype woman in the world…. That is really a trait of Black women—that we’re so supportive and hyping of each other. So I was saying this in the room, and one of the other writers said, ‘We do that too much! The other day, my friend lost her job and my other friend said, “Come on, unemployed!” ‘ That took it from an idea of a person to a character.”
Kathryn Hahn
”WandaVision” Actor “All you really need is in the script…. Especially in my younger
years, sometimes I would get on the set and start tap dancing my heart out just to please the director, make the crew laugh. But I would get outside myself. I would forget who I was in that scene. The older I got, the more I realized that it is so imperative to hold onto that. That’s everything: the ‘who you are,’ the given circumstances.”
Barry Jenkins
”The Underground Railroad” Director-Showrunner
“I just try to stay curious. I still program short films…. Watching some of these shorts every year is always some of the most interesting work I do, because it is work being made by kids who have gone from skateboarding at the park to now going to film school, and now they want to make these short films. Aesthetically, [the films] aren’t driven by the commerciality of this or the formative norms of that. And then I’m also just trying to keep tabs on what’s happening in the world beyond film. ‘The Underground Railroad’ looks the way it does because of the last four years; I’ve just sort of been trying to reimmerse myself in Black fine art.”
Marc Pilcher
”Bridgerton” Hair and Makeup Designer
“I like to decide how I can convey the personalities of each character through hair and makeup to tell a journey. Just from ideas, not just from books or paintings of the time, but also from my knowledge of films. I grew up watching Hollywood movies and musicals, and [I think about] how to kind of [inject] those elements from things like that into it.”
CHUCK ZLOTNICK
Michelle Visage
”RuPaul’s Drag Race” Producer “I don’t like only one type of drag. I like weird freaky club kid drag, musical theater drag, pageant drag, spooky drag—you name it. Before I’m a judge, I’m a huge drag fan, which is why I’m sitting in this position. I grew up around it; I was weaned off the cotton teats of drag queens. All of it is relevant. All of it matters…. Versatility is key.”
Kathryn Hahn on “WandaVision”
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07.29.21 BACKSTAGE
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Chorus Calls ‘South Pacific’
• Seeking Equity performers for the cho-
rus of “South Pacific.” Synopsis: South Pacific follows the lives of U.S. military men, nurses and residents of a Polynesian island during World War II, based on James Michener’s “Tales of the South Pacific” and featuring a score by Rodgers and Hammerstein. • Company: Plaza Theatrical
Productions, Inc. Staff: Richard Rodgers, music; Oscar Hammerstein II, lyrics; Joshua Logan, Oscar Hammerstein II, book; Kevin Harrington, dir.; Merete Muenter, choreo.; Alex Harrington, music dir.; Jamibeth Margolis, CSA, casting dir.; Kevin Harrington (Plaza AEA Productions), exec. prod.; Bruce Rebold (Plaza AEA Productions), artistic dir. • Rehearses Sept. 20-Oct. 1; runs Oct.
2-24 in Lynbrook, NY. Rehearsal Venue: NYC Rehearsal Studio Rehearsal/ Performance Venue: Plaza Theatricals at Elmont Memorial Library Theatre, Elmont, NY (Long Island – a 30 minute Long Island Railroad Train Ride). • Seeking—Equity Singers And Dancers:
18+, performers of all ethnicities, races and gender identities to play Stewpot, Abner, Professor, Henry, Sailors, Nurses, Islanders, Officers, Sailors, Marines, Seabees and Soldiers.
• Seeking submissions from NY. • Singers: Sing 16 bars of your choice from
the traditional musical theater repertoire with your own accompaniment. Show off voice and range. State your name and the title of your song at the top of the video. As an alternative to singing a song of your choice, you may sing an excerpt from “South Pacific.” Sheet music, teaching tracks, and accompaniment tracks are accessible at https://www.dropbox. com/sh/o1ucpzguprffxr2/ AAAkziWGAFNX8JukTsAv08tEa?dl=0. Dancers: The following link contains a teaching video for the dance combination https://www.dropbox.com/sh/ o1ucpzguprffxr2/ AAAkziWGAFNX8JukTsAv08tEa?dl=0. Record yourself dancing the combina-
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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. tion. Wear proper character shoes with a heel or sneakers/jazz shoes. If you are using an iPhone to record, be sure to film horizontally and in a well-lit space. For consideration, submit the video, along with your photo/resume attached as a pdf in Vimeo or unlisted YouTube format to casting.plazaAEA@gmail.com with “Your full name and the role for which you’d like to be considered” in the subject line.
Casting picks of the week BY LISA HAMIL
stage
‘Angels in America’ Take a surreal journey in Long Beach, CA
• For more info visit https://broadway-
longisland.com.
• Salary: Pending Negotiations (plus LIRR
railroad travel expenses and Uber transportation to/from local station and theatre.) Equity LOA Agreement.
tv
‘The Time Traveler’s Wife’ Go back to the future in this NY shot HBO series
Student Films
musical
‘Language’
‘9 to 5’ Make a living in this NC Equity production
• Casting”Language.” Synopsis: A young
girl who recently moved to the U.S. from China tries to connect with others through language and fails, but through music, she makes a connection with her neighbor.
chorus calls
‘South Pacific’ Become a cockeyed optimist in Lynbrook, NY
• Company: Reel Teen Stories Inc. Staff:
Melissa Yiu, writer-dir.
• Shoots July 31 & Aug. 1. • Seeking—Jackie: female, 40-50, Asian,
a new immigrant woman who insisted on her and her daughter leaving Hong Kong to America for a new life; she thought moving would help her daughter, Jennifer, because she knows how hard it is to be a musician in Hong Kong; she knows about Jennifer’s alienation and insecurity and tries to help her out with the uncomfortable moments of settling in a foreign land.
theme parks & attractions
‘The Polar Express Train Ride’ Oklahoma 2021 Delight children at the Oklahoma Railway Museum in OKC
Scripted TV & Video ‘Sabra Stories’
• Casting “Sabra Stories,” a comedy web
series about young Israelis in NYC.
• Company: Blue Carioca Film. Staff:
Steve Becker, prod.
• Scheduled to shoot in late September
in NYC.
• Seeking—Deena: female, 21-30, Middle
Eastern, White / European Descent, fit, ex-military, works as a teacher in NYC. Smart, driven, and absentminded. Zaya: female, 21-30, Middle Eastern, White / European Descent, athletic, ex-military, works as a personal trainer. Bohemian, quirky, and fanatical. Kaplan: male, 25-35, Middle Eastern, White / European Descent, ex-commanding officer, big, and muscular. Works in security. Elan: male, 22-30, Ethnically Ambiguous / Multiracial, Middle Eastern, White / European Descent, exmilitary, works in fashion. Aims to be a model. Artsy, self-involved, and snarky. • Seeking submissions from NY and NJ. • Send submissions to BlueCariocaFilm@
gmail.com.
• With COVID restrictions constantly
changing, first round of auditions might be via Skype/Zoom. • Pays $100/day per SAG-AFTRA New
Media Agreement, with bump up to full SAG wage if picked up for national distribution.
‘The Time Traveler’s Wife’
• Casting actors for background work on
“The Time Traveler’s Wife.”
• Company: Grant Wilfley Casting. Staff:
Emily GWC, casting asosc.
• Seeking submissions from NY and NJ. • Send submissions to freireramirez@
mature for her age (22). She is studying law, and dresses like she is 45 years old. All of her boldness stems from insecurity/jealousy. Violet: female, 18-28, all ethnicities, anxious, soft-spoken, naive, and artsy. Her fear stems from selfdoubt and manifests less in outward jealousy and more in inward resentment. She is “almost 19.” Josh: male, 18-30, all ethnicities, stereotypical male manipulator. Gets off on control. Loves to date younger women (he is 24). Lots of red flags.
gmail.com.
