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BACKSTAGE, vol. 62, no. 24 (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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Contents The Green Room 6 NYC is now requiring vaccinations
for indoor activities
8 This week’s roundup of who’s casting what starring whom
10 Taylor Zakhar Perez on “The Kissing
Booth 3” and finding self-confidence
Advice 13 CRAFT Know your angles 14 #IGOTCAST
Veronica Setiadi
14 CAREER DISPATCH
vol. 62, no. 24 | 08.19.21
Cover Story
More Than Cover Story Prospecting Mainstream for Gold Elizabeth Olsen cut her teeth in theater and indie film. Now, Your official guide to the the “WandaVision” 2020 Oscar nominations page 16 star has helped move Marvel from blockbuster films to Emmys-sweeping prestige TV 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 Mark Beauchamp
Allow for the chaos
14 SECRET AGENT MAN
The power of intention
Features
Features
4 BACKSTAGE 5 WITH... Sophie Okonedo
4 BACKSTAGE 5 WITH...
12 MEET THE MAKER
David Alan Grier
Jonathan Levine, “Nine Perfect Strangers” director
12 MEET THE MAKER
Cathy Yan, “Birds of Prey” director
13 THE ESSENTIALISTS
Brooke Lipton, choreographer
14 THE ESSENTIALISTS
15 IN THE ROOM WITH
Jeremy Woodhead, hair and makeup designer
Ally Capriotti Grant and Pamela Vallarelli
22 GOING FOR TV GOLD Your refresher on the 2021 Emmy-nominated actors
15 IN THE ROOM WITH Victoria Thomas
21 OUR DREAM BALLOT
40 ASK AN EXPERT
And the 2020 Oscar SHOULD have gone to…
Jeff Kaplan on whether to jump-start your acting career during school
32 ASK AN EXPERT
Casting
Amy Russ on principal and background work
28 New York Tristate
Casting
31 California
22 New York Tristate
34 National/Regional
27 California
Elizabeth Olsen photographed by Shayan Asgharnia on July 14 in Sherman Oaks, California. Styling by Elizabeth Stewart. Makeup by Pati Dubroff. Hair by Mark Townsend. On cover: Dress by Erdem. On this page: Jumpsuit by Aeron. Additionally in story: Suit by Wolk Morais. 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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08.19.21 BACKSTAGE
JASON SUDEIKIS
OUTSTANDING LEAD ACTOR IN A COMEDY SERIES
BRETT GOLDSTEIN OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
JEREMY SWIFT
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
HANNAH WADDINGHAM
BRENDAN HUNT
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
JUNO TEMPLE
NICK MOHAMMED
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
PUB: BACKSTAGE
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
B: 9.5” x 11.25”
SHOW: EMMY FYC - TED LASSO
Backstage 5 With...
Sophie Okonedo By Allie Volpe
Prolific on both stage and screen, Sophie Okonedo embraces every aspect of acting, from her voice and physicality to backstory and world-building. With a Tony Award for “A Raisin in the Sun” on Broadway, as well as Academy Award, Golden Globe, and BAFTA nominations under her belt, Okonedo is adding to her roster of accolades with an Emmy nod for guest actress in a drama series for her work on Netflix’s “Ratched.” You can see her next on Amazon’s romantic anthology series “Modern Love.”
What advice would you give your younger self? Relax a bit more; enjoy yourself a bit more. Don’t take yourself quite so seriously; don’t worry about what other people think too much. You’re always going to worry a little bit, because that’s human nature. I would love to say I don’t care at all, but I do. Turn the volume down a bit on that voice that’s giving you: “What would they say? What would they think?” What’s your worst audition horror story? The ones going out for commercials. When I first started, commercials were quite rare things, with money that you could never earn in the theater, so you’d go out for them and they’d always get you to do really embarrassing things. I’d just done three years at drama school, and now I’m spraying on deodorant. It’s not what you felt like you’d gone and learned Shakespeare for, but it paid the bills.
What performance should every actor see and why? Seeing Imelda Staunton onstage is incredible. She’s an incredible film and television actress, but she’s just a brilliant stage actress. If Imelda’s in anything, I intend to go and see it. Also, when I worked with Denzel Washington on “A Raisin in the Sun”—he’s an event. He is incredible to watch onstage. He’s a proper theater actor. We know what he can do on film. I played opposite him every show, and he’s just an incredible theater actor. That was a real treat for me every day. He does things differently all the time. His voice is so powerful, and he’s so energized and true.
What’s the wildest thing you’ve ever done to get a role? I’ve never done that! It’s not in my personality to do that. I have written to people just because I really love their work, not really trying to get anything out of it. I wrote to Michaela Coel not long ago to say how wonderful I thought she was. I’m not expecting anything from it; I just write people because I think they’re really amazing. Sometimes you just want to tell people.
“I just try to think deeply about the script and the part—the parts [on ‘Ratched’]—and just really try to think about what their lives were.”
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ILLUSTRATION: NATHAN ARIZONA/PHOTO: CUBANKITE/SHUTTERSTOCK.COM
How did you first get your Equity and SAG-AFTRA cards? What got me into the union in theater in America was “A Raisin in the Sun.” That was my first theater job. I’m not sure what the SAG job was, and I’m not sure what my first Equity [job was]. I’ve been doing this for 30 years; I can’t remember what the actual things that got me into the union were! When I started, I don’t think you had to do a job to get into the union. I think the rules changed.
