08.05.21
Emmy Watch 2021: Spotlighting the best from HBO, Disney+, and more
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Joseph GordonLevitt
How the actor made his own luck across his decadeslong career
“The Crown” star
Emma Corrin on advocating for the roles you want
10 Pages OF CASTING NOTICES
STARS AREN’T BORN, THEY’RE MADE
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Contents The Green Room 6 Actors’ Equity Association expands its membership
8 This week’s roundup of who’s casting what starring whom
10 Hailey Kilgore on “Power Book III” and going from stage to screen
Advice 13 CRAFT 5 tips for monologue memorization 14 #IGOTCAST
Beorht Lewinski
vol. 62, no. 22 | 08.05.21
Cover Story
Man With Cover Story a PlanProspecting for Gold From sitcoms to indies to genre tentpoles and beyond, Joseph Gordon-LevittYour has official guide to the 2020 Oscar nominations never forfeited his agency to page 16 anyone. His latest project— and his return to television—is the culmination of it all page 16
6 Broadway’s audience boom 8 This week’s roundup of who’s casting what starring whom
10 Annie Murphy reflects on “Schitt’s Creek”
Advice 13 CRAFT Survive and thrive
13 #IGOTCAST
14 CAREER DISPATCH
Mark Beauchamp
It comes around
14 SECRET AGENT MAN
The power of intention
Features
Features
4 BACKSTAGE 5 WITH...
Emma Corrin
4 BACKSTAGE 5 WITH...
12 MEET THE MAKER
David Alan Grier
Brad Ingelsby, “Mare of Easttown” creator, writer, and showrunner
12 MEET THE MAKER
Cathy Yan, “Birds of Prey” director
13 THE ESSENTIALISTS
Dottie Starling, visual effects supervisor
14 THE ESSENTIALISTS
15 IN THE ROOM WITH
Jeremy Woodhead, hair and makeup designer
Sarah Halley Finn
21 CATEGORY IS: HISTORIC Let’s unpack how the Emmy nominations mixed things up this year
15 IN THE ROOM WITH Victoria Thomas
21 OUR DREAM BALLOT
32 ASK AN EXPERT
And the 2020 Oscar SHOULD have gone to…
David Dean Bottrell on the right time to start looking for an agent
32 ASK AN EXPERT
Casting
Amy Russ on principal and background work
22 New York Tristate
Casting
25 California
22 New York Tristate
27 National/Regional
27 California
Joseph Gordon-Levitt photographed by Stephen Tilley on July 9 at Park Road Post Production in Miramar, New Zealand. Grooming by Leanne Hoare. Cover designed by Ian Robinson.
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The Green Room
28 National/Regional Cover illustration by John Jay Cabuay. Cover designed by Ian Robinson.
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08.05.21 BACKSTAGE
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BACKSTAGE, vol. 62, no. 22 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.
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Backstage 5 With...
Emma Corrin By Allie Volpe
After graduating from Cambridge University, where she spent years balancing schoolwork and acting, Emma Corrin took a job as an audition reader for Netflix’s “The Crown.” She used the gig as an opportunity to unofficially audition for the role of Princess Diana—which she eventually landed, and for which she has now won a Golden Globe and is nominated for a 2021 Emmy Award.
What advice would you give your younger self? I enjoyed university so much, and the same with my first two jobs, but I was so strict with myself. I thought that becoming an actress professionally was going to be the hardest thing in my life. Now that I’ve left uni and started acting, finally, I can relax. I wish I could’ve told my younger self to actually enjoy stuff more. I wonder if it still would’ve happened if I hadn’t sacrificed so much. But also, you don’t get that time back.
try out some ’60s makeup looks for your party.” So this girl just did my ’60s makeup for me, and I went to Topshop and picked up these clothes my agent had put aside for me. I turned up to the audition and I got changed in a stairwell, and I felt like there must’ve been a film crew following me. It was so ridiculous. What performance should every actor see and why? My favorite film I’ve watched in the past year is “Water Lilies” by Céline Sciamma. Onstage, one of the things that was foundational to everything is when I went to see Jez Butterworth’s “Mojo” in the West End, in the theater I’m acting in now [in “Anna X”], which is wild.
What’s the wildest thing you ever did to get a role? [For] the second job I ever did, “Pennyworth,” I got a chemistry read. And at the time, I was working part time at this tech company. My agent called me on my lunch break and was like, “You’ve got a chemistry read this afternoon. It’s in two hours. You’ve got to go in full costume; you’re playing a ’60s dancer at a dodgy club… I’m going to go on the Topshop website and pick out dresses and put them on hold, and I need you to go to a department store in central London and tell them it’s your birthday and you want to
Tell us about your first day on a professional set. The job was on “Grantchester,” which is a program on ITV. I just felt like a sponge, soaking everything up. I remember being very quiet and watching how everything worked, because there were so many things to take in on a film set. I’ve got one of those minds where I want to know what every single person does and their role and why, and how that works.
“The biggest thing I remember learning [from playing Diana] is the power of not acting. It is so weird, the power that stillness has.”
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ILLUSTRATION: NATHAN ARIZONA/PHOTO: DFREE/SHUTTERSTOCK.COM
What is your worst audition horror story? So many people I know have such great stories, and I don’t know if I have one! I know Josh [O’Connor, who plays Prince Charles on “The Crown,”] has so many. I think he once accidentally kissed a casting director on the top of the head because it was a miscommunication. I don’t think I have one! It shows how much of a control freak I am.
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EMMY NOMINATIONS ®
INCLUDING
O U T S TA N D I N G D R A M A S E R I E S
“JONATHAN MAJORS DELIVERS A STANDOUT PERFORMANCE”
“JURNEE SMOLLETT IS PURE DYNAMITE”
JONATHAN MAJORS
JURNEE SMOLLETT
OBSERVER
OUTSTANDING LEAD ACTOR IN A DRAMA SERIES
INDIEWIRE
OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! @BACKSTAGE
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Unions
Actors’ Equity Association Will Expand Membership We sat with Equity president Kate Shindle to discuss the new program By Diep Tran
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The new membership program, called Open Access, defines people who have “worked professionally” as anyone who has received payment for their work. There is no minimum payment that an actor or stage manager has to receive in order to qualify for membership. Equity president Kate Shindle told Backstage that, under the old membership rules, “We were letting our employers
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THEATER ACTORS WILL NOW have an easier time becoming members of Actors’ Equity Association: The union has announced that it is opening membership to any actor or stage manager who has worked professionally in the United States. Previously, membership was only open to actors who worked for an Equity employer or were members of a sibling union like SAG-AFTRA.
control who became Equity members.” The new rule comes in the wake of internal analysis and comments from members who have been calling for an easier way to join the union. “We’ve spent a lot of time over the last several years doing diversity and inclusion studies and analyzing contract data. We know that the industry is overwhelmingly white—disappointingly so,” said Shindle. “And we know that the hiring practices of our employers provide barriers to access for people with marginalized identities. So when we put that all together—through a process that was led by a working group and our diversity and inclusion strategist—Open Access was born out of that: ways for people to join the union without having to be hired to work on an Equity contract first.” Shindle sees Open Access as a way of streamlining
membership, especially because many Equity employers tend to only hire Equity actors, posing an additional hurdle for nonunion actors. “I do think that there are those who have spent many years working in smaller theaters who haven’t had an opportunity to join the union,” she said. By analyzing demographics of actors hired on Equity contracts, the union found that they were disproportionately offered to white people. Shindle said this meant that performers with marginalized identities, such as BIPOC actors or actors with disabilities, faced a higher barrier if they wanted to join. The union will now also allow former members of Equity to rejoin the union without having to secure a new contract. Before, membership was only open to an actor or stage manager who had worked an Equity contract. Members of any of Equity’s sister unions (SAGAFTRA, AGMA, AGVA, and GIAA) could also join Equity. Aspiring members could also participate in the Equity Membership Candidate Program and become part of the union after completing it. Equity currently has more than 10,000 people in the EMCP who can now immediately join the union. According to Equity, there are multiple benefits to joining: Members have a mandated minimum salary, including overtime pay; they have mandated days off and a set maximum number of hours they can work in a day; they are entitled to workers’ compensation if they are injured on the job; and they have access to health insurance, pensions, and 401(k)s. Equity currently has more than 51,000 members.
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EMMY NOMINATIONS ®
INCLUDING
O U T S TA N D I N G C O M E DY S E R I E S
“KALEY CUOCO HEIGHTS REACHES NEW HEIGHTS” ROLLING STONE
KALEY CUOCO
OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
“ROSIE PEREZ LIGHTS UP THE SCREEN” PASTE MAGAZINE
ROSIE PEREZ
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
He looks for his long-lost love while struggling to return to his successful career in the sex industry. Automatic Sweat Casting has already locked in Jon Bernthal to star in the series, written by David Hollander and Neil LaBute and executive produced by Jerry Bruckheimer. Joining Bernthal are Gabriel LaBelle, Lizzie Brocheré, Gretchen Mol, and Leland Orser. Production on the series is scheduled to begin in early 2022 in Los Angeles.
What’s Casting
Drawing on Nostalgia
A “Harold and the Purple Crayon” film is casting By Rebecca Welch
STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles! Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.
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FILM
All in the Family By Casey Mink
For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
A SLEW OF HOLLYWOOD OFFSPRING are teaming up for a high-level project. Hopper Penn (son of Sean Penn) will star in “The Rightway,” a short film featuring a script by Owen King (whose father is the writer Stephen King) and direction from Destry Spielberg (whose famous father you can certainly presume). Also starring in the feature—the plot of which is being kept under wraps—is theater and film stalwart Brian d’Arcy James.
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MARGAUX QUAYLE CANNON
Get cast!
For more upcoming productions and casting news, visit backstage.com/news/casting
“Harold and the Purple Crayon” A beloved childhood story is heading to the big screen. The 1955 children’s book “Harold and the Purple Crayon,” written and illustrated by Crockett Johnson, has appealed to generations of children. It’s the story of Harold, a 4-year-old boy who goes on an epic adventure through his imagination with the help of a magical crayon. The film will closely follow the original plot. It’s already begun casting with Betty Mae, who has signed Zachary Levi as the first actor on the project. Production is scheduled to begin in November in Atlanta.
“American Gigolo” The 1980 Richard Gere film “American Gigolo” is getting the remake treatment. It’s headed to Showtime as an hourlong drama, and it has already received a series order. The racy show will follow Julian Kaye, who’s been released from prison after serving 15 years for murder. Suspecting he was part of a setup, he goes in search of the truth while trying to acclimate to life in modern Los Angeles.
“Grand Crew” Phil Augusta Jackson and Dan Goor of “Brooklyn Nine-Nine” are re-teaming on another ensemble comedy. The duo will assemble the ultimate friend group in their new NBC series “Grand Crew.” The project will follow young Black professionals living in Los Angeles who are trying to find their footing while looking for love and success. Meeting regularly at a wine bar, the five friends confide in each other as they unwind from their hectic lives. Casting director Susie Farris has already lined up several actors for the series, including Nicole Byer, Aaron Jennings, Justin Cunningham, Carl Tart, and Echo Kellum. Production on the comedy series is scheduled to start in mid-August and film until October. The series will be filmed in L.A.
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EMMY NOMINATIONS ®
INCLUDING
O U T S TA N D I N G D R A M A S E R I E S
“SUPERB ACTING FROM MICHAEL K. WILLIAMS” USA TODAY
MICHAEL K. WILLIAMS OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
“AUNJANUE ELLIS KNOCKS IT OUT OF THE PARK”
“COURTNEY B. VANCE IS GREAT AS ALWAYS”
AUNJANUE ELLIS
COURTNEY B. VANCE
IGN
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
ENTERTAINMENT WEEKLY
OUTSTANDING GUEST ACTOR IN A DRAMA SERIES
of actors are insecure and just want to do a good job. It’s normal; it’s all love; you got this. It’s very easy to get sucked into the highlight reel of Instagram or press releases; it’s not important. It’s about you, your heart, and what you bring to the table. I have to remind myself of it sometimes. I’m sure Barbra Streisand has to remind herself of it, too.
Hailey Kilgore on “Power Book III: Raising Kanan” Backstage Live
Leaning Into Her Strengths
Tony nominee Hailey Kilgore is taking on two major screen roles this summer 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.
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What’s the biggest difference between stage and screen acting for you? I trained from a very young age in theater and musical theater, so everything is big and clear and loud. For film and TV, you’ve got a camera lens right in front of your face in different sizes, so you don’t have to do as much. Now, I can do things really muted and really small, and the camera will pick up on every single intricate part of my performance. So it’s really fun for me to go in and navigate what I want you to pick and see.
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FILM
A ‘Bridgerton’ Star’s Next Big Break By Casey Mink
How can you become an actor if you’re working with a low budget? A lot of your favorite actors did not come up with a lot of money. I did not grow up with a lot of money; it was truly my family’s support and love, and going to after-school programs and training. You will start meeting people and working with the right people when you just keep training. Keep training, and everything falls into place. Want to hear more from Kilgore? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
FOLLOWING THE NEWS THAT “BRIDGerton” breakout Regé-Jean Page would not return for the Netflix megahit’s second season, it’s been reported that the actor will both star in and executive produce a rebooted version of “The Saint” for Paramount Pictures. Playwright Kwame Kwei-Armah will pen the script, though it remains unclear who will helm the project. Loosely based on the 1920s–’60s book series by Leslie Charteris, “The Saint” follows thieffor-hire Simon Templar.
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NICOLE RIVELLI
FOLLOWING HER TONYnominated breakthrough performance as Ti Moune in the Broadway revival of “Once on This Island,” actor Hailey Kilgore is taking her talents to the screen. She’s playing Aretha Franklin’s younger sister in the film “Respect” and Jukebox on acclaimed Starz spinoff series “Power Book III: Raising Kanan.” In Backstage’s latest Instagram Takeover Q&A, Kilgore discussed everything from dealing with her insecurities to how she got started in the industry.
What would you recommend doing if you’re really insecure about yourself and don’t know whether you fit into the acting industry? Actor to actor, you’re in the right place. I’m very insecure; I get nervous; I care about my performance. It’s all about how you treat yourself and how you speak to yourself. It’s so important to treat yourself with care and speak to yourself lovingly. Just do the work; that’s all you can do. I put my head down and I do the work, and I work hard and do my very best. There’s nothing else that can be said, because I did everything that I needed to do. You can, too. A lot
What would you say has been the biggest accomplishment of your career? Definitely my work ethic. When you’ve been doing it for a long time and you get some success and attention, it’s easy to fall back; but I have the same curiosity. I want to deconstruct things and put them back together and have fun.
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EMMY AWARD NOMINATIONS ®
INCLUDING
OUTSTANDING LIMITED SERIES LEAD ACTRESS ANYA TAYLOR-JOY
SUPPORTING ACTOR THOMAS BRODIE-SANGSTER
SUPPORTING ACTRESS MOSES INGRAM
WINNER
SCREEN ACTORS GUILD AWARD®
FEMALE ACTOR IN A LIMITED SERIES
ANYA TAYLOR-JOY
WINNER
CRITICS CHOICE BEST LIMITED SERIES BEST ACTRESS
ANYA TAYLOR-JOY
WINNER
GOLDEN GLOBE® BEST LIMITED SERIES BEST ACTRESS
ANYA TAYLOR-JOY
“ANYA TAYLOR-JOY IS MESMERIZING.