• Pay provided. Transportation, meal,
and copy of final film will be provided. Producer plans to apply for a SAGAFTRA Micro Budget Agreement.
‘Spit Sisters’
• Casting “Spit Sisters.” Logline: When
two young women find out they are dating the same man, they decide to get revenge, and grow closer in the process. • Company: NYU. Staff: Juliet Adelman,
NYU film student.
• Seeking submissions from NY. • Send submissions to adelmj01@nyu.
NYC.
• Travel and meals provided as well as
edu.
• Shoots towards the end of August in
access to the footage for reel purposes.
• Seeking—Rachel: female, 18-28, all
ethnicities, blunt, unfiltered, and
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• COVID test Aug. 6; shoots Aug. 9 in the
NYC area. Possible fitting on date TBD. • Seeking—SAG-AFTRA/Nonunion to
Portray 2008 Real Visibly Pregnant Women Shopping: female, 18-45, featured 2008 pregnant women shopping. Specifically seeking women who are pregnant in real life and are visibly pregnant. This will be Interior work filming in NYC area. • Seeking submissions from NY. • Apply on Backstage.com. • Do not submit if you have already
worked.
• SAG-AFTRA background rate $182/8
hrs.
‘The Time Traveler’s Wife’
• Casting background actor for the show
“The Time Traveler’s Wife.”
backstage.com
California casting
• Company: Grant Wilfley Casting. Staff:
Emily GWC, casting assoc.
• Covid Test Aug. 4; shoots Aug. 5-6 in
the NYC area. Shooting interior/exterior in NYC area. • Seeking—Caucaisan Girl 4’3-4’6” With
Auburn/Brown Hair, Ages 8-10, Photo Double: female, 7-10, White / European Descent, seeking SAG-AFTRA & NonUnion Caucasian girl, ages 8-10 with auburn/brown hair, height 4’3”-4’6” to photo double.
• Note: Guardians must get COVID Tested
also. Minors must have a valid NY Child performer work permit and trust account; must follow studio COVID protocols when working; note child’s age, height, and if they have a valid work permit and trust. • Seeking submissions from NY and NJ. • Apply on Backstage.com. • Pays SAG photo double rate, $214/8hrs.
Stage Staff & Tech ‘South Pacific’
• Seeking Equity Stage manager and assis-
tant stage manager for “South Pacific.”
• Company: Plaza Theatrical Productions,
Inc. Staff: Plaza AEA Productions, Inc., prod.; Richard Rodgers, music; Oscar Hammerstein II, lyrics; Joshua Logan, Oscar Hammerstein II, book; Kevin Harrington, dir.; Merete Muenter, choreo.; Alex Harrington, music dir.; Jamibeth Margolis, CSA, casting dir.; Kevin Harrington (Plaza AEA Productions), exec. prod.; Bruce Rebold (Plaza AEA Productions), artistic dir. • Rehearses Sept. 20-Oct. 1; runs Oct.
2-24 in Lynbrook, NY.
• Seeking—Equity Stage Manager: 18+. • Seeking submissions from NY. • For consideration, submit resume to
staff.plazaaea@gmail.com. Submissions deadline is Aug. 2. Plaza is an Equal Opportunity Employer dedicated to building a culturally diverse and equitable environment. Plaza does not discriminate in matters of employment, recruitment, admission or administration of any of its programs on the basis of race, color, creed, religion, sexual orientation, national or ethnic origin, disability, gender, gender identity, gender expression, or genetic information. EOE. • Salary: Pending Negotiations (plus LIRR
railroad travel expenses and Uber transportation to/from local station and theatre.) Equity LOA Agreement.
Southern California Plays ‘Angels in America’
• Casting some roles for the play, “Angels
in America” by Tony Kushner. backstage.com
Feb. 3, 2022; runs Mar. 9-27, 2022), and “In Every Generation” (Todd Salovey, dir.; Ali Viterbi, playwright. Rehearsals begin Apr. 28, 2022; runs May 26-June 19, 2022.).
• Production states: “We had been ready
to go into production in 2020 before the pandemic, and now need to recast some roles as we proceed in 2021. ‘Angels in America’ is a fantastic and sometimes surreal journey through the lives of two couples during the AIDS crisis in 1985-86.”
• Company: San Diego Repertory
Theatre. Staff: Kim Heil, casting dir.
• Season runs in San Diego, CA. • Seeking—Equity Actors: 18+. • Seeking submissions from CA. • Perform two contrasting monologues,
• Company: Long Beach Playhouse. Staff:
Ryan Holihan, dir.; Sean Gray, artistic dir.
no more than three minutes total. Upload your video to YouTube, Vimeo, Dropbox, or other third-party platform; do not send your audition video as a file attachment. For consideration, submit the link to your audition with picture and resume as attachments to kheil@ sdrep.org. Submissions deadline is July 29. All roles will have understudies. San Diego REP is committed to diverse casting. We encourage actors of all ethnicities, actors who are differently-abled, actors who are neuro-diverse, and actors who identify as LGBTQIA+ to audition.
• Read-through Aug. 14 (noon); rehearses
Mon.-Thurs. (7-10 p.m.) and Sat. (11 a.m.-3 p.m.) at Long Beach Playhouse; performs Oct. 2-30 (Fri.-Sat. 8 p.m. and Sun. at 2 p.m.; special performances on Thurs. and Sun. nights may be added for private parties and special events) at Long Beach Playhouse in CA. • Seeking—Joseph Porter Pitt: male,
28-35, White / European Descent, Harper’s husband, Mormon chief clerk for Justice Theodore Wilson of the Federal Court of Appeals, Second Circuit. Actor also plays Prior Walter 1 and Eskimo. Note: Role requires full nudity in Part Two: Perestroika, occurring next year. Harper Ama Ty Pitt: female, 28-35, White / European Descent, Joe’s Mormon wife, an agoraphobic with a mild Valium addiction. Actor also plays Martin. Note: Role requires full nudity in Part Two: Perestroika, occurring next year. Prior Walter: male, 28-35, White / European Descent, Louis’s boyfriend. Occasionally works as a club designer or caterer, otherwise lives very modestly but with great style off of a small trust fund. Actor also plays Man in Park. Note: Role requires full nudity. Louis Ironson: male, 28-35, White / European Descent, Prior’s boyfriend, a Jewish word processor working for the Second Circuit Court of Appeals.
• Pays $739/wk. (LORT D.) Equity LORT
Non-Rep Agreement.
Musicals Old Globe 2021 Winter Season
• Casting Equity actors for the Old Globe
2021 Winter Season. Season includes “Dr. Seuss’s How the Grinch Stole Christmas!” (Donald and Darlene Shiley Stage, Conrad Prebys Theatre Center. Rehearsals begin Oct. 8; runs Nov. 3-Dec. 31) and “Ebenezer Scrooge’s Big San Diego Christmas Show” (Sheryl and Harvey White Theatre, Conrad Prebys Theatre Center. Rehearsals begin Nov. 2; runs Nov. 19-Dec. 26.).
• Auditions will be held Aug. 9 from 7-9
p.m. and Aug. 10 from 7-9 p.m. and from 7-10 p.m. (Callbacks - by invitation only.) (by appt.) at Long Beach Playhouse, 5021 E Anaheim St., Long Beach, CA 90804.
• Company: Old Globe. Staff: Justin
Waldman, Old Globe assoc. artistic dir.; Lamar Perry & Kim Heil, assoc. prod.