A fantastic cast of supporting characters (featuring Thomas Brodie-Sangster and the wonderful Moses Ingram) rounds out a thoroughly bingeable experience.”
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Brad Ingelsby, “Mare of Easttown” creator, writer + showrunner By Casey Mink
Chinasa Ogbuagu and Kate Winslet on “Mare of Easttown”
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for best limited series, it’s safe to say that, yes, Ingelsby stuck the landing. The series, which premiered in April, stars Emmy and Academy Award winner Kate Winslet as a detective confronting the tragedies consuming the Pennsylvania town where she’s lived all her life, as well as her own personal traumas. It used a throwback model to make itself a hit, becoming appointment Sunday-night viewing and building buzz with each of its seven installments. The May 30 finale was HBO Max’s most-viewed episode, even causing the platform to briefly crash that evening. Part of the success of “Mare of Easttown” certainly is thanks to the mystery at its core—each episode introducing new suspects. But its appeal also lies in its atmospheric
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specificity (Ingelsby himself is from Pennsylvania) and the community it depicts, which is brought to life by an ensemble including Julianne Nicholson, Jean Smart, and Evan Peters, all of whom received individual Emmy nominations for their work. “That’s the fun of it: You get to hand [your writing] off, and the actor takes ownership of the character,” says Ingelsby. “And the hope is [that] they elevate it in ways that the writing isn’t able to. It becomes something that you couldn’t create on the page.” Winslet, in particular, took agency over her role as both an
“[Kate Winslet] took the character on the page and imbued it with such emotion and regret and guilt, all just under the surface.”
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MICHELE K. SHORT/HBO
A SUCCESSFUL WHODUNIT needs to be both surprising and believable—two somewhat inherently contradictory qualities—and it also needs to provide worthwhile emotional payoff. So when “Mare of Easttown” creator Brad Ingelsby began to flesh out the characters and setting for his murder mystery, he found one way to ensure he didn’t get the ending wrong: He simply didn’t write it. “There was a long checklist, so until I could structure the ending to hit all those beats, I just wouldn’t write it, because we all know when you get to the end and the finale lets you down, you kind of go, ‘Eh.’ You have to stick the landing,” says Ingelsby. He adds: “I don’t know if we did.” Speaking on the afternoon of the 2021 Emmy nominations, hours after “Mare” received 16 nods, including one
actor and first-time executive producer. Though her Delco accent immediately became a lightning rod for internet chatter, the consensus now is that Mare Sheehan is her best performance in years—and possibly of all time. “I think for Kate, it was a chance to do something different,” Ingelsby says of his leading lady, who was already attached to the project when he brought it to HBO. “She imbued the character with such emotion and regret and guilt, all just under the surface, [and was] extremely strategic as to when it shows and when it’s reined in. That’s what a great actor can do. It was so different from her as a person, but what she could tap into was the family.” Speaking of family, Mare’s own provides the series with much-needed levity. Despite its exploration of a grisly murder (not to mention addiction and grief), the show, is at times, very funny—not in a comic sense, but in the way that human beings are actually funny. “Life is funny and it’s heartbreaking, but you still laugh, and that was so important,” Ingelsby says. What ultimately gives the show its resonance is that its characters feel like real people— people who grew up together, went to school together, married each other, and divorced each other. They’re imperfect, but, like the show itself, they come from a place of love. “Everything I’ve written always starts with a character that interests me, and then having to build a story around that character. It started with Mare,” Ingelsby says. “Write about the things you’re passionate about, because that will come through—not just in the writing itself, but in the themes of the piece. That’s the best advice I can give: Be passionate, because anyone reading will feel the passion come through the page.”
MONOLOGUE MEMORIZATION: INSTA_PHOTOS/SHUTTERSTOCK.COM; “THE UNDERGROUND RAILROAD”: KYLE KAPLAN
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THE ESSENTIALISTS
DOTTIE STARLING
visual effects supervisor “The technical side, anyone can learn,” says DOTTIE STARLING, the VFX supervisor for Barry Jenkins’ “The Underground Railroad,” now Emmy-nominated for best limited series. “But the creative side of learning how to listen to somebody…is not something you can learn off of Google.” The director’s vision takes the lead. “[In prep,] I’m talking to the crew and department heads, but the actors are never there. So the only time you get to talk to the actor about what you might need them to do is on the day. That becomes a
By Casey Mink quick conversation, but it’s something I always run by the director first. The director knows what they want to get from the actor, and you have to make it very clear you’re not stopping that from happening.” Effects can affect the actor’s performance. “I had a lot of conversations with the actor playing Jasper [Calvin Leon Smith] and with our makeup crew, because we had to make him look so skinny and emaciated; so I had to talk to him about how he was holding his body and how he was breathing.
I was very involved with him in terms of all that stuff. It does go down the actor’s route if, [for example,] a limb is missing somewhere. You have to talk to them and help them understand that they have to think differently.”
MICHELE K. SHORT/HBO
MONOLOGUE MEMORIZATION: INSTA_PHOTOS/SHUTTERSTOCK.COM; “THE UNDERGROUND RAILROAD”: KYLE KAPLAN
Craft
5 Tips for Monologue Memorization By Jami Tennille
HAVE YOU EVER FOUND yourself riding the momentum of intention and emotion in your monologue work, only to come to a screeching halt as your mind grasps unsuccessfully for the next line? You’re not alone! Plenty of actors struggle with memorization. But there are a number of strategies you can use to commit your dialogue to memory and truly free yourself from the page. My mantra is: We learn by doing; we get better by practicing. Ready to get to work?
Want more?
All our Backstage Experts can be found at backstage.com/magazine
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Below are five approaches to help you memorize your next monologue. Try them out, and see which ones work best for you. Connect with the piece. There are countless books focused on monologues and websites with extensive libraries of monologues to peruse, including Backstage’s The Monologuer! Take the time to dive into these resources and find a monologue you connect with. Learning and exploring new material is, of course, fun, but the pull of a piece that resonates with you on a higher level will make locking down your dialogue an easier mountain to climb: You identify with the intentions, you feel the emotions, and you can relate
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to the conflict. This immediate connection will give you a head start when it comes to learning your lines. Read it aloud. Auditory linking is another helpful piece of the memorization puzzle. In addition to having the visual memory of seeing the words on the page, you have now also gifted yourself the memory of hearing your dialogue spoken aloud. Break it up. Don’t overwhelm yourself by trying to learn the monologue all at once. Work on it in smaller segments. Go do something fun! Have a snack; have a dance party. You get the idea. Then, come back to it and work on it some more. Try using a mnemonic device. Write down the first letter of each word in each of your lines. For example, M-T-FB-W-Y. Can you guess this famous movie quote? This is a great technique for helping
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you jog your memory and recall your dialogue. (“May the Force be with you” is the line. Did you identify it? Now try it out on your next monologue!) Get visual. Print out copies of your monologue and hang a page over the bathroom sink. Stick one on the fridge. Have it saved on your phone or tablet for when you are commuting on the train or waiting for an appointment or a friend who is habitually late. Part of your work as an actor includes having many different strategies for learning dialogue and getting off-book as quickly as you can. This gives you a strong technical foundation to use to determine which ones works best for you to help you free yourself from the page. Now, go rock that monologue. May the Force be with you.
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Tennille is an actor, acting coach, and Backstage Expert.
08.05.21 BACKSTAGE
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Spotlighting the people and projects you need to know
#IGOTCAST.
It Comes Around By Nana Mensah
The following Career Dispatch essay was written by Nana Mensah, who wrote, directed, and stars in the indie feature “Queen of Glory.” She will be seen alongside Sandra Oh on Netflix’s upcoming series “The Chair,” which premieres Aug. 20.
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I think there’s something to be said for creating opportunities within your current network rather than waiting for a leg up.
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By Jalen Michael BEORHT LEWINSKI is an actor who trusts the process— though he takes full advantage of Backstage to move it along. Experience is its own reward. “Sometimes, it’s better to take the experience over the pay. When applying for a gig with a low budget, you shouldn’t turn down a role because of the pay. It’s better to work in order to gain experience and make connections in the industry, since you’re new to the scene.” Backstage gets you started—fast. “I think I’ve been on Backstage for at least two years. The reason I keep using Backstage is because of how effective it is. I kid you not, I signed up for Backstage, and within the first 30 minutes, I’d booked my first gig.” Wherever you are, remember: It’s possible. “It doesn’t matter where you live in the world— pursuing a career in the industry shouldn’t be impossible. Use the tools you have to make content and share it with the internet. Somebody will notice your work.”
TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.
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ILLUSTRATION: SPENCER ALEXANDER; LEWINSKI: CLIFF CANON PHOTOGRAPHY
IT CAN BE SHOCKING, THE places where opportunity might find you. I spent (I won’t say wasted) a lot of time waiting for an introduction to a friend’s fancy agent or a callback from an EPA or an audition appointment from a casting director I met at a pay-for-play session. But in reality, the most meaningful opportunities that came my way were from friends at or near my current level casting me in their plays, short films, and web series. I think there’s something to be said for creating opportunities within your current
network rather than waiting for a leg up. Ultimately, when an opportunity came to sign with a reputable manager who would dramatically shift the trajectory of my career, it was my work on a YouTube series— “An African City,” created by Nicole Amarteifio, with whom I went to high school—that sealed the deal for them in deciding to take me on as a client. Here are some other actions I would recommend: ● Stay plugged in. I belonged to several reading groups in which actors would get together to read and discuss Shakespeare, original work, contemporary plays, etc. It was such a great way to commune
Beorht Lewinski
RAQUEL APARICIO
Career Dispatch
with other actors a couple of times a month and feel like you’re doing something to stay sharp, especially if things are slow. If you don’t know of one, start your own! ● I’ll have what she’s having! This is controversial but can be useful if you have the right mindset: Keep tabs on actors who have the career you want. Get answers to questions like: Where and with whom did they study? What positive habits do they have that you can cultivate? How did they break out? Figure out how to apply some of that shine to your own career. ● Adopt a pet. This is also controversial, but I’ve found that having responsibilities separate from acting gets me out of my head, which can be beneficial. No matter how badly that audition went, the dog still needs to be walked; the cat still has to go to the vet. Those small achievements in service to another being can put things in perspective. If you don’t have the funds to keep a pet, offer your services as a pet sitter! ● Support, support, support. To quote Aminatou Sow and Ann Friedman, “I don’t shine if you don’t shine.” It’s great to get discovered chilling on a stoop in the East Village, but that will not be the case for most of us. And no one will be more important to you or your career than your friend network. So go see your friend’s one-person show in a crumbling black box theater on Avenue D. Offer to read a friend’s play or attend a reading, and send notes (if they ask). Stand in the rush line to catch a friend’s OffBroadway debut, and greet them with bodega flowers at the stage door. This is a highly challenging business that can be steeped in negativity, so put out all the good vibes you can. Trust me—it comes around.
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Spotlighting the people and projects you need to know
In the Room With
Sarah Halley Finn
How the Marvel CD cast “WandaVision,” and what she looks for in actors to join the new MCU By Lisa Granshaw
How do we weave a tapestry that feels like one consistent ensemble, even throughout all these many, many different kinds of stories that we’re telling? I think that has only accelerated now with the streaming shows, and it’s just increased our need to find absolutely the most talented actors with the greatest range that can sort of take the character anywhere—and also, really, the people who embody the character in the most original and exciting way, and we know they’re going to be a distinct presence in the universe.
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; LEWINSKI: CLIFF CANON PHOTOGRAPHY
WITH THE ARRIVAL OF EMMY-NOMINATED LIMITED SERIES “WandaVision” and “The Falcon and the Winter Soldier” on Disney+, the Marvel Cinematic Universe has once again grown its already expansive world and invited in new fans. Featuring fresh faces joining a roster of familiar characters, these ambitious stories helped set the stage for a new chapter in the MCU. Continuing to assemble an unforgettable ensemble for Marvel’s TV shows and movies is casting director Sarah Halley Finn, who has been with the franchise since its beginnings. Backstage spoke to Finn about casting these shows, how the interconnected universe impacts her casting process, and more. Was there anything different about the casting process for the Disney+ shows compared with the movies? Centrally, it’s always the same job. We’re always trying to focus on every single role—the role that we’re concentrating on at that time—to find the best possible actor. Having said that, there were challenges, because the scope of these shows was so different; the pace at which we
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needed to work was so different, [as well as] just the volume of roles. “The Falcon and the Winter Soldier,” which was essentially a cinematic feature over six episodes—kind of a six-hour movie—made it a lot of work. They were making these shows simultaneously, and “WandaVision” was so different stylistically—basically, the first Marvel foray into sitcoms—so we were able to look at a wealth
of amazing actors who were new to Marvel. Also, we had the fun of exposing people to whole new material, property, story, and characters from the ones that actors had been more familiar with. How has your casting process been impacted by crossover possibilities and the way the MCU is interconnected? It has impacted how we cast. However, I think that is genuinely something that started years ago, because we started understanding before “The Avengers” and “Avengers: Endgame” that the characters from the movies could meet up. We started to look for: What is going to make the chemistry interesting? What will connect these worlds?
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What makes an actor memorable to you in an audition? There are many things, but I think overall, the most important quality is that they honor their own authentic voice. An actor should always follow their instincts and follow their impulses, because as long as an actor is drawing on their own life experience and connecting with what’s real in them and bringing that to what’s real in the character, it’s going to be unique; it’s going to stand out. I think the most important thing is to bring their own original inspiration and creativity to anything they’re doing and to the role. That’s what makes them stand out. There’s really no way to try to guess what someone’s looking for or to try to figure out how to do it right. There’s no right. There’s only making it your own and bringing it to life.
Want more?
Read the full interview at backstage.com/magazine
08.05.21 BACKSTAGE
BACKSTAGE 04.02.20
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Man With a Plan THE FIRST TIME JOSEPH GORDON-LEVITT heard the word “Sundance” was when he was 10 years old. It was 1991, and he was on the set of his first feature film, “A River Runs Through It,” directed by Robert Redford, founder of the Sundance Institute, the nonprofit that supports independent artists and hosts the Sundance Film Festival. Redford gifted the young Gordon-Levitt a T-shirt, he remembers, displaying the storied organization’s name. “I didn’t even know what Sundance was,” Gordon-Levitt says over Zoom from New Zealand, where he moved last October. “I wasn’t quite ready to watch those movies yet.” But by the time he was a teenager, GordonLevitt was consumed by the culture and ethos of Sundance films like “Reservoir Dogs” and “Big Night”—edgy, character-driven narratives that he wasn’t seeing in the blockbusters of the 1990s. His career goal: to act in one. He reached that milestone in 2001 with “Manic,” in which he played a teen in a psychiatric ward. Twelve years later, his directorial feature debut, “Don Jon,” which he also wrote and starred in, premiered at the festival. The spirit of Sundance-approved filmmaking flows through Gordon-Levitt’s career, from the convention-breaking roles he’s played, like the romantic protagonist Tom of “(500) Days of Summer,” to the creative endeavors he’s helmed himself, like the Emmy-winning online artistic community he founded in 2004, HitRecord. His latest project channels a similar creative spirit: intimate, character-driven storytelling that’s infused with the realities of life, both anxious and lighthearted. Apple TV+’s “Mr. Corman” sees GordonLevitt taking the reins as creator, writer, director, executive producer, and star. As
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From sitcoms to indies to genre tentpoles and beyond, Joseph Gordon-Levitt has never forfeited his agency to anyone. His latest project—and his return to television—is the culmination of it all By Allie Volpe | Photographed by Stephen Tilley
the series’ titular character, Gordon-Levitt’s Josh Corman is a musician who has pivoted to public school teaching as he navigates anxiety, love, and relationships with family and friends. Viewers meet Josh a year after the dissolution of his relationship with his fiancé, Megan (Juno Temple), an event that also imploded his passion for music-making. Over the course of 10 half-hour episodes, Josh grapples with life’s litany of rejections—from romantic partners old and new, from his mother (Debra Winger), from the friends he doesn’t quite like or keep in touch with—with the same hopeful malaise as Charlie Brown. Grounded by his upbeat roommate Victor (Arturo Castro), Josh stumbles through life with the best of intentions. In the role, Gordon-Levitt exudes the same kind of boyish charm as Tom or Jon—lost and searching to find his way, hopelessly impassioned, blinded at times by his own unhappiness. But unlike his other roles, Gordon-Levitt says he created Josh as essentially an extension of himself.
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The 40-year-old actor was raised in the San Fernando Valley and began performing as a kid. His first job was in a peanut butter commercial. His proximity to Hollywood made auditioning an accessible way to hone his creativity; he went on to book a number of made-for-television movies before getting cast in Redford’s film, and then as a series regular on NBC sitcom “3rd Rock From the Sun,” which ran from 1996 to 2001. (He managed to film the 1999 teen rom-com “10 Things I Hate About You,” too.) In the early 2000s, Gordon-Levitt took a brief hiatus from show business to attend Columbia University, but got his hands on Final Cut Pro and dropped out shortly thereafter to pursue acting again. The years that followed can be cited today as his “indie phase”—he starred in “Mysterious Skin”; Rian Johnson’s directorial feature debut, “Brick” (which premiered at Sundance and kicked off a career-spanning collaboration between the filmmaker and the actor); and “The Lookout” before 2009’s 08.05.21 BACKSTAGE
“(500) Days of Summer” earned him a Golden Globe nomination. In between filming blockbusters like Christopher Nolan’s “Inception” and “The Dark Knight Rises,” his modern-day retelling of “Don Juan,” “Don Jon,” proved he had the chops to lead a project both in front of and behind the camera. But despite these accolades, Gordon-Levitt attributes much of his success to good fortune. “In the area of art and creativity and show business, luck has everything to do with it,” he reflects. “I’ve worked hard since I was 6 years old, but I also know lots of other people who work hard and haven’t reaped the same rewards.” The seeds of “Mr. Corman” were planted in 2015, when Gordon-Levitt began building the character in notes and brainstorms. While he typically gravitates toward characters with which he shares very little common ground, he wanted to play a part similar to his own
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personality—a story of his life if his fortunes had gone differently. “What if I hadn’t met my partner yet? Or what if my parents weren’t so reliable and positive? What if I had one good parent, but then I had another parent who was maybe more of a problematic person?” As Josh crystallized in Gordon-Levitt’s notebook, the parallels began to emerge: Both the creator and character are natives of the Los Angeles area, but whereas the former fell into acting at a young age and continued on that trajectory, the latter wasn’t so lucky with his musical aspirations. If acting hadn’t worked out, Gordon-Levitt may have pursued teaching, so that’s the profession he assigned his alter ego. “This is sort of the thought process that formed this character of Josh Corman,” Gordon-Levitt says of the alternate-universe throughlines. He adds that the name even “sounds sort of like Joseph Gordon.”
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Quickly, it became clear that he had a lot of thematic ground to cover. Instead of bringing the story to film, he drew inspiration from cinematic television series like “Atlanta” and “Fleabag.” He developed a show in which he could diverge from the main plot, devoting an entire episode to Victor and his teenage daughter, and another to a Halloween party with a video game–inspired fight scene. “A feature film has to have a thread, and there can be branches, but it’s more like you get to really say one thing with a movie,” GordonLevitt says. “Whereas with serial storytelling, you can say your one thing, but you can have your overarching season-long point you’re making. I was really inspired by this kind of serial storytelling. It reminds me of the Sundance movies I loved in the ’90s.” “Mr. Corman” marks Gordon-Levitt’s first time working in scripted television since 2001, when he wrapped “3rd Rock From the Sun.”
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A teen at the time, he found that performing for a live audience on the show instilled in him a sense of comic timing. Although he likens the process of creating “Mr. Corman” more to “(500) Days of Summer” than to “3rd Rock,” he has an intuition for the show’s comedic moments, however subtle. Where “3rd Rock” might’ve elicited a laugh every three to five lines, he says that “Mr. Corman” is more nuanced in its humor: awkward funeral small talk, witty banter between friends. Although his name appears most frequently in the series’ credits, Gordon-Levitt is an artist who thrives on collaboration. It’s what first led him to develop HitRecord 17 years ago. Before “Don Jon,” “Mr. Corman,” and the A-list stardom offered by Nolan, Johnson, and others, he was itching to create in addition to acting. After leaving Columbia, he went on audition after audition and couldn’t get a job. Though the “traditional” path to success had once proved fruitful, he no longer had the patience to wait around for permission to express himself. And so he coined a mantra, “Hit record,” that empowered him to create for creation’s sake, and encouraged him to push the red record button himself instead of waiting for some director who deemed him worthy of making art. In 2005, his brother Dan helped him create the website hitrecord.org, where he could host the short films, music, and stories he’d made on his own. The concept blossomed into an online community of artists of all skill levels who could collaborate on projects. The site spawned the production company
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behind programs like “HitRecord on TV” and last year’s “Create Together,” which both won Emmy Awards. The platform doesn’t promise fame, fortune, or partnership deals. Instead, it simply promises a virtual art or film school campus where users can build a network and revel in the process of creation. “It’s not about: How many followers do you have? How many likes did you get? Can you become an influencer?” Gordon-Levitt says. “It’s about: What can we make together?” He has experienced this thrill himself in moments of connection with a screen partner or after hours of late-night editing. “Those are the moments that I think can provide meaningful and sustained joy, happiness, and self-actualization,” he says.
Don’t consider yourself an ‘aspiring actor.’ Just do that. Do the ancient, universal art of acting. Don’t worry about being a Hollywood actor.
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HitRecord has allowed Gordon-Levitt to explore every aspect of production and tell his own stories—which he readily recommends to actors and creators at all stages. He admits that the path he took in Hollywood includes established milestones, from securing an agent at a young age to relentlessly auditioning for film and TV casting directors. But he urges actors to think outside of dated conventions. Get some friends together and write a script, shoot it, and cobble together the footage. It doesn’t need to be perfect. “Don’t consider yourself an ‘aspiring actor,’ ” he says. “Just do that. Do the ancient, universal art of acting. Don’t worry about being a Hollywood actor.” Not unlike “Joseph Gordon” himself, a central theme of Josh Corman’s life is self-expression. Throughout “Mr. Corman,” viewers watch as the hero inches his way toward finding his voice again in music and rediscovering his art absent external motivators, such as fame and pressure from his partner and family. It’s a lesson that Gordon-Levitt learned long ago: An artist must divorce their art from the dangling carrot of validation. Today, he simply creates. It’s an approach he wishes for all artists. “The stuff that really makes me happy is getting to do the art. It’s not the red carpet, and it’s not the box office, and it’s not any of these external things,” he says. “The external things, they’re like drugs. They’ll make you happy for a second, and then you just want more. You’re feeding an empty hole, and it’s never really satisfying. Shift your perspective and say, ‘Actually, what matters to me is: I’m expressing myself.’ ”
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Category Is: Historic Let’s unpack how the Emmy nominations mixed things up this year By Jack Smart DEAR BACKSTAGE READER, Well, well, well, if it isn’t another awards season. If it feels like not much time has passed since my last letter, that’s because it’s true: The 2021 Oscar season was so delayed that it ended only three months ago. And the 73rd Primetime Emmy ceremony date, Sept. 19, feels like it’s eons away. But, hey, amid a deadly pandemic and manmade global climate change, what is time? stilettoed) step forward as the first openly transgender contender in a major acting category. The déjà vu effect, on the other hand, lies in some of the writing and supporting acting races, where it’s hard not to wonder if Emmy nominators could have looked further afield. Multiple names from the same show competing in a category not only hints at a reluctance to diversify or spread the awards wealth, but also an impending result likely affected by canceling one another out. For playing himself on “The Kominsky Method,” guest actor nominee Morgan Freeman is alone in the
Happy Emmys season,
Jack
Pedro Pascal and Carl Weathers on “The Mandalorian”
DISNEY+
Television historians and awards nerds such as myself will remember the 2021 Emmys race as the one impacted by delays and interruptions in Hollywood production. Without many Television Academy voters’ favorites in the mix, including last year’s drama and comedy winners “Succession,” “Ozark,” and “The Marvelous Mrs. Maisel,” a different crop of nominees has broken through: returning series “The Crown” and “The Handmaid’s Tale” dominated the top categories, as did newcomers “Ted Lasso,” “Hacks,” “Bridgerton,” and despite its recently announced cancellation, “Lovecraft Country.” Each year’s Emmy nominations list exists on a spectrum between déjà vu and new blood, and 2021 is no exception. I love seeing hardworking TV greats finally get their first Emmy recognition: producer-star Kaley Cuoco for “The Flight Attendant”; Evan Peters and Julianne Nicholson for “Mare of Easttown”; Yvette Nicole Brown for “A Black Lady Sketch Show”; Carl Weathers for “The Mandalorian”; the entire cast of “Ted Lasso”; and Daveed Diggs, Jonathan Groff, and Renée Elise Goldsberry. The latter is albeit for “Hamilton,” a filmed theatrical production from 2015 that’s now been dubbed a variety special (which the Golden Globes called a film, the SAG Awards called a TV movie, and the Oscars deemed ineligible). Nominated for her voiceover work on the “Black-ish” election special, Stacey Abrams proved she can truly do it all. And it’s 10s across the board for “Pose” leading lady Mj Rodriguez, taking the Emmys a symbolic (fabulous,
category amid four different hosts of “Saturday Night Live,” which also dominated the supporting comedy races. If “Lovecraft” drama supporter Aunjanue Ellis wins, will it be because all her competitors hail from either “The Crown” or “The Handmaid’s Tale”? The leading acting categories—other than Lin-Manuel Miranda and Leslie Odom Jr. facing off for “Hamilton” and Olivia Colman and Emma Corrin for “The Crown”— refreshingly don’t have that vote-splitting problem. And if there were ever a year to expand the newly named outstanding limited or anthology series category, it should have been this one. “Small Axe,” “The Undoing,” “Genius: Aretha,” “Halston,” “It’s a Sin,” “A Teacher,” “Fargo”: these are some of the brilliant contenders that did not make the cut. The fact that
Emmy voters have their work cut out for them with limited series races (especially for leading actress—I don’t envy anyone who must choose between Michaela Coel, Cynthia Erivo, Elizabeth Olsen, Anya Taylor-Joy, and Kate freakin’ Winslet) is proof that storytelling on the small screen is as prestigious and awardworthy as ever. I’d like to echo what Television Academy chairman and CEO Frank Scherma said during the nominations announcement: “Television has provided a lifeline for so many around the globe this year, delivering a constant source of entertainment, information, and inspiration during some of our most difficult days.” That’s the main takeaway from a pandemic-era awards show, particularly the one charged with whittling down thousands and thousands of contenders in what is still Hollywood’s most exciting, progressive, and gamechanging medium.
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08.05.21 BACKSTAGE
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Plays ‘Eureka Day’
• Seeking equity actors for roles in
“Eurkea Day” (see breakdown). Synopsis: With a mumps outbreak, a private school in Berkeley, California called Eureka Day, becomes a microcosm of our larger society as Jonathan Spector’s comedy plunges headlong into the knotty issues of vaccines and how we measure private preference against public health and how we decide who gets to decide. Though written pre-Covid, Eureka Day could hardly be more timely or more needed as Spector mines laughter from our foibles while eliciting empathy for our sometimes valiant and sometimes valiantly misguided efforts.
• Company: Syracuse Stage. Staff: Rober
M. Hupp, artistic dir.-dir.; Jonathan Spector, playwright; Bass/Valle Casting, casting; Harriet Bass, Gama Valle, CDs. • First rehearsal Sept. 21; runs Oct. 15-31
in Syracuse, NY.
• Seeking—Suzanne: female, 40-55,
White / European Descent. Carina: female, 40-45, Black / African Descent, Ethnically Ambiguous / Multiracial. Meiko: female, 35-39, Asian, Ethnically Ambiguous / Multiracial. Eli: male, 35-39, White / European Descent. • Seeking submissions from NY. • Submit an electronic photo/resume by
Aug. 6. Casting will invite performers to send in a video audition after reviewing their materials. Submit to: bassvallecasting@gmail.com. Deadline: Aug. 6. CB: in-person Aug. 26. • Notes: Bass/Valle Casting encourages
people of all races, ages, ethnicities, abilities and gender identities to apply.
• Production states: “Syracuse Stage is in
residence on the campus of Syracuse University. University policy requires on site employees to be vaccinated. All actors and staff members accepting work from Syracuse Stage must be fully vaccinated or provide written medical or religious exemption documentation prior to arrival in Syracuse.” • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity
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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. and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
Casting picks of the week BY LISA HAMIL
• Pays $925 wk. Equity LORT D Non-Rep
stage
Contract.
‘Eureka Day’ Chuckle at this timely Equity comedy about vaccinations in Syracuse, NY
Musicals ‘Group! A New Musical’
tv
• Casting performers for the world pre-
miere musical entitled “Group!” Synopsis: In this show, six women from vastly different worlds come together to battle the great equalizer: addiction. Group! explores the moments of fear, celebration, and everything in-between as these women grapple with their mental health in the face of sobriety. Who will make it? Who will fall off of the proverbial wagon? And can the current mental health care system really support a path towards long-term recovery?
‘The Time Traveler’s Wife’ Reexamine your past in HBO’s new series in NYC
musical
‘The Evolution Of (Henry) Mann’ Explore love in all its forms in in Basking Ridge, NJ
stage
• Company: Passage Theatre. Staff:
Aleksandra M. Weil, composer; Eloise Govedare, lyricist; Julia B. Rosenblatt, bookwriter; Patrice Amon, dir.; C. Ryanne Domingues, artistic dir.