• Season runs in San Diego, CA. • Seeking—Equity Actors: 18+, all ethnic-
• Send submissions to sean@lbplay-
house.org.
ities, gender identities, and physical abilities for roles in Dr. Seuss’s “How the Grinch Stole Christmas!” and “Ebenezer Scrooge’s BIG San Diego Christmas Show”; San Diego based performers encouraged to submit.
• Bring headshot and resume. Sides for
cold readings will be provided at the auditions. Bring your vaccination card as written proof of full vaccination to the auditions. Masks will be required at the auditions. Must be 18 or older to audition.
• Seeking submissions from CA. • No phone calls. San Diego based per-
formers encouraged to submit. All auditions will be reviewed if received by July 30. Submit to casting@theoldglobe. org. Tape two contrasting monologues or one monologue and one song. Total audition time should not exceed three minutes. You may use a song of your choice or you may use the accompaniment for the below selections from Grinch: Soprano: https://www.dropbox. com/s/ghiaybxmr2czqeg/Sop%20 Who%20Likes%20Audition.m4a?dl=0; Alto: https://www.dropbox.com/s/ l9i7l57j90gb7va/Alto%20Who%20 Likes%20Audition.m4a?dl=0; Tenor: https://www.dropbox. com/s/5ej3r0087hauevw/Tenor%20 Who%20Likes%20Audition.m4a?dl=0; Bass: https://www.dropbox.com/s/ujaiqs2z0r6xyys/Bass%20Who%20 Likes%20Audition.m4a?dl=0.
• Production states: “The roles of Joseph
and Harper do not require any nudity in Part One. The nudity requirement is only for Part Two which we are doing next year.” • Unpaid.
San Diego Repertory Theatre 2021-2022 Season
• Casting Equity actors for the San Diego
REP 2021-2022 Season. Season includes: “Mother Road” (Sam Woodhouse, dir.; Octavio Solis, playwright. Rehearsals begin Sept. 9; runs Oct. 7-31), “The Curious Incident Of The Dog In The Night-Time” (Todd Salovey, dir.; Mark Haddon, based on the novel by; Simon Stephens, adapted by. Rehearsals begin Dec. 9; runs Jan. 6-30, 2022), “The Great Khan” (Michael Gene Sullivan, playwright. Rehearsals begin
19
• Pays $1,096/wk. (LORT B+). Equity LORT
Non-Rep Agreement.
Student Films ‘Clean Up’
• Casting “Clean Up,” a USC graduate
program short film. Logline: Two small town gangsters bond over the course of a night as they dispose of a body, unaware of the other’s plans to take them out. • Company: USC Graduate Film. Staff:
Timothy Truesdell, Quinten Sansoti dir. • Rehearsals over zoom in the next few
weeks, shooting in mid-August in the Los Angeles, CA area.
• Seeking—Bruiser: male, 30+, all ethnic-
ities, not someone you want to mess with. Gritty. Tattoos? Potentially. Scars? Maybe. Open to whatever, but the name of the game on this character is intimidation. They will be the opening shot of the film and set a tone for the project. Hit-man: male, 25+, all ethnicities, slick, calm, cold, and calculating. This hitman is unphased by what he does and is oddly zen despite his traumatic and despicable line of work. • Seeking submissions from CA. • Send submissions to ttruesde@usc.
edu.
• Gas and meals provided.
‘Sax’
• Casting “Sax,” a short, queer, coming-
of-age student thesis film. Think Netflix’s “The Politician” meets “Whiplash.” Logline: A college alto saxophone musician prepares to audition for a spot in an elite quartet, but things hit a flat note when he discovers his rival also wants the spot. Note: LGBTQ+ actors and actors with saxophone experience are highly encouraged to apply for these roles. • Staff: Andrew Van Heusden, dir.;
Henrietta Biayemi, prod.; John Thompson, prod.
• Potential rehearsals on Zoom in
September. Rehearsals may move inperson in October/November depending on campus COVID-19 protocols. Shoots in November in L.A. • Seeking—Colby: male, 20-25, all eth-
nicities, Colby’s goal is to become a successful traveling musician. He sometimes can be irritating, while hiding his insecurities on the inside. He needs to develop the skill and confidence to impress the other quartet members. Will something get in his way? Keanu: male, 20-25, all ethnicities, though charming and likable, Keanu knows what he wants. He believes he is a trusting person, but others might not agree. Keanu wants to be the newest member of the saxophone quartet. How far will he go to get that role? Will he be honest? Betsy: female, 19-24, all ethnicities, one of Colby’s closest friends and classmate. She understands the music business can be competitive. She wants Colby to be happy at the end of the day. On any given day, she can be that devil on your shoulder, all with “good” intentions. Key Saxophone Musicians: all genders, 18-25, all ethnicities, the elite
07.29.21 BACKSTAGE
casting National/Regional saxophone quartet (a tenor saxophone, soprano saxophone and baritone saxophone) practices every Mon., Weds. and Fri. Despite being exclusive, they are some of the nicest and relaxing people in the music school. People want to be friends with them, especially since they are going places. Provide audio samples if you play the saxophone. • Seeking submissions from CA. • Send submissions to avanheus@lion.
lmu.edu.
• Pays hourly on set. Meal, copy, and
credit provided.
• Seeking submissions from CA. • Apply on Backstage.com. • Include a video in your submission if
Old Globe Winter Season
Chris is thinking of selling their home and using Aalto for the first time. The style will be friendly and conversational, addressing the camera directly.
consideration at the Old Globe 2021 Winter Season. Season includes “Dr. Seuss’s How the Grinch Stole Christmas!” (Donald and Darlene Shiley Stage, Conrad Prebys Theatre Center. Rehearsals begin Oct. 8; runs Nov. 3-Dec. 31) and “Ebenezer Scrooge’s Big San Diego Christmas Show” (Sheryl and Harvey White Theatre, Conrad Prebys Theatre Center. Rehearsals begin Nov. 2; runs Nov. 19-Dec. 26.).
• Company: Thinkmojo. Staff: Ron Small,
dir.-prod.
• Shoots early August in the Bay Area. • Seeking—Chris: all genders, 35-55, all
ethnicities, hero role. Chris is thinking of selling their home and using Aalto for the first time. The style will be friendly and conversational, addressing the camera directly.
• Seeking submissions from CA. • Send submissions to rsmall@thinkmojo.
com.
• Pays $900 for 10 hour day.
‘Rescue Heart’
• Casting “Rescue Heart” book trailer/
promo. “Rescue Heart” is an upcoming book soon to be released and also developing feature film. It is about a beautiful Native American woman “Nina,” running away from her abusive drug dealer boyfriend, and taking with her, his beaten fighting-Dog. Nina and the Dog eventually build an unbreakable bond. They find solace and love with a one-time champion big wave surfer in Ventura County. But, Nina’s past comes back to haunt her, and the only chance for survival will require the three of them to risk their lives for one another, in this tale of hope, trust, redemption and love - “Rescue Heart” • Company: McClure Films. Staff: Tane
McClure, prod.-dir.-editor-writer; Sandy Stenzel, DP. • Shoots Sept. 3 in Ventura County
Beach.
• Seeking—Nina Locklear: female, 18-25,
Indigenous Peoples, lead role; must be Native American; stunningly beautiful, in her early -20s to early-30s. Long dark hair and warm colored skin. She comes from a very poor part of a Navajo Reservation and gets tangled up with a powerful drug and arms dealer and animal abuser. She gains the courage toescape this nightmarish relationship, and develops an incredible bond with the abused dog she rescues. She later falls in love with a handsome California
BACKSTAGE 07.29.21
Plays Lookingglass Theatre 202122 Season
• Seeking video submissions from Equity
actors (including individuals who play instruments and/or sing and/or move well) for various roles in our 2021-2022 Lookingglass Mainstage Season. Season includes “Her Honor Jane Byrne” (J. Nicole Brooks, writer-dir. Runs Oct. 26-Dec. 26); “Lucy and Charlie’s Honeymoon” (Matthew C. Yee, writer; Amanda Dehnert, dir. Runs Jan. 4, 2022Apr. 22); and “Lookingglass Alice” (David Catlin, dir.-adaptation. Runs Apr. 26-Aug. 28, 2022). There will be understudies for all roles; theater anticipates most understudies will be non-Equity.
shoot for the Book Trailer. Flat buy-out pay is negotiable.
‘Aalto’
• Seeking Stage managers for future
• Seeking Equity Stage Managers for the
San Diego REP 2021-2022 Season. Season includes: “Mother Road” (Sam Woodhouse, dir. Rehearsals begin Sept. 9; runs Oct. 7-31), “The Curious Incident Of The Dog In The Night-Time” (Todd Salovey, dir. Rehearsals begin Dec. 9; runs Jan. 6-30, 2022), “The Great Khan” (Rehearsals begin Feb. 3, 2022; runs Mar. 9-27, 2022), and “In Every Generation” (Todd Salovey, dir. Rehearsals begin Apr. 28, 2022; runs May 26-June 19, 2022.). • Company: San Diego Repertory
Theatre.
• Season runs in San Diego, CA. • Seeking—Equity Stage Managers: 18+. • Seeking submissions from CA. • For consideration, submit resume to
kheil@sdrep.org or Kim Heil, San Diego Repertory Theatre, 79 Horton Plaza, San Diego, CA 92101. Submissions deadline is Oct. 12. • Pays $911/wk. (LORT D.) Equity LORT
Non-Rep Agreement.
temporary monologues and submit video to casting@mrt.org with “2021” tagged. Submissions deadline is Aug. 1. • Note: Due to COVID-19 and Social
Distancing Efforts, accepting Video Submission Auditions in lieu of in-person EPAs locally at the theatre and in NYC.
• Merrimack Repertory Theatre does not
believe in discrimination based on color, race, religious affiliation, sexual orientation, disabilities, gender, or otherwise. All performers, including those of color, seniors, women, and performers with disabilities, are encouraged to audition and will be given full consideration. • Pays $739/wk. LORT D Non-Rep
Contract.
Theatre. Staff: April Jones, dir.; Ryan McCurdy, exec. artistic dir.; Jennifer Bishop, managing dir.; Ms. Pamela Zeigler Sears, Professor of Theatre at Armstrong; John Wright, Professor of Technical Theatre at Armstrong & Student Liaison; Lynn Nottage, author; April Jones, dir.; Jennifer Bishop, stage manager.
not take place in person.
• For consideration, submit video audi-
• Pays $1,454/wk. (LORT B+). Equity LORT
• Seeking submissions from MA and NY. • For consideration, prepare two con-
• Season rehearses and performs in
• Seeking—Equity Actors: 18+. • Seeking submissions from IL. • Callbacks for specific roles may or may
• Season runs in San Diego, CA. • Seeking—Equity Stage Managers: 18+. • Seeking submissions from CA. • Resumes may be submitted to for
San Diego Repertory Theatre 2021-2022 Season
Lowell, MA.
‘Sweat’
Chicago, IL.
Waldman, Old Globe assoc. artistic dir.; Lamar Perry & Kim Heil, assoc. prod.
Non-Rep Agreement.
• Season rehearses and performs in
• Company: Lookingglass Theatre Co.
Staff: Kareem Bandealy and Phil Smith, artistic prods.-ensemble members.
• Company: Old Globe. Staff: Justin
future consideration by July 30 to Leila Knox, 1363 Old Globe Way, San Diego, CA 92101. Note: No stage manager positions are available at this time. Resumes may be submitted to for future consideration.
Theatre. Staff: Courtney Sale, artistic dir.
ethnicities.
• One day shoot: Flat buy-out Non Union
Stage Staff & Tech
• Company: Merrimack Repertory
• Seeking—Equity Actors: 18+, all
you have one. Production states: “Do not submit if you are not honestly Native American. If we call you in for a taped audition we will give you sides to read and self-submit. Final call backs will be in person at a casting office TBA.”
Online Commercials & Promos • Casting hero role, Chris, for “Aalto.”
National/ Regional
Surfer named Charlie. (Casting note: Must drive.) Link to Production company and more details: https://www. mcclurefilms.com/rescue-me.
tions by Vimeo, Dropbox, Google Drive, or other accessible platforms to kbandealy@lookingglasstheatre.org and psmith@lookingglasstheatre.org. For the video audition, slate at the top of the audition with your name, whether or not you sing, and if so, your best estimation of vocal range. Prepare one contemporary monologue. Provide a list and level of any musical instruments played in addition to any specific special skills. Once viewed, these these auditions will be deleted. Submission deadline is Aug. 1. • Pays $638/wk. (CAT IV) and $816/wk.
(CAT V). Equity CAT Contracts.
Merrimack Repertory Theatre 2021-22 Season
• Seeking video submissions from Equity
actors for the Merrimack Repertory Theatre 2021-2022 Season. No roles will be understudied. Season includes “Wild Horses” (Allison Gregory, playwright; Courtney Sale, dir. Rehearsals begin Aug. 24; runs Sept. 17-Oct. 3); “The Rise and Fall of Holly Fudge” (Trista Baldwin, playwright; Courtney Sale, dir. Rehearsals begin Nov. 2; runs Nov. 27-Dec. 12); “Erma Bombeck: At Wit’s End” (Allison Engel and Margaret Engel, playwrights; Terry Berliner, dir. Rehearsals begin Dec. 30; runs Jan. 22-Feb. 6, 2022); “Woody Sez: The Life and Music of Woody Gutherie” (Devised by David M. Lutken with Nick Corley and Darcie Deaville, Helen Jean Russel and Andy Teirstein; Nick Corley dir. Rehearsals begin February 2021; runs Mar. 17-Apr. 4, 2022); and “Best Summer Ever” (Kevin Kling, playwright; Steven Dietz, dir. Rehearsals begin Apr. 26, 2022; runs May 5-22, 2022).
20
• Casting Equity actors for “Sweat.” • Company: Savannah Repertory
• Rehearsals begin Sept. 7, 2021; runs
Sept. 23-Oct. 3, 2021 in Savannah, GA. Note: Live, inside, in-person, with audience for eight performances. Both performance weeks: Thursday/Friday/ Saturday at 8 p.m. and Sunday at 3 p.m. • Seeking—Cynthia: female, 45-53,
Black / African Descent, AfricanAmerican, started at the plant as a teenager; she and Tracey have been best friends ever since; strong, driven; loyal friend; soft heart for family. Tracey: female, 45-53, White / European Descent, White American of German descent, presents as a strong, loyal friend; secure in her community; becomes frightened and antagonistic; started at the plant straight out of high school, her life is the factory; her friendship with Cynthia is complicated by her own unconsciousracial bias. Stan: male, 50-59, White / European Descent, White American of German descent, has a limp; peacemaker; wise anchor of the community; requires participation in stage combat. Brucie: male, 40-49, Black / African Descent, African-American, former factory worker now struggling with addiction; disheveled. Jessie: female, 40-49, White / European Descent, ItalianAmerican, heavy drinker who is disillusioned with the path her life has taken; factory worker, dresses provocatively. Jason: male, 21-29, White / European Descent, White American of German descent; son of Tracey; blue-collar worker; small town mentality; anger fueled by victimhood; requires participation in stage combat. Note: For scenes in 2008, the role of Jason will backstage.com
National/Regional casting
require wearing makeup indicating white-supremacist face tattoos. Chris: male, 21-29, Black / African Descent, African-American; son of Cynthia; ambitious, open-minded; loyal friend; warm-hearted toward family; requires participation in stage combat. Oscar: male, 22-30, Latino / Hispanic, Latin American; working class; observant; waiting for his break in life; requires participation in stage combat. Evan: 18+, African-American (40s) male; parole officer; weary yet professional; trying to make a difference.