‘Bakersfield Mist’ Celebrate your art in Cathedral City, CA
• 29-Hour Workshops: Oct. 13-16, 2021
and Jan. 5-8, 2022; full production rehearsal: Apr. 5-28, 2022 (30 hrs/week rehearsal); tech: Apr. 29-May 1, 2022; dress: May 3 and 4, 2022; previews May 5 and 6, 2022; runs May 7 -22, 2022.
chorus
‘Elf’ Get down from your shelf in Arvada, CO
• Seeking—Dotty: female, 60-70, White
/ European Descent, Polish American; sole caretaker of her mother who has Alzheimer’s Disease; uses a combination of alcohol with Xanax to cope; vocal quality: Alto. Sandra: 40-49, Black / African Descent, married to a woman; they have two children; successful marketing consultant who’s fallen from grace due to an alcohol relapse after 15 years; vocal quality: power mezzo with belting ability and a low extension. Victoria: female, 30-39, White / European Descent, of Irish descent; has a complicated history of dissociative mental illness due to trauma; self medicates with heroin and any other substance she can get her hands on; cosplay is her refuge. vocal quality: soprano. Cici: female, 20-29, Latino / Hispanic, Puerto Rican; a stripper; has a three-year-old daughter; uses a combi-
nation of coke and chaos to keep her going; vocal quality: pop mezzo. Everly: female, 18-25, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Colombian and Jamaican American; star soccer player; a serious knee injury led her into a Fentanyl addiction; vocal quality: pop mezzo. Linda: female, 30-39, White / European Descent, a therapist of Italian descent; new to the clinic and the field; this is her first time running a group by herself; vocal quality: soprano. • Seeking submissions from NJ, NY and
PA.
• For consideration, email headshot,
resume, and (as YouTube link or an MP4) a one-two minute monologue and 16 bars of a pop musical to casting@pas-
22
sagetheatre.org. Suggestions may include non-rapping selections from “In the Heights,” “Hamilton,” “Six,” “Hadestown,” or “The Greatest Showman,” or other pop artists like Sia, Sarah Bareilles, or Sam Smith. If auditioning for Dotty, audition selections may include music in the style of “Grey Gardens” or “War Paint.” • Nonunion and AEA SPT 3/4 contracts
available..
‘The Evolution Of (Henry) Mann,’ Equity Video Submissions
• Casting Equity performers for “The
Evolution Of (Henry) Mann.”
• Company: American Theater Group.
Staff: James Vagias, producing artistic dir.; Jason Aguirre, dir.; Emily Cohn, music dir.; Dan Elish, book-lyrics; Douglas J Cohen, music-lyrics; Michael Cassara, CSA, casting dir. • Rehearsals begin Sept. 21; runs Oct.
14-24 at Sieminski Theater in Basking Ridge, NJ. Note: All rehearsals and performances will take place in New Jersey. Rehearsals take place Tuesday through Sunday with four to five performances/ week during run. • Seeking—Henry Mann (Performer
One): 32, all ethnicities, high baritone; our eager and romantically challenged hero; recently invited to his ex-fiancée’s wedding; legal proofreader by night, frustrated writer by day; Henry is someone with one foot rooted in the past (Sheila) and spends much of his time projecting into the future; unfortunately, he has yet to learn to embrace the present.. Gwen, Et Al (Performer Two): 20-39, all ethnicities, Mezzo with a strong mix and belt; plays the following roles: Gwen: Henry’s best friend and roommate; gay, recently split from her wife. Harvey Tritone: a lounge singer. Jim: an ex-boyfriend. Jay Gatsby: Times Square’s Naked Cowboy. Mrs. Mann: Henry’s mother. Sheila, Et Al. (Performer Three): 20-39, all ethnicities, Mezzo with a strong mix and belt; plays the following roles: Sheila: Henry’s ex-finance, striking and refined but in love with someone else. Tamar: Henry’s current love interest, charming and alluring, vivacious, but with a somewhat checkered romantic past. Christine: endearingly earnest, if occasionally scattered; a sweet third grade teacher with a great jump shot. Daisy Buchanan: the fictional heroine of The Great Gatsby. Natalie: a girl in the park. Mellow Voice: the MC at the Sleepy Wheel, a folk bar. Voice: a mystery backstage.com
New York Tristate casting
woman who leaves forthright phone messages; extremely versatile and dynamic with supreme comedic chops. • Seeking submissions from NJ. • All submissions will be via video, and
submitted through this form: https:// form.jotform.com/212025619919155. If you encounter any technical difficulties, you may submit via e-mail to submissions@michaelcassara.net, but only use that if you are unable to use the form or have any questions. Deadline Aug. 6. • Prepare a brief singing selection or two
(ideally each about a minute long) in the style of the score - the original cast recording is widely available. Character/ story-driven contemporary musical theatre material is ideal. Equity Required Accompaniment Tracks: In the event that a performer does not have access to audition accompaniment tracks of their own, the theatre has provided audition accompaniment cuts of Irving Berlin’s “Always,” now in the public domain, which you are welcome to use as a general singing audition. Per Equity rules, it has been provided in four separate keys (Soprano/Alto/Tenor/Bass) and tracks/ sheet music can be obtained from: https://www.dropbox.com/ sh/1a4ff2936tn2wcf/ AAALsljpkIdBCzETdyi6ulVna?dl=0. Equity contracts are available for each of the three roles. Following the success of the world premiere OffBroadway production in 2018, writers Douglas J. Cohen and Dan Elish will be actively involved in American Theater Group’s exciting production under the new title, The Evolution of Henry Mann. Callbacks will be held (via video selftape and live virtual auditions) in August, 2021. Once you have submitted your materials, we will not follow up unless we need anything further. American Theater Group is following the guidelines of public health officials and the Center for Disease Control, in addition to all Equity requirements, in order to create a safe environment for this production. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $438/wk. + health/pension.
Producer anticipates providing lodging and/or transportation. Equity SPT 5 Agreement.
‘The Office! A Musical Parody’ Off-Broadway
• Casting comedic actors in “The Office:
A Musical Parody”. Synopsis: It’s a typical morning at Scranton’s third largest paper company until, for no logical reason, a documentary crew begins filming the lives of the employees of Dunder Mifflin. • Production states: “This hilarious unau-
thorized parody of the hit TV show, The Office, had been running at Theatre Center for over a year before the shut backstage.com
down. ‘The Office! The Musical!’ is reopening with strict safety protocols. We are looking for actors who can embody the characters from TV, but don’t necessarily have to physically resemble them.”
of all ages, genders – this includes your best “Kevin” voice. Angela & Others: 20-35, actor/singer/comedian who moves well. Improv experience desired. Legit soprano with strong belt and tight harmonies. Looking for an actor who can be a wide range of comedic characters. Comedic timing is a must as well as singing range and no cat allergies. Stanley/Darryl: 20-40, Black / African Descent, Actor/Singer/Comedian with excellent comedic timing. Stanley hartes everything, except for pretzel day. Darryl is making moves on management, and also Kelly. This part will also be responsible for male swing roles.
• Casting is open to any age, ethnicity, or
gender identity. Show is currently open-ended.
• Company: The Theater Center. Staff:
Michelle Vincents, casting dir.
• Performances TBD at The Jerry Orbach
Theater in Times Square at The Theater Center. • Seeking—Jim/Andy: 25-40, all ethnici-
ties, Actor/Singer/Comedian who moves well. Improv experience desired. Must sing comfortably in full voice up to a G#4 but must also be comfortable with lower harmonies. Jim is the boy next door type. If your boy next door had completely unmanageable hair and a pension for pranks. Andy is most known for his explosive outbursts of anger and his explosive outbursts of banjo playing. Guitar/banjo ability a plus. Kelly & Others: 25-35, AAPI Actor/ Singer/Comedian who moves well. Improv experience desired. Strong pop belter who also has the agility to riff comfortably. Must be able to belt up to a F5 but also comfortable singing alto harmonies. Kelly has a million things to say and can fit them all into the span of a minute. She’s in love with The Temp and the Kardashians and herself, in that order. Michael Scot: female, 25-35, actor/singer/comedian who moves well. Improv experience desired. Alto with a strong belt and tight harmonies. He’s the World’s best boss—made official by the coffee mug he purchased, Michael is a managerial force of nature. When he’s not busy doing work—which is never—he’s telling inappropriate jokes, doing impressions, singing song parodies. Very strong character work and comedic timing is a must! Pam/Erin: 20-35, actor/singer/comedian who moves well. Improv experience desired. Legit Soprano with strong belt and tight harmonies. Pam is the heart and soul of the office (AKA the Secretary). She’s been engaged to Roy for 18 years but she also loves Jim…it shouldn’t cause any problems! Pam longs to be an accomplished artist, her preferred medium is finger painting. Erin is an orphan born without a family or a brain. She’s looking for both at Dunder Mifflin. Must be able to handle comedy and drama and Michael’s dry cleaning. Dwight & Others: 25-40, actor/singer/ comedian who moves well. Improv experience desired. Tenor with tight harmonies. Dwight loves three things: Bears, Beets, and Battlestar Galactica. Dwight is the Assistant to the Regional Manager and has his priorities in order: he’s a farmer first, a paper salesman also first, a Volunteer Sheriff’s Deputy (also first), and a black belt in Karate, first as well. Total and complete commitment to this character is the single most important thing about this role. Phyllis/Meredith & Others: 25-40, actor/singer/comedian who moves well. Improv experience desired. MezzoSoprano with strong belt and tight harmonies. Looking for an actor who can be a wide range of comedic characters
• Seeking submissions from NY. • Apply on Backstage.com. • Pays $80/perf., minimum 5 perfor-
mances/wk., $400/wk. rehearsals.
Chorus Calls ‘South Pacific,’ Equity Video Submissions (Chorus)
• 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: 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 Singers And Dancers:
18+, Seeking Stewpot, Abner, Professor, Henry, Sailors, Nurses, Islanders, Officers, Sailors, Marines, Seabees and Soldiers; performers of all ethnicities, races and gender identities are encouraged to audition. • 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 combination. Wear proper character shoes with a heel or sneakers/jazz shoes. If you are using an iPhone to record, be sure to
23
film horizontally and in a well-lit space.
• Send the video, along with your photo/
resume attached as a pdf in Vimeo or unlisted YouTube format to: casting. plazaAEA@gmail.com. In the subject line, type: Your full name and the role for which you’d like to be considered.
• 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) Visit: https://broadwaylongisland.com/ to learn more about this company based on Long Island and only a short train ride from midtown Manhattan. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Salary: Pending Negotiations (plus LIRR
railroad travel expenses and Uber transportation to/from local station and theatre.) Equity LOA Agreement.
Feature Films ‘Corduroy,’ Single or Twin Newborn Babies
• Seeking single or twin newborn babies
for “Corduroy,” a feature film that chronicles the efforts of journalists to bring to light decades of abuse and harassment within Hollywood.
• Company: Grant Wilfley Casting. Staff:
Belle GWC, casting dir.
• COVID test on Aug. 21 and Sept. 6
(Labor Day); works Aug. 23 and Sept. 8 in NYC/Brooklyn. Mandatory COVID testing provided by production for guardians and babies. • Seeking—Single or Twin Newborn
Babies Born in July/Early August 2021: all genders, 18+, White / European Descent, single or twin newborn babies born in July/early August 2021 to portray newborn baby of principal characters. • Seeking submissions from NY. • If interested and available, email
gwcasting@gwcnyc.com, title the subject line “Backstage Newborn,” and include the following in the body of the email: guardian name, baby name, phone number, current length and weight, date of birth and current age, candid photos that show what your baby current looks like, and confirm availability on all work dates. • Pays $250 per baby for the work dates;
$100 stipend for COVID testing date.
Student Films ‘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
08.05.21 BACKSTAGE
casting New York Tristate process.
‘Sabra Stories’
NYU film student.
series about young Israelis in NYC.
• Company: NYU. Staff: Juliet Adelman, • Shoots towards the end of August in
NYC.
• Seeking—Rachel: female, 18-28, all
ethnicities, Rachel is blunt, unfiltered, and 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, Violet is anxious, soft-spoken, naive, and artsy. Her fear stems from self-doubt 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.
• Company: Blue Carioca Film. Staff:
Steve Becker, prod.
• Scheduled to shoot in late September
in NYC.
edu.
access to the footage for reel purposes.
gmail.com.
• Travel and meals provided as well as
Scripted TV & Video ‘Gaia’ Apple TV Series
• Casting “Gaia,” an Apple TV series. • Company: Grant Wilfley Casting. Staff:
Nichole Porges, background casting. • Likely shoots Aug. 13 and 18-20 in the
NYC area, to include Brooklyn and Queens.
• Seeking—Non-union to Portray Isreali
Types, Aug. 18-20: all genders, 18+, Ethnically Ambiguous / Multiracial, Middle Eastern, White / European Descent, 18-80 age range, who can portray Israeli Climate change protesters. Multiple shoot dates likely Aug. 18-20. Mandatory Covid Testing before your Wardrobe Fitting and before filming, dates TBD. Non-union Background rate: $165 for 10 hrs., OT after that. Non-union to Portray Middle Eastern Types, Avail Aug. 18-20: all genders, 18+, Ethnically Ambiguous / Multiracial, Middle Eastern, 18-80 age range, who can portray Middle Eastern Climate change protesters; multiple shoot dates, likely Aug. 18-20. Mandatory Covid Testing before your Wardrobe Fitting and before filming, dates TBD. Non-union Background rate: $165 for 10 hrs., OT after that. Non-union Kids 6-16, Avail Aug. 13: 6-16, all ethnicities, boys and girls 6-16 age range, who can portray school children; likely shoots Aug. 13. Mandatory Covid Testing before your Wardrobe Fitting and before filming, dates TBD. Non-union Background rate: $165 for 10 hrs., OT after that.
• Seeking submissions from NY. • Send submissions to gaia@gwcnyc.com. • Pays SAG Background rate: $182 for 8
hrs, OT after. Non-union Background rate: $165 for 10 hours, OT after.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
BACKSTAGE 08.05.21
Rotary Tool Commercial, Greenpoint, Brooklyn
• 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. • Send submissions to adelmj01@nyu.
Demo & Instructional Videos
• Casting “Sabra Stories,” a comedy web
• Casting one male lead and one female
lead for a digital/social ad for a top Appliance Company’s Rotary Tool division. Note: Mid-30s, Must have experience with a rotary tool, drill, or any basic workshop/woodwork (think, homeowner garage carpenter/ advanced hobbyist. Talent to come makeup ready with one-two wardrobe options. Will have Prod. Designer nearby for assistance with the tool alongside client/product team (client team remote or in-person contingent on local and state regulations on C19 safety). Max cast/crew size will be 12-13 people, and we will be compliant with industry standards and protocols for safe sets. That includes but is not limited to: PCR pre-employment test required, daily morning safety questionnaire and contactless temperature screening, masks worn on a hot set at all times, individualized food, sanitizer, etc. Must be willing to get a pcr test within 48 hours of production: https://labq.com/ covid-mobile-testing/.
• Seeking submissions from NY and NJ. • Send submissions to BlueCariocaFilm@ • 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: Inexora Media, LLC. Staff:
Jacob Goldberg, prod.; Jeff Malo, DP; Richard Han, prod. designer.
• Company: Grant Wilfley Casting. Staff:
Emily GWC, casting asosc.
• COVID test Aug. 6; shoots Aug. 9 in the
• Shoots Aug. 7-8 (interior) in Greenpoint
NYC area. Possible fitting on date TBD.
Brooklyn, NYC. Note: Female Lead plays on Saturday Aug. 7. Male Lead plays on Sunday Aug. 8.
• 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—Female Lead - Carpenter/
Workshop Hobbyist: female, 25-40, all ethnicities. Male Lead - Carpenter/ Workshop Hobbyist: all genders, 25-40, all ethnicities. • Seeking submissions from NY. • Send submissions to inexoramedia@
• Seeking submissions from NY. • Apply on Backstage.com. • Do not submit if you have already
gmail.com.
• For consideration, include a cover
worked.
letter briefly mentioning your experience with rotary tools and/or at-home hobbyist workshopping. Have you ever sanded or cut through oak? Have you ever cut lag bolts? Confirm your hands are in good condition (i.e. not scraped up or nails cut too harshly) - the commercial is very productfocused so the hands and arms will be seen primarily.
• SAG-AFTRA background rate $182/8
hrs.
‘The Time Traveler’s Wife’
• Casting background actor for the show
“The Time Traveler’s Wife.”
• Company: Grant Wilfley Casting. Staff:
Emily GWC, casting assoc.
• Covid Test Aug. 4; shoots Aug. 5-6 in
the NYC area.
• Seeking—Caucaisan Girl 4’3-4’6” With
• Pays $400/10 hour day for talent 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. Shooting interior/exterior in NYC area. Works: 8/5 & 8/6Covid Test: 8/4. 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.
first meal provided as well, in a nonspeaking role, with clearance for usage rights for global web/digital.
Multimedia Wired Magazine’s ‘5 Levels,’ Children/Teens
• Seeking kids (ages 7-10) and teenagers
(ages 13-17) to appear on camera and have a science expert explain a new concept to them for Conde Nast and Wired Magazine’s next installation in their “5 Levels” series, in which experts are challenged to explain a scientific
24
concept at increasing levels of complexity to five different people (including a child and a teen). • Production states: “Please check out
‘Quantum Computing Expert Explains One Concept in 5 Levels of Difficulty’ on WIRED’s YouTube Channel to see an example of a previous episode -- we’ll be following the same format.” • Company: Conde Nast. Staff: Thomas
Giglio, casting dir.
• Shoots Sept. 9 in NYC. • Seeking—Boys: 7-10. Girls: 7-10. Teen
Boys: 13-17. Teen Girls: 13-17.
• Seeking submissions from NY. • Send submissions to nick_sawyer@
condenast.com.
• Parents/guardians should include their
contact info as well, in addition to info about your child -- you may be asked to coordinate a quick video call with you and child. • Parents must be able to report with
child to the NYC shoot location on Sept. 9. • Child/teen should be smart, engaging
and a good listener. Bonus points for an interest in science and math. • Parents must send their phone number
and email address for their children to be considered. Send some info about your child and her interests as well. • Pays $100 stipend.
Online Commercials & Promos Beach Lifestyle Shoot
• Casting a two day lifestyle shoot for a
tourism group at the Jersey Shore. No speaking parts, may require actors to be in a bathing suit. • Company: Forge Apollo. Staff: Kelly
Hauck, prod.
• Works Aug. 23-25 in Wildwood, NJ. • Seeking—Family: all genders, 5-65, all
ethnicities, looking for multi-generational family. Real families are preferred but not necessary. Must be okay with wearing a bathing suit. Couple: all genders, 25-45, all ethnicities, looking for a man and woman to play a couple for a lifestyle shoot. Must be okay with wearing a bathing suit. • Seeking submissions from PA, NJ and
NY.
• Send submissions to kelly@forgeapollo.
com.
• Must have a headshot. • Pay TBD. Lodging provided. Meals while
on set provided.
Print & Digital Modeling Still Shoot for Point of Sale Display for Turbo Tax
• Casting a still shoot a point of sale dis-
play for Turbo Tax.
• Company: Myers Creative Imaging.
Staff: Heather Roman, prod.
backstage.com
California casting
• Shoots Aug. 9 or 10 on-location in a
home setting in the Rochester, NY area. • Seeking—Male Turbo Tax User: male,
30-60, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander.
Southern California
• Seeking submissions from NY. • Send submissions to heather@myersci.
Plays
• Submit recent photos (full-length and
‘Bakersfield Mist,’ Equity Video Submissions
com.
close-up).
• Pay is $575 for the session and $2,500
for unlimited usage fee. Production is willing to discuss compensation for travel.
Stage Staff & Tech ‘South Pacific,’ Stage Manager Submissions
• Seeking Equity Stage manager and
assistant 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. • Submit resume for consideration.
Deadline: Aug. 2 to staff.plazaaea@ gmail.com. 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. • Equity’s contracts prohibit
discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
• Salary: Pending Negotiations (plus LIRR
railroad travel expenses and Uber transportation to/from local station and theatre.) Equity LOA Agreement.
• Rehearsals begin TBD; runs Nov.
16-Dec. 12, 2021 in La Jolla, CA.
• Seeking—Vincent: male, 35-39. Theo:
male, 25-35. Agostina: female, 40-45.
• Seeking submissions from CA. • Actors of color and actors with disabili-
ties are encouraged to submit. There are currently no understudy roles available. There are no stage management roles available.
• Prepare two contrasting contemporary
monologues. Monologues should show depth, range and strong command of language. Send video as a downloadable file and not a hyperlink. Deadline Aug. 6 to auditions@ljp.org.
• Casting Equity actors for “Bakersfield
Mist.” Synopsis: Maude, a fifty-something unemployed bartender living in a trailer park, has bought a painting for a few bucks from a thrift store. Despite almost trashing it, she’s now convinced it’s a lost masterpiece by Jackson Pollock worth millions. But when worldclass art expert Lionel Percy flies over from New York and arrives at her trailer home in Bakersfield to authenticate the painting, he has no idea what he is about to discover. Inspired by true events, this hilarious and thought-provoking comedy drama asks vital questions about what makes art and people truly authentic.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $1,008/wk. minimum (LORT B.)
Equity LORT Non-Rep Agreement.
backstage.com
grandfather of Tracey. He has lived alone since the death of his wife a couple years ago, which he has trouble getting over. He deeply loves Tracey and enjoys spending time with her, but at times it is unclear whether he is in denial of his wife’s passing, or it is simply a product of his old age. Tracey: female, 18-25, Tracey is the 14-16 year old granddaughter of John. She loves her grandfather and is distressed when she sees the way he denies the death of her grandmother. She is also burdened with the knowledge that her parents are planning to relocate John to a retirement home. Although she is still a child, she must make the adult decision on whether or not to confront her grandfather with the truth. • Seeking submissions from CA. • Send submissions to dechin@chapman.
edu.
• This is an unpaid position. Meals will be
provided, and gas will be compensated for. Actors will receive the resulting film to add to their reel once it is completed.
‘Sax’
• Casting “Sax,” a short, queer, coming-
• Company: Coachella Valley Repertory.
Ben Escobar, dir.
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.
of LA. Won’t be needed for more than 4 hours.
Henrietta Biayemi, prod.; John Thompson, prod.
Student Films
Staff: Ron Celona, dir.
• Rehearsals begin Oct. 18; runs Nov.
9-21, 2021 in Cathedral City, CA.
‘Morning’
• Seeking—Maude Gutman: female,
50-59, a Broad who smokes and drinks and usescurse words with ease. Lionel Percy: male, 60-70, male, 60 - 70 year old; elegant, refined grayhaired gentleman.
• Casting “Morning,” a student short film
for a brief role for an old woman with long silver hair - no lines.
• Company: Chapman University. Staff:
• Seeking submissions from CA. • Submit a two-three minute monologue
• Shoots TBD date in Topanga area, north
of your choice by Aug. 20 to rcelona@ cvrep.org.
• Seeking—Old Woman: female, 65+,
Ethnically Ambiguous / Multiracial, Middle Eastern, South Asian / Indian, White / European Descent, Old woman with long silver hair that sits beside a harp. Tender, quiet, at peace.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
• Seeking submissions from CA. • Apply on Backstage.com. • Copy, credit, and meals provided.
‘Razor’
• Pays $508/wk. (SPT 6.) Equity SPT
• Casting “Razor.” Synopsis: On an early
Agreement.
morning while the tide is low, Tracey prompts her grandfather, John, to go clam digging while the timing is ripe. What ensues is a story of realization and self-discovery. John is struggles with his age and the loss of his wife, while Tracey takes her first steps into adulthood as she decides whether to break the news that her parents wish to reallocate him to a retirement home. A short tale of old and new, and how different generational gaps meet each other halfway. Script Length: 8-9 pages. Runtime: ~12 minutes. From a team of graduate students at Chapman University working on an original short film.
‘To The Yellow House,’ Equity Video Submissions • Casting Equity actors for “To The
Yellow House.” Synopsis: February. 1886. Vincent Van Gogh is broke again. Trailing past-due notices and annoyed innkeepers, he arrives unexpectedly at his brother’s doorstep in Montmartre determined to make another fresh start. Caught in the colorful whirl of the Parisian art scene, he drinks too much, falls in love with the wrong woman, argues with everyone – and paints. Night and day he works to translate what he feels onto the canvas, relentlessly chasing a new form of expression that always seems to be just around the corner. A meditation on love, art and not being popular.
• Company: Chapman University. Staff:
Denali Chin, dir.; Steven Schweitzer, writer; Hansen Yang, DP; Luke Dias, prod.
• Company: La Jolla Playhouse. Staff:
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
• Seeking—John: male, 50+, John is the
• Auditions/rehearsals will be conducted
Kimber Lee, playwright; Neel Keller, dir.; Jacole Kitchen, dir. of Arts Engagement and in-house casting; Stephanie Yankwitt, TBD casting, casting dir.
via Zoom; shoots Aug. 20-22 (all day Friday, Saturday and Sunday). Make sure you have full availability all three of these days.
25
• Staff: Andrew Van Heusden, dir.;
• 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, 20-22, all
ethnicities, 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, 20-22, 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, 19-21, 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, 18-23, all ethnicities, the elite saxophone quartet (a tenor saxophone, soprano saxophone and baritone saxophone) practices every Monday, Wednesday and Friday. 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. Feel free to provide audio samples if you play the saxophone.
08.05.21 BACKSTAGE
casting California • Seeking submissions from CA. • Send submissions to avanheus@lion.
Multimedia
• Pays hourly on set. Meal, copy, and
‘Royal Street’
‘Vida’
tos and video. Seeking male and female actors aged teens through 50s. See character breakdown for details.
lmu.edu.
credit provided.
• Casting “Vida,” an action film set in a
dystopian L.A.
• Company: UCLA. Staff: Maria Valdez,
dir.; Savana Vagueiro da Fonseca, prod.; Keenan Kunst, prod. • Shoots Aug. 24 for role of Homeless
Men. Shoots Aug. 27-30 for role of Women.
• Seeking—Homeless Men: male, trans
male, 60-80, Black / African Descent, Latino / Hispanic, homeless men living in a homeless encampment. Women: female, trans female, 18-35, Latino / Hispanic, women who live in a safe encampment.
• Seeking submissions from CA. • Send submissions to mvaldez9@g.ucla.
edu.
• No pay.
Scripted TV & Video Surgery Instructional Videos, Health Care Transformation • Casting five two-minute videos for a
surgery center (total of approximately 10 minutes of video content). The videos are scripted and actress must be skilled at reading from a teleprompter. These videos will educate and guide patients through their surgical experience. • Company: Health Care Transformation.
Staff: Meghan Nechrebecki, CEO.
• Production studio is in Brentwood, Los
Angeles. Scripts are ready to film as soon as we find our actress. Must be prepared to film early morning. Actress should come completely prepared so filming does not take more than 45 mins. • Seeking—On-Camera Lead: 25-45,
Asian, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Southeast Asian / Pacific Islander, on camera brand representative who will be relaying standardized script to patients; must be engaging, warm, professional. Must have prior experience reading from teleprompter. • Seeking submissions from CA. • Send submissions to meghan@
caretransformation.net.
• Include a video of you reading off a
teleprompter in your application. To learn more about the look and feel of the shoot check out www. caretransformation.net/videoshowcase. • Pays $500 for 10 minutes of video
content. Actress will sign contractor agreement and video release form. Actress must supply their own clothing, including professional blouses and jackets.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
BACKSTAGE 08.05.21
• Casting several roles for in-game pho-
• Production states: “About Hunt a Killer:
follow these individuals as they talk about their business, demonstrate their craft related to it with celebrity chef host, as well as discuss what made them decide to move back home (within the past year or 2) to bring their culinary talents to the cities they were raised in.
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.).
Vuozzo, prod.
• Season runs in San Diego, CA. • Seeking—Equity Stage Managers: 18+. • Seeking submissions from CA. • For consideration, submit resume to
• Company: Tastemade. Staff: Brittany
At Hunt a Killer, our mission is to revolutionize the entertainment industry by challenging conventional forms of storytelling. We provide interactive entertainment experiences that position participants as characters in their very own thrilling mystery stories.”
• Looking to film at their business and
their hometown city for 2-3 days at the end of September/early October.
• Seeking—Culinary Artisan: all genders,
• Company: Hunt A Killer. Staff: Wade
Eck, media prod.
• Shoots August around Los Angeles • Seeking—Celestine Broussard: female,
30-35, Black / African Descent, an artist and activist. Brave, outspoken. A visionary. Sylvia Jones: female, 30-35, Black / African Descent, A tattoo artist. Shy, loyal, caring. Ines Couvillion: female, 30-35, Asian, White / European Descent, a filmmaker. Vapid, attentionseeking. Jay Harris: male, 30-35, Black / African Descent, a builder of parade floats with the soul of a poet. Young Celestine: female, 9-12, Black / African Descent, this child grows to become an artist and activist. Brave and outspoken. Young Jay: male, 9-12, Black / African Descent, this child grows to become a builder of parade floats with the soul of a poet. Mason + Dillon Flores: male, 16-25, Latino / Hispanic, you will be playing two roles, portraying twin brothers: Mason: a fratty college kid with a dark past. Dillon: Mason’s identical twin brother. Nonah Turner: female, 40-45, White / European Descent, an eccentric animal lover who lives in New Orleans French Quarter. Cyril Fortier: male, 50-55, White / European Descent, A fast food magnate and “good ol’ boy.” Breezy Bellwether: female, 40-45, all ethnicities, Cyril’s loyal but clueless girlfriend. Cyril is a fast food magnate and “good ol’ boy.”. Eddie Serritella: male, 50-55, all ethnicities, s fast food magnate. Owns a fried chicken restaurant. Elijah Broussard: male, 16-22, Black / African Descent, Celestine’s kid cousin. Nerdy and sweet. Celestine is an artist and activist. Brave, outspoken. A visionary. The Craw Daddy: male, 50-55, all ethnicities,s New Orleans French Quarter eclectic free-spirit who thinks he’s a superhero. GoodFindzGuy59: male, 50-55, all ethnicities, A pawn shop haggling pro. Braggadocious. • Seeking submissions from CA. • Apply on Backstage.com • Submit your headshot, reel and resume
for consideration. Include in your submission a current non-headshot 3/4 photo.
18+, all ethnicities, looking for culinary artisans! Are you a skilled chef? Mixologist? Cheesemonger? Food truck owner? House sauce maker? Coffee roaster? Pastry Chef? Urban farmer? We want to hear from you! The series will follow these individuals as they talk about their business, demonstrate their craft related to it with celebrity chef host, as well as discuss what made them decide to move back home (within the past year or two) to bring their culinary talents to the cities they were raised in.For more information connect @castingblvd. • Seeking submissions from CA. • Send submissions to vuozzobritt@
yahoo.com.