• Seeking submissions from GA. • Preparation instructions: Video record-
ing sides from the show are available here https://drive.google.com/drive/fol ders/1kHdzoQxHNC5SDcxELhDjzcCLwz mRmEZY?usp=sharing. If you don not have someone to read scenes with you, the option preferred is only reading the side that is already a monologue or a scene that can be easily cut/read as a monologue is good. Slate your name and which part you are reading for. We ask you to only read for one role in your audition. Ethnicities and genders are as described by Lynn Nottage in the script. All characters were born in Berks County, Pennsylvania. Dual ages represent the time change between 2000 and 2008. Note: Students from Armstrong/GSU theatre department encouraged to submit for the roles of Jessie, Jason, Chris, Oscar, and Evan. Send video submissions using an unlisted YouTube or Vimeo link ONLY, no attachments. If you don’t have access to these platforms we can provide you a shared drive to upload to. Links such as WeTransfer or DropBox will not be opened. Include a headshot and resume as pdf attachments to your email when submitting; links such as Google Drive or Backstage will not be opened. Deadline is July 30, 2021 by 8 p.m. EDT. to casting@savannahrep.org. The Rep is not EMC eligible. CoProduction between Savannah Repertory Theatre & GSU Armstrong Campus Theatre Department.. Venue: Jenkins Hall/Armstrong Campus. More at Savannahrep.org and cah.georgiasouthern.edu/commarts/majors/theatre/armstrong-campus-theatre.
the Performing Arts.
• Rehearsals begin Feb. 14, 2022; runs
all ethnicities, one of the firm’s executives and a notorious chauvinist. He is capable of faking charm but usually shows his true colors as an arrogant, self-absorbed boss. Vocal range top: Gb4 - bottom: C3. Violet (Cast): female, 40-50, the company’s Head Secretary and Mr. Hart’s Administrative Assistant; she is a single mother and typically stands up for what she believes in. Attractive, strong, ambitious; vocal range top: D5 - bottom: F3. This role is cast. Doralee (Cast): female, 20-30, a young, sexy spitfire who works at Mr. Hart’s office. She is proof that there is more to a woman than just her looks. Vocal range top: E5 - bottom: G3. This role is cast. Judy (Cast): female, 30-35, the “new” girl at the firm, she has been burned by her husband’s affair and is searching for personal empowerment. Insecure, determined, and hopeful. Vocal range top: F5 - bottom: Ab3. This role is cast. Roz (Cast): female, 35-45, the attentive office gossip queen and snitch. She has an unrequited love for Mr. Hart and will do anything she can to win his approval. Vocal range top: C5 bottom: G3. Joe: male, 25-30, all ethnicities, handsome, muscular, young office accountant. Genuine and nice, and smitten with Violet. Vocal range top: G4 - bottom: B2.
• Seeking—Ti Moune: female, 18-25,
resume, and video of you singing one of the provided musical clips (provided at https://www.dropbox.com/sh/cxcfo6802zh5w2a/AACADuFw6Dloi7aC5GdFue9a?dl=0) via a downloadable link to Auditions@ NCTheatre.com with “AEA EPA Submission – Your Last Name” in the subject line. Submissions deadline is July 30. • Note: Complying with all COVID guide-
lines, restrictions and regulations from CDC, the State of North Carolina and Actors’ Equity Association. • Pays $824/wk. Equity LOA ref. COST
contract.
‘Once on This Island’
• Seeking video submissions from Equity
Staff: Dolly Parton, music and lyrics; Patricia Resnick, book (20th Century Fox film as source material); Eric Woodall, prod. artistic dir.-dir.-casting dir.; Lauren Juengel, prod. mgr.-assoc. prod.; Edward G. Robinson, music dir.; Robin Levine, choreo.
17 in Raleigh, NC. Note: In-person rehearsals inside of North Carolina Theatre’s rehearsal Studios. In-person performances inside Raleigh Memorial Auditorium in Duke Energy Center for
Staff: Lynn Ahrens, book-lyrics; Stephen Flaherty, music; Pascale Florestal, dir.; David Coleman, music direction; Paul Daigneault, prod. artistic dir.
approval.) Equity SPT Agreement.
Musicals ‘9 to 5’
• Seeking video submissions from Equity
actors for principal roles in “9 to 5.” • Company: North Carolina Theatre.
• Rehearsals begin Sept. 27; runs Oct.12-
backstage.com
Black / African Descent, female-identified, Black / African Descent, dark skinned; a beautifully spirited peasant girl, full of restless energy and optimism; the heroine; tries to break social barriers to be with her love, Daniel; strong alto belt, G (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal. Daniel: male, 18-25, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, male-identified to play 22; light skinned. Ti Moune’s love interest; a handsome, aristocratic young man who struggles with crossing social barriers; sensitive and poetic; strong tenor or baritenor, B (2 below C) to F# (above C); strong musician skills; ability to play instrument(s) is a plus; principal. Mama Euralie: female, 30-59, Black / African Descent, female-identified, Black / African Descent, specifically, dark skinned. Ti Moune’s adoptive mother; described as an “old peasant”; caring, over-protective, superstitious, fiercely loving, and strong-willed, her similarities often lead to clashes with Ti Moune; strong alto, F# (below C) to B (above C); strong musician skills; ability to play instrument(s) is a plus; principal. TonTon Julian: male, 30-59, Black / African Descent, male-identified, dark skinned. Ti Moune’s adoptive father (“Tonton” is a French affectionate term for “Uncle”); described as an “old peasant”; he teaches Ti Moune that love has no limits, and he goes to great lengths to support her wishes; caring, loving, and practical; strong baritone, A (2 below C) to E (above C); strong musicianskills; ability to play instrument(s) is a plus; principal. Asaka: 25-59, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, mother of the Earth; a mentor to Ti Moune; personifies the peasants’ connection to the land; she is generous and good-humored on the surface, but like all the gods feared by the islanders; her “motherly” facade is not to be trusted; she is powerful, funny, and ironic; strong mezzo belt, A (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal. Erzulie: 20-49, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, goddess of love; a mentor to Ti Moune and foil to Papa Ge; the most approachable of the gods, but ultimately no less egocentric; one of the main instigators of the events of the story, she is looked upon fondly by the people; set out to prove that love is stronger than the fear of death: by love, she means the power of the human heart; strong soprano, B (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal. Agwe (Cast): 25-59, Asian, Black / African Descent, Ethnically Ambiguous
• Seeking submissions from NC. • For consideration, submit headshot,
actor/singers for SpeakEasy Stage Company’s production of “Once on This Island.” For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast. For these auditions, no nudity or any form of sexual contact will be required as part of an actor’s audition. We will not ask prospective participants to perform violence or sexual contact as part of an audition without disclosing this expectation in the audition notice or invitation. SpeakEasy Stage Company seeks to foster an environment of communication, safety, respect, accountability, and the health, safety, and well- being of institutions and its participants.
• Pays $354/wk. (Category 3 - pending
Mar. 11-Apr. 16 in Boston, MA.
• Seeking—Franklin Hart: male, 45-50,
• Company: SpeakEasy Stage Company.