• If interested, send your info, 2-3 recent
pics and your story.
• Compensation discussed during book-
ing process.
Online Commercials & Promos ‘Aalto’
• Casting hero role, Chris, for “Aalto.”
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. • 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.
Stage Staff & Tech
• Pay varies based on the size, number of
locations and demands of the role. Talent release required..
Tastemade Culinary Artisans
San Diego Repertory Theatre 2021-2022 Season
with Jeep on a fun, digital series seeking SoCal culinary artisans/entrepreneurs who have moved back to their hometowns of SoCal this past year or two, to start their own business. The series will
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
• Tastemade is working in partnership
• Seeking Equity Stage Managers for the
26
• Company: San Diego Repertory
Theatre.
kheil@sdrep.org or Kim Heil, San Diego Repertory Theatre, 79 Horton Plaza, San Diego, CA 92101. Submissions deadline is Oct. 12. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $911/wk. (LORT D.) Equity LORT
Non-Rep Agreement.
San Jose Stage Company 2021-22 Season, Stage Manager
• Seeking Equity stage managers of all
ages, ethnicities, and genders for San Jose Stage Company’s upcoming inperson 2021-2022 Season. Season includes “The Great Leap” (Lauren Yee, writer. Rehearsals begin Sept. 7; runs Sept. 29-Oct. 24); Frank Capra’s “Meet John Doe,” a world premiere (Kenneth Kelleher, adaptation. Rehearsals begin Oct 26; runs Nov. 17-Dec. 19); “Strange Courtesies” (L. Peter Callender, writer. Rehearsals begin Jan. 11, 2022; runs Feb. 2-27) “August: Osage County” (Tracy Letts, writer. Rehearsals begin Mar. 8; runs Mar. 30-Apr. 24); and “The Tooth of Crime” (Sam Shepard, writer. Rehearsals begin May 3; runs June 1-26, with possible extension through July 10, 2022). • Company: San Jose Stage Company.
Staff: Randall King, artistic dir.; Cathleen King, exec. dir.
• Rehearses and performs in San Jose,
CA.
• Seeking—Stage Manager: 18+, all
ethnicities.
• Seeking submissions from CA. • For consideration, submit via https://
zfrmz.com/EusQz5N6HPyZR8ErzFmd. Local Bay Area stage managers encouraged to submit. Submissions deadline is Aug. 19. • San Jose Stage Company is committed
to equity, diversity, and inclusion in casting and uses a color and culturally conscious approach to casting. Stage Managers of any race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials. • Equity’s contracts prohibit
discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all backstage.com
National/Regional California casting
ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $680/wk. Equity Bay Area Theatre
Tier 3 Contract.
National/ Regional Plays Cincinnati Shakespeare Company 2021-2022 Season, Equity Video Submissions • Seeking Equity actors for the Cincinnati
Shakespeare Company 2021-2022 Season. Season includes: “Romeo & Juliet” (Rehearsals begin Sept. 6; runs Oct. 8-Nov. 13), “Every Christmas Story Ever Told” (Rehearsals begin Nov. 1; runs Nov. 19-Dec. 26), “Ma Rainey’s Black Bottom” (Rehearsals begin Dec. 27, 2021; runs Jan. 21-Feb. 12, 2022), “Hamlet” (Rehearsals begin Jan. 31, 2022; runs Feb. 25-Mar. 26, 2022), “The Comedy of Errors” (Rehearsals begin Mar. 14, 2022; runs Apr. 8-30, 2022), and “Pride & Prejudice” (Rehearsals begin Apr. 18, 2022; runs May 20-June 18, 2022). • Company: Cincinnati Shakespeare
Company. Staff: Brian Isaac Phillips, he/ him, producing artistic dir.; Crystian Wiltshire, he/him, assoc. artistic dir.; Candice Handy, she/her, education dir.dir.; Kate Bindus, she/her/hers, production manager; Darnell Pierre Benjamin, he/him, dir.-choreo.; Jeremy Dubin, he/him, dir.; Sara Clark, she/her, dir.; Christopher V. Edwards, he/him dir. • Season runs in Cincinnati, OH. • Seeking—Equity Actors: 18+. • Seeking submissions from OH. • At this time, Cincinnati Shakespeare
Company is only accepting video auditions. Prepare two contrasting pieces, at least one of them Shakespeare with a combined length of less than three minutes. Slate at the beginning of the video, stating your name and the pieces you will be doing. Submit video via YouTube, Vimeo, or Google Drive link and attach digital headshot/resume. Send audition video link with above materials attached with subject line: CSC Season Submission by Aug. 11 to crystian. wiltshire@cincyshakes.com. Cincinnati Shakespeare Company’s goal is to create a casting process that is welcoming, absent of intimidation, and serves those auditioning as well as the creative team in the full exploration of the material. All body types, races, and ethnicities are wanted. CSC seeks actors of all abilities and will make all reasonable accommodations to cast actors in any available role. CSC recognizes that most characters are written on the binary (using he/him or she/her pronouns) and we invite gender nonconforming, genderqueer, transgender, and nonbinary actors to submit for the roles with which they identify. As a producer with the Actors’ Equity Association, CSC prohibits discrimination. If there are any backstage.com
provisions Cincinnati Shakespeare Company can make to enhance and support your audition experience, just let us know. Reach out through the note section of your breakdown submission or by emailing Crystian Wiltshire at crystian. wiltshire@cincyshakes.com.
ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $1,008/wk. Equity LORT B Non-
Rep Agreement.
GableStage 2021-2022 Season, Equity Video Submissions
• Equity’s contracts prohibit
discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
• Casting Equity actors for the
GableStage 2021-2022 Season. Season includes: “The Price” (Arthur Miller, playwright; Rehearsals begin Oct. 21; runs Nov. 10-Dec. 12, 2021), “Joe Papp At The Ballroom” (Avi Hoffman & Susan Papp-Lippman. adapted by. Rehearsals begin Nov. 30; runs Dec. 17-31, 2021), “The White Card” (Claudia Rankine, playwright. Rehearsals begin Dec. 16, 2021; runs Jan. 12-Feb. 13, 2022), “Me Before You” (Janece Shaffer and Kristian Bush, playwrights. Rehearsals begin Jan. 25, 2022; runs Feb. 23-March 27, 2022), “Boca” (Jessica Provenz, playwright; Rehearsals begin Apr. 1, 2022; runs Apr. 21-May 22, 2022), “Fade” (Tanya Saracho, playwright. Rehearsals begin May 10, 2022; runs June 1-July 3, 2022), and “Rubenology” (Vanessa Garcia & Ruben Rabasa, playwright. Rehearsals begin June 21, 2022; runs July 14-July 31, 2022).
• Pays $435/wk. Equity SPT 5+
Agreement.
‘Elf’
• Seeking video submissions from experi-
enced Equity performers with strong acting and singing abilities for “Elf.” Note: Strong dancing abilities are required. BIPOC performers strongly encouraged to audition.
• Company: Arvada Center for the Arts &
Humanities. Staff: Rod A. Lansberry, prod. artistic dir.; Gavin Mayer, dir.; Kitty Skillman Hilsabeck, choreo.; Christopher Babbage, musical dir.; Wojcik Seay Casting, casting.
• Company: GableStage. Staff: Bari
Newport, producing artistic dir.
• Rehearsals begin Oct. 28; runs Nov.
19-Dec. 23 in Arvada, CO.
• Season runs in Coral Gables, FL. • Seeking—Equity Actors: 22+. • Seeking submissions from FL. • Local South Florida actors encouraged
• Seeking—Jovie: female, 25-30, Buddy’s
girlfriend. She works at Macy’s and has a bit of a cynical outlook on life and love because of the men she’s dated. She is caught off guard by Buddy’s genuinely big heart. Must be able to tap dance. Vocal range top: D5 Vocal range bottom: G3. All roles understudied. Manager: male, 35-40, Black / African Descent, a black heavy-set manager at Macy’s. He is a good, friendly guy just trying to do his job and get by. Vocal range top: F#4 Vocal range bottom: B2. All roles understudied.
to submit. Videos can be submitted via a link to your Vimeo, Youtube, personal website or other online account you prefer. Videos should be viewable (without requiring downloads). In your e-mail, include a digital copy of your headshot and resume. For further inquiries, call 305.446.1116 between 10 a.m. and 5 p.m ET. by Aug. 5, 2021 to casting@gablestage.org. Prepare a one-two minute contemporary monologue (comedic or dramatic) of your choosing. Submissions for Me Before You should include a musical piece of your own choosing or you may use the accompaniment provided to record “If You Knew My Story” from Bright Star (MP3 for the audio: http://www.gablestage.org/wp-content/ uploads/2021/07/Auditions-Bright-StarIf-You-Knew-My-StoryG-Melody.mp3; PDF with sheet music: http://www. gablestage.org/wpcontent/ uploads/2021/07/Auditions-Bright-StarIf-You-Knew-My-Story-G-Melody.pdf).
• Seeking submissions from CO. • Actors should submit the song using
the provided accompaniment link found at https://arvadacenter.org/theatre/auditions or a brief song of your choice in the style of the show by video link (such as YouTube or Vimeo). • For consideration, email your video
link, headshot and résumé and indicate the role you are interested in to ac_ musicaltheatre_auditions@arvadacenter.org with your name and the role in the subject line. Submissions deadline is Aug. 9. • No stage manager positions are avail-
• Equity’s contracts prohibit discrimina-
able. Video submissions will be reviewed, and you will be notified if there is further interest. At that time, you will be given further instructions. Do not call the Arvada Center to follow up, or Wojcik/Seay Casting. All correspondence will be done electronically. If you have any questions, contact Lisa Hoffman at ac_auditions_email@ arvadacenter.org.
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $638/wk. minimum (SPT 8.) Equity
SPT Agreement.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all
Phoenix Theatre 2021-22 Season • Seeking Equity actors for roles in
Phoenix Theatre 2021-22 Season. Season includes “Alabaster” (Audrey
27
Celfay, writer; Jolene Moffatt, dir. Rehearsals begin Sept. 14; runs Oct. 8-31); “Bakersfield Mist” (Stephen Sachs, writer; Constance Macy, dir. Rehearsals begin Nov. 2; runs Nov. 26-Dec.19); “ Love Bird” (K.T. Peterson, writer; Jolene Moffatt, dir. Rehearsals begin Jan. 4, 2022; runs Jan. 28-Feb. 20); “The Magnolia Ballet” (Terry Guest, writer; Mikael Burke, dir. Rehearsals begin Feb. 22; runs Mar. 18-Apr. 10); “No AIDS, No Maids” (Dee Dee Batteast, writer-dir. Rehearsals begin Apr. 5; runs Apr. 29-May 22). • Company: Phoenix Theatre Inc. Staff:
Bill Simmons, artistic dir.
• Rehearses and performs in
Indianapolis, IN.
• Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from IN. • For consideration, submit video audi-
tion pieces, headshot, and resume at https://www.phoenixtheatre.org/workwith-us. Required video is two contrasting contemporary monologues; one comedic and one dramatic. Total length should be 120 seconds (2 minutes). Submissions deadline is Aug.6. Call backs will occur at a later date. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $354-$375/wk. Equity SPT 3
Contract.
Quality Hill Playhouse 202122 Season, Stage Manager • Seeking a stage manager for Quality
Hill Playhouse’s 2021-2022 season. • Production states: “Quality Hill
Playhouse’s mission statement includes the following statement: ‘Quality Hill Playhouse is dedicated to … employing the finest local talent…’.
• Staff: J. Kent Barnhart, producing artis-
tic dir.
• Rehearses Sept. 21, 2021; runs Oct.
8-31, 2021 for “Classy Crooners;” rehearses Nov. 8, 2021; runs Nov. 26-Dec. 26, 2021 for “Christmas in Song;” rehearses Jan. 4, 2022; runs Jan. 21-Feb, 13, 2022 for “Soul Sisters;” rehearses Feb. 22, 2022; runs March 11-Apr. 3, 2022 for “Broadway Belters;” rehearses Apr. 12, 2022; runs April 29-May 22, 2022 for “Radio Royalty;” rehearses May 17; runs June 3-26, 2022 in Kansas City, MO. • Seeking—Stage Manager: 18+. • Seeking submissions from KS. • For consideration, submit resume to
jkbarnhart@qualityhillplayhouse.com or mail to J. Kent Barnhart, Producing Artistic Director, Quality Hill Playhouse, 303 W. 10th St., Kansas City, MO 64105-1861.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all
08.05.21 BACKSTAGE
casting National/Regional ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $626/wk. Equity SPT Contract.
Unicorn Theatre 20212022 Season, Equity Video Submissions
• Casting Equity actors for the Unicorn
Theatre 2021-2022 Season. Season includes: “Lifespan of a Fact” (Vanessa Severo, dir. Rehearsals begin Aug. 17; runs Sept. 11-26), “Pipeline” (Teresa Leggard, dir. Rehearsals begin Sept. 28; runs Ocr. 23-Nov. 7), “Dance Nation” (Heidi Van, dir. Rehearsals begin Nov. 9; runs Dec. 4-19), “Our Black Death” (Cynthia Levin, dir. Rehearsals begin Dec. 27; runs Jan. 22-Feb. 6, 2022), “Tiny Beautiful Things” (Sidonie Garrett, dir. Rehearsals begin Feb. 15, 2022; runs Mar. 12-27, 2022), and “The Inheritance Part 1 and 2” (Jeff Church & Ian Crawford, dirs. Rehearsals begin Apr. 5; runs May 14-June 12, 2022). • Company: Unicorn Theatre. Staff:
Cynthia Levin, producing artistic dir.; Ian Crawford, assoc. artistic dir.
• Season rehearsals begin Aug. 17, 2021;
runs Sept. 11-June 12, 2022 in Kansas City, MO. • Seeking—Equity Actors: 1+. • Seeking submissions from MO. • Actors are asked to provide a link to
one contemporary monologue within a minute and a half to two minutes, no classical, no Shakespeare. Actors must also submit an updated headshot and resume. Open Call video submissions will be available for submission via https://fs4.formsite.com/ TheCoterieAdmin/tkotcf6biw/index. html until Aug. 6, 2021 at 6 p.m. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $465/wk. Equity SPT 5
Agreement.
Musicals ‘Christmas of Swing’
• Casting Equity actors with strong musi-
cal theater skills for roles in “Christmas of Swing: The Andrews Sisters USO Show.” Synopsis: “Christmas of Swing” is a musical tribute to the Andrews Sisters and the men and women who served in WWII. Featuring music of the era, this new version of a beloved holiday show weaves letters and stories from real men and women in the armed forces into a rehearsal of the Sisters’ USO tour. With cameos from Bing Crosby and Abbott & Costello, this show blends the Andrews Sisters infectious music with heartfelt stories from characters grounded in a history representative of the many diverse groups of Americans who served in WWII. • Company: History Theatre. Staff: Bob
BACKSTAGE 08.05.21
Beverage and Ron Peluso, writers; Jan Puffer and David Lohman, collaboration; Ernest Briggs, additional collaboration; Ron Peluso, stage direction; Ernest Briggs, asst. dir.; David Lohman, music dir.; Jan Puffer, choreo.; Richard D. Thompson, dramaturg; Laurie Flanigan Hegge, artistic assoc.; A.C. Johnson, asst. choreo.
viewing in your email submission. Please state your name first, vocals second, scene third. You can submit your application by using the form at www. artshhi.com/auditions, or by emailing your audition materials to casting@artshhi.com with the subject line: KINKY BOOTS, [YOUR NAME]. • We are working with an Equity-
approved safety plan that includes vaccination, testing, masking, cleaning and distancing protocols. Pursuant to current Equity guidelines, proof of full vaccination no later than two weeks prior to in-person work is a required condition of employment. The Arts Center of Coastal Carolina does not believe in discrimination based on race, color, creed, gender, national origin, veteran status, sexual orientation, age, or disability.