21
/ Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, God of water; a mentor to Ti Moune; Larger than life, mysterious; Perhaps the peasants’ greatest fear next to Papa Ge himself; commanding voice and presence; strong, dramatic baritone/bass with a big range, B (2 below C) to E (above C); strong musician skills; ability to play instrument(s) is a plus; principal. Note: Role of Agwe has been cast. Actors will be seen for this role as replacements only. Andrea/ Storyteller 1: female, 20-29, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, female-identified, light skinned. Daniel’s betrothed; an attractive, elegant, and refined young woman; she seems cold at first but turns out to be both humane and determined; she pities Ti Moune, but despite having little affection for Daniel, she will not allow sentiment to interfere with her well-ordered plan for marriage and the aristocratic ways; also plays Madame Armand; strong mezzo, B (below C) to D (2 above C); strong musician skills; strong mover; ability to play instrument(s) is a plus. “Beauxhommes” Narrator/Storyteller 2: female, 20-49, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, female-identified, excellent singer: soprano; strong musician skills; movement ability is a plus; ability to play instrument (s) is a plus; possible understudy assignments; principal. “Beauxhommes” Narrator/Storyteller 1: female, 20-49, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, male-identified, excellent singer: tenor; strong musician skills; movement ability is a plus; ability to play instrument(s) is a plus; possible understudy assignments; principal. Storyteller 2/Monsieur Beauxhomme/ Armand: male, 30-59, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, male-identified, Daniel’s stern father; reminds Daniel of the harsh realities of life; not deliberately cruel, but determined; represents the heart of aristocratic society; also plays Armand, the ancestor; strong baritone, A (2 below C) to D (above C); strong musician skills; movement ability is a plus; ability to playinstrument(s) is a plus; principal. Little Ti Moune: female, 7-11, Black / African Descent, female-identified, dark skinned. The younger version of Ti Moune; also plays the child for whom the story is told; energetic, confident, funny, and sweet; strong singer, VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
07.29.21 BACKSTAGE
casting National/Regional Eb (above C) to Db (2 above C); principal.
• Seeking submissions from MA. • For consideration, email your Equity
status, full name, contact information, the shows for which you would like to be considered, your headshot/resume as a PDF titled “Last Name, First Name (2020)”, and your video submission link to auditions@speakeasystage.com. For your submission, use a private link on a streaming service or website such as YouTube or Vimeo (not an attachment) and send the link via email. Video submissions deadline is July 31. • Submissions should be no longer than
five minutes. Actors are encouraged to perform musical selections in the style of the show. You may use the accompaniment provided at https://www.dropbox.com/sh/jhdljlgz8fov8ih/ AABs3cuDOoUW0VlXuS1yj6oVa?dl=0. Actors may also feature their skills with piano, accordion, mandolin, guitar, banjo, viola, violin, fiddle, cello, upright bass, percussion, or other instrument. • Actors of color are strongly encour-
aged to audition, and all roles are open to inclusive casting. SpeakEasy Stage Company shall conduct all auditions/ interviews in a manner that promotes fair consideration to persons of all races, ethnicities, national origins, genders, sexual orientations, ages, and ability statuses. SpeakEasy Stage Company is an Equal Opportunity Employer. • Pays $546/wk. Equity NEAT (Cat 6)
Contract.
but on his teammates, who feel eclipsed by all the hoopla surrounding him; when he is suspended in his senior year for the paltry “offense” of accepting a jersey from a fan, LeBron realizes just how much the loss of his team -- and his friends -- has meant to him; he petitions to be reinstated for the final game of the season, going out on a high note -- and reconnecting with his “brotherhood” at the same time -- friendships that will last a lifetime...lead. ‘Lil Dru’ Joyce: male, 13-19, Black / African Descent, to play 15-18; LeBron’s fellow teammate and one of his best friends, a strong-willed force of nature who, despite his small stature, is a force to be reckoned with on the basketball court; he’s known by the Fab 4 as “The General”; he’s the son of their long-time basketball coach, and hails from a stable, churchgoing family; when Lil Dru realizes that he will be relegated to junior varsity at their new high school, he engineers their move to St. Vincent’s, a Catholic School in Akron; their team soon passes into legend, as LeBron gains national headlines for his almost supernatural skills; however, as Lil Dru’s dad pours all his energies into LeBron’s career, neglecting the other boys on the team -- even his own son -- the resentment between LeBron and his teammates festers; but when the “Brotherhood” comes together again for a triumphant championship match -- the final game of their senior year -- they come back together again, not only as a team, but as lifelong friends; lead. Willie: male, 14-18, Black / African Descent, to play 15-18; another of the Fab 4, a friend of LeBron and Lil Dru since childhood; also an amazing basketball player, Willie had a rocky childhood; both his parents were addicts and he has been raised by his older brother; he found direction and purpose through basketball, and for some time he was considered the best player in the city; that makes it doubly difficult when LeBron catapults to fame, leaving Willie in his shadow; still a stand-up guy and a team player, Willie sacrifices all for his team and his teammates, sustaining a bad injury trying to lock down a victory in a hotly contested game; he is also alienated from LeBron for a time -- but they come together again in the final championship game of their senior year; lead (14). Romeo Travis: male, 15-23, Black / African Descent, to play 15-18; he is a player from a rival team who ends up at St. Vincent’s; a hostile, sullen youth with a very bad rep (he supposedly stabbed somebody, a charge that later proves untrue,) he winds up playing on the St. Vincent’s team; initially suspicious of the Fab 4, he rejects their friendly overtures; but they end up bonding on the basketball court, where Romeo proves a talented player who knows how to win; before long, he has become an accepted member of the group, now known as the Fab 5; also alienated from LeBron, whose fame has briefly gone to his head, Romeo learns that LeBron regrets his actions and is determined to reconnect with his teammates -starting with the final game of their
male, 35-45, all ethnicities, Judy’s soonto-be ex-husband. An average guy, he is sporting a little less hair and a little more paunch than he did ten years ago. Ensemble/Kathy: female, 30-40, all ethnicities, secretary in Hart’s office with a tendency to gossip. Vocal range top: D5 - bottom: G4. Ensemble/ Margaret: female, 30-40, all ethnicities, secretary in Hart’s office with a tendency to drink. • Seeking submissions from NC. • For consideration, singers should sub-
mit headshot, resume, and video of you singing either the 16-bar cut of music provided via a downloadable link at https://www.dropbox.com/sh/cxcfo6802zh5w2a/AACADuFw6Dloi7aC5GdFue9a?dl=0 or a 16-bar cut of your own in the style of the show to Auditions@NCTheatre.com with “AEA ECC Singers Submission Your Last Name” in the subject line. On the video, slate your name. • For consideration, dancers should sub-
mit headshot, resume and video of you dancing one of the dance combinations (https://www.dropbox.com/sh/cxcfo6802zh5w2a/AACADuFw6Dloi7aC5GdFue9a?dl=0) depending on your level of dance (intermediate/advanced) to Auditions@ NCTheatre.com with the subject line AEA ECC Dangers Submission - Your Last Name.” On the video, slate your name. Submissions deadline is July 30. • Note: Complying with all COVID guide-
lines, restrictions and regulations from CDC, the State of North Carolina and Actors’ Equity Association. • Pays $824/wk. Equity LOA ref. COST
Chorus Calls ‘9 to 5,’ Chorus
• Seeking video submissions from Equity
dancers who sing well and Equity dancers who dance on the intermediate and advanced levels for chorus roles as office employees, police officers, hospital employees in “9 to 5.” • Company: North Carolina Theatre.
Staff: Dolly Parton, music and lyrics; Patricia Resnick, book (20th Century Fox film as source material); Eric Woodall, prod. artistic dir.-dir.; Lauren Juengel, prod. mgr.-assoc. prod.; Edward G. Robinson, music dir.; Robin Levine, choreo.; Eric Woodall, CSA, casting dir. • Rehearsals begin Sept. 27 inside of North Carolina Theatre’s rehearsal Studios; runs Oct. 12-17 inside Raleigh Memorial Auditorium in Duke Energy Center for the Performing Arts in Raleigh, NC.
• Seeking—Ensemble/Josh: male, 18+, all
ethnicities, plays 18; Violet’s awkward teenage son. Ensemble/Missy: female, 20-35, all ethnicities, Franklin Hart’s wife, clueless to her husband’s true nature. Ensemble/Maria: female, 20-30, all ethnicities, young and vibrant secretary in Hart’s office; vocal range top: D5 - bottom: F4. Ensemble/Dick: VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
BACKSTAGE 07.29.21
contract.
Feature Films ‘Shooting Stars’
• Casting the Universal Feature Film
“Shooting Stars,” based on the book by Lebron James. • Company: Springhill Company. Staff:
Spencer Beighley, Jamal Henderson, exec. prod.; LeBron James, Maverick Carter, Rachel Winter, Terence Winter, prods.; Chris Robinson, dir.; Frank E. Flowers, writer; Juel Taylor & Tony Rettenmaier, revisions; Kim Coleman, casting dir.; Shelby Cherniet, assoc. casting dir.; Irie Williams, casting asst. • Shoot begins Oct. 25, 2021 (potential
training camp needed before) in Ohio.
• Seeking—Lebron James: male, 13-22,
Black / African Descent, to play 15-18; tall, physically imposing and already a formidable basketball player who is quickly establishing himself as a force to be reckoned with in the sport; LeBron has been raised in modest circumstances by a single mom whose belief in him never wavers for an instant; he and his best friends, Lil Dru, Sian and Willie, have been known as the Fab 4 ever since middle school, and they are inseparable both on and off the court; at St. Vincent’s Catholic School in Akron, they rack up amazing victories beginning in their freshman year; but LeBron’s meteoric rise to stardom puts a strain, not only on him,
22
senior year...lead (32). Sian Cotton: male, 15-22, Black / African Descent, another member of the Fab 4,and has been best friends with the other guys since childhood; a bit chunky in build, with a physique more suited to a footballer than a basketball player, Sian is nonetheless a vital member of the St. Vincent’s team as they rise to stardom; raised in a stable home, with a family that attends church with Lil Dru’s, he’s a happy, funny kid who mostly goes with the flow -- until there is a game to be won. Then, he’s all business; he splits his time between basketball and football, his new love at St. Vincent’s, and ultimately winds up playing college football on a scholarship; lead. • Seeking submissions nationwide. • Send submissions to shootingstars-
cast@gmail.com.
• Basketball skills a must. Seeking
Ballers. Submit talent with basketball playing skills. • SAG-AFTRA Contract.
Demo & Instructional Videos Remote/Teletherapy Multicultural Educational Video, Indian-American Male • Seeking an actor to portray a client
based on a composite of actual case materials to engage with therapist, Dr. Usha Tummala-Narra as she demonstrates psychodynamic psychotherapy emphasizing multicultural awareness. • Company: American Psychological
Association. Staff: Rani Johnson, supervising prod. • No rehearsals for individuals with actor
reel and resume; records Aug. 2 (9-10:30 a.m. EST).
• Seeking—Arjun: male, 30-50, South
Asian / Indian, a 43-year old Sikh, Indian American, heterosexual cisgender man from a middle-class background who emigrated from India to the United States when he was 3 years old. Arjun has been coping with depressed mood since his separation from his wife, and his sadness and grief escalated since his divorce was finalized. He has joint custody of his 9-year old daughter. Arjun has worried that while he feels a strong connection to his daughter, that she will lose a sense of family stability due to the divorce. Arjun and his parents left their extended family home in India and moved to the U.S. in the 1980s after being sponsored by his uncle. At school, Arjun felt isolated for many years, particularly during middle school and high school when he felt different from the predominantly white students and teachers. He was frequently bullied in high school, and in two incidents was beaten up by two different white boys. In both incidents, although he suffered physical injuries, the school did not provide any protection or support. There were no repercussions for the boys who physically assaulted him. Arjun also faced racial slurs, such as sand n____ and towel head, throughout his adolescence. backstage.com
National/Regional casting
He rarely told his parents about these experiences.
which can be shot on an iphone.You will be giving a testimonial for a silk pillow.
org.
science.com.
• Seeking submissions from DC and NY. • Send submissions to rdjohnson@apa. • Experienced individuals with acting
reels and resume will be prioritized.
• Seeking submissions nationwide. • Send submissions to casting@tube-
• Pays $200, all media buyout, non union
National Commercials Lone River: Ranch Water Hard Seltzer
• Casting a national SAG AFTRA commer-
cial for Lone River Ranch Water Hard Seltzer. Casting real cowboys/cowgirls/ ranch workers. Also looking for townspeople to be extras. Must be 25+ and a local hire to Alpine or Marfa, TX. • Company: Tiffany Company Casting.
Staff: Stefanie Seifer, coord.
• Shoots Aug. 10-11 in Alpine or Marfa,
TX.
• Seeking—Real Cowboys/Cowgirls/
Ranch Workers: 25+, all ethnicities. Townspeople: 25+, all ethnicities.
• Seeking submissions from TX. • To apply, email Casting@tiffanycompa-
nycasting.com or submit directly at https://ranchwater.castingcrane.com. • Production states: “More information
about the product can be found at https://loneriverbevco.com. For a complete list of the projects we cast, visit TiffanyCompanyCasting.com/apply or our Instagram at https://www.instagram.com/tiffanycompanycasting/.”
• Conducting virtual interviews July 28 or
29; possible second interview Aug. 2. • Session fee: $712/day plus residuals
(on-camera principals only). Session fee: $388.40/day plus no residuals (extras/background talent only).
• Photo stills will be captured on set of
the principal talent only, no extras.
• Shoot day session fee: Additional $350
to be paid within 15 business days of shoot day.
• Photo buyout fee: Additional $2500 to
be paid only if used in the final still assets and to be paid within 15 business days of live date.
Online Commercials & Promos Silk Pillow Testimonial, Women 55+ with Authentic Southern Accent
• Casting women to give a silk pillow tes-
timonials for a remote, ongoing project. • Company: TubeScience. Staff: Sarah
Furlong, casting.
• This is an ongoing project. Will shoot
multiple ads.
• Seeking—Women with Authentic
Southern Accent for Pillow Testimonial: female, 51+, all ethnicities, This is a director assisted remote shoot backstage.com
Theatre’s rehearsal Studios. In-person performances inside Raleigh Memorial Auditorium in Duke Energy Center for the Performing Arts.
hourly as W2 employees. Presuming you work your assigned performance schedule, by the contract end actors will earn approximately $4,333 (gross) based on an hourly rate of $18. Santa Actors will earn approximately $5,092 for their scheduled contract.
• Seeking submissions from NC. • For future consideration, submit
• All adult performing roles will be paid
• Pays $25/hr. + complimentary copy of
the video program once published.
wear a mask during your audition, as well as in the waiting room. For your safety, all Polar Express staff present at the audition are also fully vaccinated for Covid-19.
Theme Parks & Attractions
• Note: Hero Child actors will be paid $28
‘The Polar Express Train Ride’ Oklahoma 2021
per show + $150 rehearsal fee, earning approximately $2050 for their scheduled contract; they will be scheduled abiding by all OK labor laws.