• Rehearsals for the three Andrews
Sisters begin Oct. 19; full company rehearsals begin Oct. 26; runs Nov. 20-Dec. 19.
• Seeking—Actors: 18+. • Seeking submissions from MN. • Fill out an audition form here: https://
forms.gle/nmvu4Rm5paQddEXo8. Send a photo, resume, and a video submission using the subject line: Your Name / Christmas of Swing. You may either embed your video into your email or include a link to your video submission from Dropbox, Vimeo, or YouTube. (Private link recommended.) Deadline is Aug. 5. Email submission to auditions@ historytheatre.com.
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend submit.
• Callbacks will be held in-person on the
evenings of Saturday, August 14 and Sunday, August 15 at History Theatre in Saint Paul following Equity guidelines for in-person auditions. Because of the complex nature of the Andrews Sisters’ music and choreography, the three sisters will be contracted one week earlier than the full company.
• Pays $562/wk. Equity SPT 7 Contract.
TheatreZone 2021-22 Season • Seeking Equity actors for roles in
Contract plus P&H.
TheatreZone 2021-22 Season. Season includes “I Love My Wife” (Michael Stewart, book & lyrics; Cy Coleman, music. Rehearsals begin Jan. 3, 2022; runs Jan. 13-16 & 20-23 at 7:30 p.m.; Jan. 15, 16, 22, 23 at 2 p.m.); “Bright Star” (Steve Martin and Edie Brickell, book & lyrics. Rehearsal begins Jan. 31; runs Feb. 10-12 & 17-20 at 7:30 p.m.; Feb. 12, 14, 19, & 20 at 2 p.m.); “Camelot,” small cast version (Alan Jay Lerner, book & lyrics; Frederick Loewe, music. Rehearsals begin Feb. 28; runs Mar. 10-13 & 17-20 at 7:30 p.m; Mar. 12, 13, 19, & 20 at 2 at p.m.); “Bridges of Madison County” (Marsha Norman, book; Jason Robert Brown, music & lyrics. Rehearsals begin Apr. 11; runs Apr. 21-May 1 at 7:30 p.m.; Apr. 23, 24, & May 1 at 2 p.m.); and “Home For The Holidays” (Mark Danni, conceived by. Rehearsals begin Dec. 6, 2021; runs Dec. 10 & 11 at 7:30 p.m.; Dec. 11 & 12 at 2 p.m.).
‘Kinky Boots’
Danni, artistic dir.-stage dir.
• The safety of performers, technicians,
staff, and audiences is of primary importance. History Theatre will follow all up-to-date city, state, and federal guidelines related to COVID-19, as well as guidelines set forth by Actors Equity Association for fully-vaccinated production teams. This production will be rehearsed in-person, indoors at History Theatre in St. Paul. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $625/wk. min. Equity SPT 6
• Company: Theatrezone Inc. Staff: Mark
• Seeking video submissions from Equity
• Call backs on Sept. 18 & 19, 2021 in
actors for principal roles in “Kinky Boots.”
Naples, FL.
• Seeking—Equity Actors: 18+, all
ethnicities.
• Company: Arts Center of Coastal
Carolina. Staff: Richard Feldman, VP-GM; Evan Pappas, dir.; Christopher Little, musical dir.; Eugenio Contenti, choreo.
• Seeking submissions from FL. • For consideration, submit picture,
resume, and video of two contrasting songs, and a short monologue to Auditions@theatre.zone with the shows you are interested in in the subject line. Note: If you do not have access to your own accompaniment, you may use the accompaniment for “If You Knew My Story” (Bright Star - https://www.youtube.com/watch? v=iyrPXqJ62II) and “If Ever I Would Leave You” (Camelot https://www.youtube.com/watch? v=g8LRMG5mhW8) at the links provided. Submissions deadline is August 13.
• Rehearsals begin Sept. 7; previews
begin Sept. 28; runs Oct. 1-31 (Tue.-Sat. at 7:30 p.m. and Sun. 2 p.m.) Note: All rehearsals and performances are inperson pending Equity Safety approval. All auditions will be online video submissions due to COVID-19. • Seeking—Nicola: 18+, all ethnicities.
Don: 18+.
• Seeking submissions from SC. • Sides and musical accompaniment
available on www.artshhi.com/auditions. Please upload your video audition to Vimeo and Youtube. Include a link for
• Call backs will be held Sept. 18-19 in
Naples, FL.
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• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $493/wk. Equity SPT Tier 6
Contract; and pays $392/wk. Equity SPT Tier 4 Contract (“Home for the Holidays”).
Warehouse Theatre 2021-22 Season • Casting Equity actors for roles in
Warehouse Theatre’s 2021-22 season. Season includes: “Hedwig and the Angry Inch” (John Cameron Mitchell, text; Stephen Trask, music-lyrics; Andrew Scoville, dir. Rehearsals begin Sept. 7; runs Sept. 24-Oct. 17), “Sense and Sensibility” (Kate Hamill, playwright; Kerrie Seymour, dir. Rehearsals begin Oct. 26; runs nov. 19-Dec. 19), “The Lotus Paradox” (World premiere. Dorothy Fortenberry, playwright; Jay Briggs, dir. Rehearsals begin Dec. 28; runs Jan. 21-Feb. 6, 2022), “Native Gardens” (Karen Zacarias, playwright; Patrick Torres, dir. Rehearsals begin Feb. 15, 2022; runs Mar. 11-27), “The Wolves” (Sarah Delappe, playwright; Anne Kelley Tromsness, dir. Rehearsals begin Mar. 29, 2022; runs Apr. 22-May 7), “Appropriate” (Branden JacobsJenkins, playwright. Rehearsals begin May 17. 2022; runs June 10-26), and “The 25th Annual Putnam County Spelling Bee” (Rachel Sheinkin, book; William Finn, music-lyrics; Shelley Butler, dir. Rehearsals begin June 28, 2022; runs July 29-Aug. 21). • Company: Warehouse Theatre. Staff:
Mike Sablone, producing artistic dir.; Jason D. Johnson, managing dir.; Kerrie Seymour, dir., “Sense and Sensibility”; Jay Briggs, dir., “The Lotus Paradox”; Patrick Torres, dir., “Native Gardens; Anne Kelly Tromsness, dir., “The Wolves”; Shelley Butler, dir. “The 25th… Spelling Bee”; Meghan Reimers, music dir, “The 25th…Spelling Bee” • Season rehearses and runs in
Greenville, SC.
• Seeking—All Roles: 18+. • Seeking submissions from SC. • Actors are asked to prepare a 60 sec-
ond monologue. If singing, prepare a 45-second monologue and no more than 16 bars of a song. Audition participants are encouraged to sing whatever they wish (please no Green Day), but we have also provided the following link for use if needed: https://drive.google. com/drive/ folders/1lvq6MSNJL8uNNjHX_ yLowHz2cLoVkiLa?usp=sharing This is arranged to accommodate all vocal parts and genders. (Our enormous thanks to Bree Lowdermilk and Kait Kerrigan for the materials from “Holding On” from THE BAD YEARS.) For your video, slate with your name and selections • To submit a video, email Jason D.
Johnson at jason@warehousetheatre. com. Also include a headshot and resume with your emailed submission backstage.com
National/Regional casting
by Aug. 14. See breakdown for production dates. Performance weeks for each show are typically Thursday–Saturday at 8 p.m. and Sunday at 3 p.m. Occasionally there will be a Wednesday show at 8 p.m. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays: $364/wk. Equity SPT 3 Contract.
Chorus Calls ‘Elf,’ Chorus
• Casting experienced Equity performers
performers with strong acting and singing abilities for chorus roles in “Elf.” Note: Strong dancing abilities are required. BIPOC performers strongly encouraged to audition. • Company: Arvada Center for the Arts &
Humanities. Staff: Rod A. Lansberry, prod. artistic dir.; Gavin Mayer, dir.; Kitty Skillman Hilsabeck, choreo.; Christopher Babbage, musical dir.; Wojcik Seay Casting, casting. • Rehearsals begin Oct. 28; runs Nov.
19-Dec. 23 in Arvada, CO.
• Seeking—Singers Who Dance: female,
male, 18-69, all ethnicities, to portray various ensemble roles in “Elf.” Some featured roles, as well as understudies, will be cast from the ensemble. Dancers Who Tap and Sing: female, male, 18-69, all ethnicities, to portray various ensemble roles in “Elf.” Some featured roles, as well as understudies, will be cast from the ensemble.
• Seeking submissions from CO. • Singers: Submit the song using the pro-
vided accompaniment link found at https://arvadacenter.org/theatre/auditions/elf-the-musical-auditions or 16 to 32 bars of a song of your choice in the style of the show by video link (such as YouTube or Vimeo), current headshot & résumé are required. • Dancers: If dancing or singing & danc-
• Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $1,008/wk. Equity LORT B Non-
Rep Agreement.
‘Jersey Boys,’ Equity Video Submissions (Ensemble Singer)
• Casting a chorus performer for “Jersey
Boys.” Note: This production will be live, indoors, and in front of an audience. STAGES St. Louis will abide by CDC, St. Louis County, and AEA Safety Guidelines. • Staff: Jack Lane, exec. prod.; Michael
Hamilton, artisitc dir.; Michael Hamilton, dir.; Gayle Seay, assoc. dir.; Dana Lewis, choreo.; Jeremy Jacobs, music dir.; Wojcik/Seay Casting, casting. • Rehearsal begin Sept. 7; runs Sept.
24-Oct. 24 in Chesterfield, MO.
• Seeking—Female Ensemble Singer:
female, 18+.
• Seeking submissions from MO. • Instructions can be found at: https://
wscasting.com/jersey-boys-eccsinger/. Submission deadline: Aug. 6, 2021. STAGES St. Louis strives to cultivate an inclusive environment, which welcomes differences of ethnicity, religion, sexuality, income, or any other divisions with generosity and openness among its artists, audiences, leaders, and community. Through support and understanding of our differences, we are able to recognize our commonalities. STAGES encourages performers of all ethnicities, races, gender identities, ages, body types, and abilities to audition. • Equity’s contracts prohibit discrimina-
tion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $604/wk. minimum (LOA ref
COST). Equity LOA Agreement.
ing, a dance video cut for you to use for your dance submission is provided at https://arvadacenter.org/theatre/auditions/elf-the-musical-auditions.
Feature Films
link, headshot and résumé and indicate the role you are interested in to ac_ musicaltheatre_auditions@arvadacenter.org. You must type your name & if you are singing or dancing or both in the subject line. Submissions due Aug. 9.
“Shooting Stars,” based on the book by Lebron James.
• For consideration, email your video
• No stage manager positions are avail-
able. Video submissions will be reviewed, and you will be notified if there is further interest. At that time, you will be given further instructions. Do not call the Arvada Center to follow up, or Wojcik/Seay Casting. All correspondence will be done electronically. If you have any questions, contact Lisa Hoffman at ac_auditions_email@ arvadacenter.org. backstage.com
‘Shooting Stars’
• Casting the Universal Feature Film
• 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, 15-18; he is 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, 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; please submit talent with basketball playing skills. ‘Lil Dru’ Joyce: male, 13-19, Black / African Descent, 15-18; he is 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 longtime 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; please submit talent with basketball playing skills. Willie: male, 14-18, Black / African Descent; he is 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); please submit talent with basketball playing skills. Romeo Travis: male, 15-23, Black / African Descent; a player from a rival team
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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 senior year...lead (32); please submit talent with basketball playing skills. Sian Cotton: male, 15-22, Black / African Descent, 15-18; 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; please submit talent with basketball playing skills. • Seeking submissions nationwide. • Send submissions to shootingstars-
cast@gmail.com.
• Basketball skills a must. Looking for
Ballers.
• SAG-AFTRA Contract.
Reality TV & Documentary Competition Series, Influencers & Trendsetters
• Casting fabulous individuals with big
personalities who are influencers and trendsetters on and offline. Production states: “Are you a social media influencer or trying to become one? Are you the most influential person you know? Could you win a popularity contest? Could you gain followers and power without social media? From the Emmy® winning producers of RuPaul’s Drag Race comes a new competition series where the most popular influencer will win a big cash prize.”
• Company: Creative Content Group. • Will potentially be shooting towards the
end of this year.
• Seeking—Influencers & Trendsetters:
all genders, 21-35, all ethnicities.
• Seeking submissions nationwide. • Send submissions to Casting@creative-
contenttv.com.
• Weekly stipend and chance to win a big
cash prize. Travel, housing and meals provided by production.
08.05.21 BACKSTAGE
casting National/Regional
Multimedia
tion will not be covered.
• Seeking—Athlete With Prosthetic
• Casting an outdoor shoot at family
Limb: all genders, 16-30, all ethnicities, submit audition tapes to link in the casting.
• Company: Thrasio. Staff: Fabian Owens,
gmail.com.
Glow City + Giggle N Go
home for backyard games (day) and glow in the dark balls (night.). content prod.
• Shoots TBD at 1803 Arbor View Dr, in
Sugar Land, TX 77479.
• Seeking—Adult: 25-40. Kid: 6-14. • Seeking submissions from TX. • For consideration, submit availability
(and questions) to fabian.owens@thras. io or call (713) 791-2416. • Pays: $250 (adults); $150 (kids).
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. Age 25 and older only. Must be 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. • Send submissions to casting@tiffany-
companycasting.com.
• 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.
• Seeking submissions nationwide. • Send submissions to em.candice@
• Wardrobe: Workout/athleisure gear. • Self tape instructions (follow carefully): • 1. Slate: A) Name, agent that submitted
you OR casting website OR self submit, that you are non-union, available for shoot dates, height, left + right profile, hands. B) Full body shot. C) Show mask on and off. D) Men - that you are willing to shave • Women - that you are willing to get a
manicure(Manicurist will be at fitting). E) Let us know if you have any tattoos, and where. F) Include resume with relevant acting experience. G) Let us know if you have any airline/Olympic conflicts, and what they are. H) Talent must disclose if they worked for Delta or have in the past. • Audition: Tell us a story of your favorite
travel memory (keep this G- rated- max. 2 mins). Shoot in medium close-up so we can really see your facial expressions. Shoot chest up with your head at the top of the frame. • Must label files as: FullName_Agent/
Backstage/Self_Email Example Only: CandiceEdwards_BS_candice@gmail. com
• Only upload One File (Audition + Slate).