• Casting actors and musical theater per-
formers for a live, interactive, 60m show based on the Warner Bros. film & book by Chris Van Allsburg. Seeking energetic actors and singers who enjoy working with kids and who embrace audience interaction to create a fun, entertaining and heartwarming experience.
• Note: Talent must be local to OKC or
Tulsa. Housing or transportation is not provided.
Commercials (Voiceover)
• Company: Warner Bros and Rail Events
Productions. Staff: Mike May, prod.; Scott Calcagno, casting dir.
• Rehearses Nov. 4-11; performs Nov.
12-Dec. 28. Performances are Friday evening through Sunday except starting Dec. 20-28 performances are daily. See attached schedule. All performances take place aboard a slowmoving train from Oklahoma Railway Museum in OKC. Call time will be one hour before showtime.
‘We Chose’
ders, 20-35, all ethnicities, actors and actor/singers for various roles; outgoing, joy-filled, team players. Conductor: male, trans male, 25-45, all ethnicities, showman; charming, outgoing, personable; some dance. Hobo: male, trans male, 25-40, all ethnicities, gruff but with kind heart; skilled actor; non-singing role; some dance. Santa: male, trans male, 40-65, all ethnicities, character actor, warm, sincere; full of real joy, able to project. Hero Child: all genders, 12-14, to play 10-13, sincere, ability to interact with others, 5’5” and under. Note: that Hero Child actors are paid $28 per show (plus rehearsal stipend) and are not on a weekly salary. These actors will work shorter schedules due to age and OK labor law guidelines.
Major, assoc. prod.
• Casting “We Chose.” This concept con-
nects with the underlying shift that many have felt through the past year and a half. Shifting priorities and changing perspectives. The focus in on not just coming back - but coming back better. Smarter. Wiser.
• Seeking—Ensemble Players: all gen-
• Company: Idea Ranch. Staff: Breanna • Record remotely. Talent must have
access to a professional-quality recording studio. • Seeking—Youth: 5-16. Hispanic Male or
Female: female, male, 20-60. Black Male or Female: female, male, 20-60. • Seeking submissions nationwide. • Send submissions to bmajor@idear-
anch.com.
• Must submit audition via Backstage for
consideration. Read the full script attached for your audition.
• VO Audio to be used in a locally broad-
casted ad in and around Wichita, Kansas and will live on a web landing page.
Stage Staff & Tech
• Auditions will be held by appt. Sept. 3
from 2:30-5 p.m. and from 7-9 p.m. (open call) and Sept. 4 from 12-2 p.m. (open call) and from 2:30-5 p.m. (by appt.) at Embassy Suites, Everest Ballroom, 741 N. Phillips Ave., Oklahoma City, OK 73104.
‘9 to 5’
• Seeking Equity submissions for future
consideration for stage manager positions in “9 to 5.” All stage manager positions for this production have been filled.
• For an audition appointment (Sept. 3 &
4, 2:30-5 p.m.), send headshot, resume, and cover note expressing interest in the OKC cast to OKCPolarExpressCasting@gmail.com. See attached schedule.
• Company: North Carolina Theatre.
comedic/light monologue. Singers also prepare short ballad (Musical Theater, Christmas, or Pop) to be sung a cappella. Bring current pic/resumes. Note: There are two open calls: Sept 3 & Sept 4 at same location.
Staff: Dolly Parton, music and lyrics; Patricia Resnick, book (20th Century Fox film as source material); Eric Woodall, producing artistic dir.-dir.; Lauren Juengel, prod. mgr.-assoc. prod.; Edward G. Robinson, music dir.; Robin Levine, choreo.; Eric Woodall, CSA, casting dir.
Productions asks that all performers who are not fully vaccinated please
17 in Raleigh, NC. Note: In-person rehearsals inside of North Carolina
• For open calls, prepare a one minute
• COVID 19 Note: Rail Events
• Rehearsals begin Sept. 27; runs Oct.12-
23
• Seeking—Stage Manager: all genders,
18+, all ethnicities.
resume to Lauren Juengel, prod. mgr.assoc. at LJuengel@nctheatre.com. Submissions deadline is July 30.
• Note: Complying with all COVID guide-
lines, restrictions and regulations from CDC, the State of North Carolina and Actors’ Equity Association. • Pays $824/wk. Equity LOA ref. COST
contract.
Merrimack Repertory Theatre, Stage Manager
• Seeking Equity stage managers for
future consideration at Merrimack Repertory Theatre. Merrimack Repertory Theatre currently has no open stage management positions for the 2021-2022 season. • Company: Merrimack Repertory
Theatre. Staff: Courtney Sale, artistic dir. • Season rehearses and performs in
Lowell, MA.
• Seeking—Stage Manager: all genders,
18+, all ethnicities.
• Seeking submissions from MA. • For consideration for future seasons,
submit resume to Courtney Sale at courtney.sale@mrt.org. Merrimack Repertory Theatre currently has no open stage management positions for the 2021-2022 season. Submissions deadline is Aug. 1. • Pays $911/wk. LORT D Non-Rep
Contract.
Portland Stage Company
• Seeking an experienced local Equity
Stage Manager for the Portland Stage Company’s 2021-22 season. Note: Dates for productions are subject to change based on when we are able to produce. • Company: Portland Stage Company.
Staff: Anita Stewart, exec.-artistic dir. • Season rehearses and performs in
Portland, ME. This position alternates shows with another local Equity Stage Manager throughout the season and will be contracted for three Mainstage shows for the estimated dates of Oct. 4 - Nov. 21, 2021; Dec. 27 - Feb. 13, 2022; Feb. 28 - Apr. 17, 2022. In a typical season, this position is contracted for four mainstage shows. • Seeking—Stage Manager: 18+, all
ethnicities.
• Seeking submissions from ME. • For consideration, submit resume,
cover letter, and references to search@ portlandstage.org with “Stage Manager” in the subject line. Submissions deadline is Aug. 2 by noon. • For full job description visit the the-
ater’s website.
• Pays $911/wk. Equity LORT D Non-Rep
Contract.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
07.29.21 BACKSTAGE
Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover
Q:
If I use a stage name, should I enter it in place of my real name in an online casting profile like Backstage? Or should I use my real name and mention my stage name somewhere else? If so, where? —@hello123, Backstage Community Forums
Our Expert Mae Ross is an acting teacher.
*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 07.29.21
24
backstage.com
ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; ROSS: COURTESY MAE ROSS
This is a great question! As someone who both runs a professional acting studio and uses a stage name, I can speak from direct experience. Ross is not my actual last name. Mae is my real first name, but I chose to use the last name Ross because I have an identical twin sister who also works in the business, and when we started to work more separately, it made sense for me to change my name. I use “Mae Ross” across all of my online platforms. Otherwise, I could potentially confuse my audience. Once you decide on a stage name, use it on all of your casting profiles and marketing materials. You definitely want to be consistent in your branding. Otherwise, you could confuse your buyers (e.g., casting directors) if they’re trying to look you up to book you for a role. The last thing you want is to miss out on a part because a casting director isn’t sure which name to look up to find you! Now, if you want to keep a personal social media account for friends and family only, I would not advise you to use a stage name there, for the sake of privacy. Many actors choose to use neither their birth names nor their stage names on private social media accounts so as to protect their identity and keep fans from finding their personal accounts. But on all public-facing sites and in social media accounts, definitely use the same stage name. One more thing that you may need to look into: If and when you join SAG-AFTRA (if you’re not already a member), you cannot have the same registered name as another actor who is already in the union. So make sure that you select a stage name that you will be able to keep for the long haul. I hope this helps. Best of luck!
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