Use free editing software like SPLICE, QUIK, WINDOWS MOVIE MAKER or IMOVIE etc, to edit Slate + Audition together. Must label files before uploading to Dropbox. • Upload submission to link: https://
www.dropbox.com/request/ uGUWdtCcBC7yNkRgUEGN
• Be aware that if you are selected or
pinned/held for this job, the client will request your social media handles, and they will check them. Please make sure your social profiles are clean and appropriate. • Do not reach out to client directly. • Pays: Fitting $200, shoot days $500/
day, usage $1000. Total $1700 + 10% agent fee if agent submitted.
• 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 $2,500 to
be paid only if used in the final still assets and to be paid within 15 business days of live date.
Winter Olympics Inflight Video, Major Airline
• Casting an athlete with a prosthetic
limb in an inflight video for a major airline. The athlete will shoot B-roll of running/playing sport with or without prosthetic. • Company: Smartypants Pictures. • Shoots Aug. 23-25 in NYC. Most likely
one shoot day. Note: Must work as a New York local. Travel or accommoda-
BACKSTAGE 08.05.21
Local Commercials Florida In-State Tourism
• Casting an in-state Florida tourism
campaign seeking talent and real couples for several individual one-day shoots in either the Jacksonville or Central Florida area. Note: Spot will run for eight weeks in-state and online. • Company: SPARK. Staff: Vanessa
Carmona, prod.
• Shoots TBD in FL. • Seeking—Real Hispanic Male & Female
Couple: all genders, 28-40, Latino / Hispanic, looking for a real couple for our Tallahassee-based shoot; shoot will take place at a rooftop bar and couple will need to be a real couple for our “Date Night” shoot. Golfer #1: male, 49-59, Black / African Descent,
Ethnically Ambiguous / Multiracial, must be able to golf in real life. Golfer #2: male, 49-59, White / European Descent, must be able to golf in real life. Real Mother and Child (Aged 8-10): 30-45, all ethnicities, casting for a Real Mother and Child duo; preference for a family that has a differently abled Child, to highlight all the wonderful things to do in Florida for those with different needs. Real LGBT+ Couple: 35-49, all ethnicities, preference for real couples that have passion for the arts or pursue creative outlets themselves. Real Hispanic Father and Son: male, 30-45, Latino / Hispanic, real Hispanic Father and Son (ideally with a child around 8-12 yo); preference for families that have a love of waterparks or the beach. Horseback Rider - Female: female, 29-45, White / European Descent, preference for Talent that has experience or passion for horseback riding. Horseback Rider - Male: male, 29-45, White / European Descent, preference for Talent that has experience or passion for horseback riding. Watersports Guy: male, 20-35, all ethnicities, talent must have love of watersports; whether its kayaking, diving, or fishing -- list all water activities and sports that you have as a hobby. • Seeking submissions from FL. • Send submissions to carmona@spark.
us.
• Include any availability conflicts for the
first and second week of August. Prefer candidates to include a self-taped intro that includes your name, where you are based in Florida, and list your favorite thing to do in Florida. Possible Zoom callbacks from reel/headshots first week of August, and second week of August for one day of filming, with possible travel days. • Pays $500 session rate for one-day
shoot, with $1,500 usage/buyout fee for use of footage in perpetuity. Travel and meals will also be provided.
Online Commercials & Promos Projector Lifestyle Commercial
• Casting a commercial for a large elec-
tronics company. It’s a lifestyle ad that highlights the portability of the product so you can take it camping, dirt biking, to the beach, etc. • Company: Kyro Digital. Staff: Justin S.,
prod.
• Shoots Aug. 11-13, 19-20. Location will
be within a two hour drive south or east from Los Angeles, CA. Will be shooting a dirt biking scene in the desert, surfing scene at a beach, and camping scene near the San Bernardino Mountains. May involve staying overnight on location. Accommodation will be provided. • Seeking—Adventure Seeker: male,
30-35, Ethnically Ambiguous / Multiracial, White / European Descent, a 32-ish year old married man who is a successful business worker, loving hus-
30
band and father to a 7 year-old boy. He has the taste for adventure. He loves socializing with friends, dirt-biking, camping and surfing, while also enjoying the finer things in life. Surfer Wife: female, 29-35, Asian, Ethnically Ambiguous / Multiracial, White / European Descent, not your typical house wife. Yes, she loves her husband and her little boy, but she also loves getting out and experiencing the world. One of her favorite things to do is surfing early in the morning with her husband. At the end of a long day at the beach, her and her husband can be found on their yacht where they love to watch movies on a stary night. Coworker Friend: male, 30-35, all ethnicities, not our typical co-worker. Yes, he loves his job, but on the weekends he can be found dirt biking in his free time with his friends. (Casting two coworkers for this project). Office Worker: all genders, 29-40, all ethnicities, office worker loves his/her job. They will be sitting in on our office scene where they are engaged in the presentation. Jonny: male, 6-9, Asian, Ethnically Ambiguous / Multiracial, White / European Descent, a fun, imaginative boy who is the son of two successful established parents. His family can always be found enjoying their free time camping and going on adventures. Jonny loves spending time with his dad most of all. • Seeking submissions from CA. • Send submissions to studio@kyrodigi-
tal.com.
• Due to fast casting turn around time,
you must include a headshot, reel/acting examples, phone number and email. • Pays $200-$500/day (plus meals). It’s a
four day shoot, but depending on the role, it may not require all days.
Roamwild Travel Pillow Demo Video
• Casting one- to two-minute demo video
for the Roamwild Travel Pillow. The demo will show the features of the product in the style of a flight safety video and will be a fun and comedic adaptation of the stereotypical flight safety video. One main actor needed will play the Flight Attendant and Passengers will be played by nonspeaking extras.
• Company: Oakthrift Corporation. Staff:
Jonny Smart, digital media prod.
• Dates TBD in Guildford, Surrey. • Seeking—Flight Attendant: female,
25-47, an enthusiastic stereotypical flight attendant, clear and well-spoken, with comedic style.
• Seeking submissions from England. • Send submissions to js@oakthrift.com. • Compensation and pay to be discussed,
depending on experience. Meals will be provided.
Silk Pillow Testimonial, Women 55+ with Authentic Southern Accent
• Casting women to give a silk pillow tes-
timonial. This is a remote, on going project.
• Company: TubeScience. Staff: Sarah
Furlong, casting.
• This is an ongoing project. Will shoot
multiple ads.
backstage.com
National/Regional casting
• Seeking—Women with Authentic
Southern Accent for Pillow Testimonial: female, 51+, all ethnicities, This is a director assisted remote shoot which can be shot on an iphone.You will be giving a testimonial for a silk pillow. • Seeking submissions nationwide. • Send submissions to casting@tube-
science.com.
• $200, all media buyout, non union.
Print & Digital Modeling Wetsuits Company Photo/ Video Shoot, Real-Life Triathletes
• Seeking real life triathletes for photo-
shoot/video shoot for a wetsuits company. Only apply if you have training in these fields.
• Company: Roman Chavez Photography.
Staff: Roman Chavez, CEO.
• Shoots TBD dates in NYC or San
Francisco, CA and Denver, Co.
• Seeking—Swimmers: 18+, Latino /
Hispanic, White / European Descent.
• Seeking submissions from CO, NY and
CA.
• Send submissions to roman@roman-
chavez.com.
• Only real athletes. • Day rate or hourly.
Cabaret & Variety ‘House of Spirits,’ Dallas
• Casting “House of Spirits.” Synopsis:
House of Spirits is a haunted cocktail soiree that is unlike any other party in town! Guests freely roam a mysterious mansion and experience a night of themed cocktails, macabre magic, sinister séances, tarot readings, strange roaming specters, live music, hidden secret games, giant Ouija boards and so much more! • Company: Meyer2Meyer
Entertainment, LLC. Staff: Justin Meyer, creative dir.-casting dir. • Rehearsals Oct. 3-8; runs Oct. 9-31 at
Alexander Mansion in Dallas, TX.
• Seeking—Improv Actors: all genders,
18+, all ethnicities, what we are looking for: your ability to find a uniquely unsettling character and converse both scripted and unscripted in that character’s voice. Singers: 18+, all ethnicities, your vocal range, as well as character; ideal candidates will be able to find a sinister, dark or brooding character while they perform. Movers: 18+, all ethnicities, the movement in this show is creature based; we are looking for movers/dancers with the ability to communicate via their bodies and movement, as well as transform their human shape into that of a predatory or otherworldy creature. Musicians: 18+, all ethnicities, ideal candidates will play either piano or guitar and are comfortable accompanying a singer; ideal candidates will have backstage.com
the ability to sing and act as well; we are looking for professional level musicians, but additionally, we want to see character; this character should be sinister, dark or brooding in nature. Magicians: 18+, all ethnicities, we love a classic card trick, but we are hoping to see something more unique and hopefully, unsettling; open to all styles of magic, including close-up, illusion, and mentalism; we are also looking for magicians who can act or play a character; ideal candidates will be able to find a sinister, or macabre tone to their act. Spiritualist: 18+, all ethnicities, we are seeking professional level spiritualists, including tarot card readers, palm readers, psychics or any other style of spiritualism; ideal candidates will be able to act or play a character. Comedians: 18+, all ethnicities, strong MC type (Master of Ceremonies); we are looking for comedy chops, but also the ability to find a unique character; this character should be macabre or slightly sinister in nature. Burlesque: 18+, professional level Burlesque performer; ideal candidates will have a dark, sinister or macabre edge to their act; strong acting ability or improv acting skills will be a huge plus. Production Crew: 18+, looking for a handy production crew member with background in some or all of the following: set building, set design, fabric draping, painting, lighting, sound and A/V skills. Make-Up/FX Artists: 18+, looking for Make-Up Artists and Special FX Artists that specialize in prosthetic application and fantasy/horror makeup design.
used in the project and/or marketing for the project in perpetuity. NDA will be provided to qualified applicants.
Theme Parks & Attractions ‘The Polar Express Train Ride’ Oklahoma 2021
• 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. • 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 slow-moving train from Oklahoma Railway Museum in OKC. Call time will be one hour before showtime. • Seeking—Ensemble Players: all gen-
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.
• Seeking submissions from TX. • Apply on Backstage.com • Pay provided.
Animation & Video Games (Voiceover) ‘Hybrid Rainbow’
• Seeking voice talent for “Hybrid
• Auditions will be held by appt. Sept. 3
Rainbow,” an alt-rock-music-focused coming-of-age project.
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.
• Company: D-CELL. Staff: RJ Lake, cre-
ative dir.
• Remote recording. Existing equipment
preferred for final recording but not necessary.
• 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.
• Seeking—Eve: female, 18+, forward but
friendly, with an understated sense of playfulness. Ethereal singing voice. Excellent singing ability is a must. Character will age during the story. Allie: female, 18+, moody and sarcastic. Currently going through an upheaval in her close-knit friend group and is feeling uncertain about the future. Depressed but not depressive. Strong singing ability not a requirement. Character will age during the story.
• For open calls, prepare a one minute
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.
• Seeking submissions worldwide. • Apply on Backstage.com. • Attach singing examples and a demo
• COVID 19 Note: Rail Events Productions
asks that all performers who are not fully vaccinated please 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.
reel and/or a short recording describing a childhood memory. Resume/CV optional.
• Audio will be owned by the studio to be
31
• All adult performing roles will be paid
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.
• Note: Hero Child actors will be paid $28
per show + $150 rehearsal fee, earning approximately $2050 for their scheduled contract; they will be scheduled abiding by all OK labor laws. • Note: Talent must be local to OKC or
Tulsa. Housing or transportation is not provided.
Stage Staff & Tech Cincinnati Shakespeare Company 2021-2022 Season, Equity Stage Manager • Seeking Equity Assistant Stage
Manager for the Cincinnati Shakespeare Company 2021-2022 Season. Season includes: “Romeo & Juliet” (Rehearsals begin Sept. 6; runs Oct. 8-Nov. 13), “Hamlet” (Rehearsals begin Jan. 31, 2022; runs Feb. 25-Mar. 26, 2022), and “The Comedy of Errors” (Rehearsals begin Mar. 14, 2022; runs Apr. 8-30, 2022.). • Company: Cincinnati Shakespeare
Company. Staff: Brian Isaac Phillips, he/ him, producing artistic dir.; Crystian Wiltshire, he/him, assoc. artistic dir.; Candice Handy, she/her, education dir.dir.; Kate Bindus, she/her/hers, production manager; Darnell Pierre Benjamin, he/him, dir.-choreo.; Jeremy Dubin, he/ him, dir.; Sara Clark, she/her, dir.; Christopher V. Edwards, he/him dir. • Season runs in Cincinnati, OH. • Seeking—Equity Stage Manager: 18+. • Seeking submissions from OH. • As a producer with the Actors’ Equity
Association, CSC prohibits discrimination. Submit resume for consideration by Aug. 11 to crystian.wiltshire@cincyshakes.com. • Pays $435/wk. Equity SPT 5+
Agreement.
‘The Ever Present,’ Stage Manager Submissions
• Seeking Equity Stage Manager for “The
Ever Present,” an outdoor, all ages show.
• Company: Theatre Exile. Staff: Deborah
Block, prod. artistic dir.
• Rehearsals begin Aug. 16; runs Sept.
11-19 in Philadelphia, PA.
• Seeking—Equity Stage Manager: 18+. • Seeking submissions from PA. • For consideration, submit resume to
genmgr@theatreexile.org or Deborah Block, Theatre Exile, 1340 S 13th Street, Philadelphia, PA 19147. Submissions deadline is Aug. 5. • Equity’s contracts prohibit discrimina-
tion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $488/wk. (SPT 4.) Equity SPT
Agreement.
08.05.21 BACKSTAGE
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Q:
How long should you be in acting classes before you find an agent?
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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; BOTTRELL: COURTESY DAVID DEAN BOTTRELL
David Dean Bottrell is an actor and acting teacher.
When I’m teaching acting classes, one of the biggest problems I run into is impatience. The truth is, it takes time to develop the skills and confidence needed to work as a professional actor, and no two artists progress at the same pace. It’s a highly personal process that can’t really be rushed. Often, I see actors go chasing after agents or spending money on casting workshops before they’re truly prepared. Agents are businesspeople who can usually spot someone who isn’t quite ready to launch, and they often decline to represent actors whom they don’t feel are experienced or skilled enough to compete. The first piece of advice I have is to take a good, hard look at how you’re making use of your time in acting class. How much are you rehearsing? How proactive are you? What books are you reading? What films, TV shows, and plays are you watching? Agents are (wisely) looking for talent who can give consistently strong auditions and understand that paid performers must deliver great work within the strict confines of a production schedule. Professional actors are not just expected to create interesting, truthful characters; they must also know how to read, decipher, and execute scenes—meaning nobody wants to pay money to watch you “feel” things. They need to see your character taking strong, clear actions and struggling with the other characters in the story. In my opinion, a good acting class should be preparing you for the day you leave that class and spread your wings. The day you feel confident that the skills you’ve learned have gelled into a real technique, it’s time to start thinking about representation. When to launch is a personal decision, but generally speaking, when you start to receive consistent, strong feedback on your work from instructors, peers, and classmates whom you genuinely respect, it might be time to start looking for an agent. It’s also a good time to accept that, yes, acting is a beautiful human art form, but it’s also a craft; and only through hard work—mixed with a little luck—does it become an actual paying job.
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