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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Live Performance
NYC to Require Vaccinations for Indoor Activities The new protocols began Aug. 16 and will go into full effect Sept. 13 By Diep Tran
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Aug. 16, with full enforcement beginning Sept. 13. “It’s time for people to see vaccination as literally necessary to living a good and full and healthy life,” said de Blasio in a press briefing. “The Key to NYC Pass will be a first-in-thenation approach. It will require vaccination for workers and customers in indoor dining, in indoor fitness facilities, [and in] indoor entertainment facilities. This is going to be a requirement. The only way to patronize these establishments
indoors will be if you’re vaccinated—at least one dose. The same for folks in terms of work—they’ll need at least one dose. This is crucial because we know that this will encourage a lot more vaccination.” The mandate applies to restaurants, gyms, and indoor entertainment venues, including live performance spaces and movie theaters. The announcement makes NYC the first city in the U.S. to mandate vaccinations for the general public. Previously, the city was trying
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LUCIANO MORTULA - LGM/SHUTTERSTOCK.COM
NEW YORK CITY MAYOR BILL de Blasio announced that, going forward, the city will require people to provide proof of COVID-19 vaccinations in order to enter indoor performance venues, restaurants, and gyms, signaling how seriously NYC is treating the Delta variant. Workers in those establishments will also need to be vaccinated. NYC is the first major U.S. city to implement such a restriction. The program, called the Key to NYC Pass, began to roll out
to incentivize people to get vaccinated with a $100 reward for getting the first dose. De Blasio said that though the Key to NYC Pass program will officially begin on Aug. 16, the city will take feedback from private businesses as it starts putting the mandate into effect. On Sept. 13, the city will begin inspecting businesses to make sure that they are following the new rules. De Blasio also said that his administration is looking at ways to help businesses implement the Key to NYC Pass, including financial assistance. The mandate does not apply to children under the age of 12, who cannot be vaccinated, but de Blasio did not mention an exemption for adults who cannot be vaccinated due to health reasons or religious beliefs. “We’re not going to exclude those under 12,” he said. “We want them to be safe. We want them to be careful. But really what we’re trying to do here is focus on the folks who could be vaccinated.” In order to prove vaccination status, people will need to show their paper vaccine card or a confirmation from the NYC COVID Safe app or the Excelsior app. At the time of publication, in NYC, 62% of residents currently have at least one dose of the vaccine, while 56% are fully vaccinated. Meanwhile, COVID-19 cases are continuing to increase, with 1,333 New Yorkers testing positive daily on average over the last 28 days. The seven-day average for hospitalizations has been slowly increasing, and is now at 72 per day. The seven-day average for deaths is also increasing, at six per day.
EMMY NOMINATIONS ®
to town around the time of the first iPhone’s release. When the older man passes away, the boy discovers that he can receive voicemails from beyond the grave. The film will be written and directed by John Lee Hancock and produced by Murphy alongside horror staple Blumhouse. Casting is already underway with Terri Taylor, though no actors have been officially attached. Production is set to start in October in a to-be-announced location.
What’s Casting
Halloween Comes Early Three eerie projects have begun 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.
BACKSTAGE 08.19.21
“Mr. Harrigan’s Phone” Ryan Murphy is stepping into Stephen King territory to produce an upcoming Netflix film. Adapted from a short story of the same name from King’s 2020 collection “If It Bleeds,” the film will follow a young boy who finds friendship after doing odd jobs for an eccentric billionaire who has just moved
TELEVISION
Check (Back) Into ‘The White Lotus’ By Casey Mink
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For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
JUST DAYS AHEAD OF WHAT WAS meant to be its final episode, “The White Lotus” has been renewed for a second season. The HBO limited series–turned-series will take the anthology route, with the next installment set at a different White Lotus location and depicting an entirely new ensemble of characters. The first season of the dark satire, from creator Mike White, was shot and set in Hawaii, and starred Murray Bartlett, Connie Britton, Jennifer Coolidge, Jake Lacy, Sydney Sweeney, and Alexandra Daddario, among others.
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“Haunted Mansion” The Haunted Mansion is about to be more than a beloved Disneyland ride. An upcoming feature film will follow the attraction’s promise of 999 haunts (with room for one more) by pulling directly from the source. The film will follow a ghost tour guide who’s hired to investigate a haunted house alongside a gang of socially inept afterlife experts. Justin Simien (“Dear White People”) is set to direct, with Katie Dippold (“The Heat”) writing. The comedy has already nailed down part of its cast through Carmen Cuba Casting, including Tiffany Haddish and
LaKeith Stanfield. The project is set to shoot in New Orleans and Atlanta in October.
“The Last Police” A Fox pilot is staring down the end of humanity with “The Last Police.” The story, adapted from Ben Winters’ novel “The Last Policeman,” follows two small-town detectives as they prepare for the impact of a deadly asteroid that’s hurtling toward Earth and threatening to wipe out mankind. The two partners are at odds: One believes she’s been called upon to save the planet, while the other is cynical enough to revel in what he believes will be her inevitable failure. The hourlong thriller will be written, directed, and executive produced by Kyle Killen (“Awake”). Scott Genkinger is casting the pilot, which has already begun production in Utah.
21 EMMY NOMINATIONS ®
Taylor Zakhar Perez in “The Kissing Booth 3”
Backstage Live
the good stuff is there.”
The Next Chapter
“The Kissing Booth 3” breakout Taylor Zakhar Perez is looking to the future 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.
BACKSTAGE 08.19.21
Even after 11 years of acting in L.A., Perez still gets nervous at auditions. “I haven’t been in an audition room since September 2019, so I’ve just been doing selftapes. I’ve learned the tricks that my body has tried as a defense mechanism, so I’ll work against it. My process is: I’ll sit for hours going through the sides page by page, filling in the white space, because all
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FILM
Midge Maisel Heads to the Wild West By Casey Mink
If you want to succeed, get out of the library and live your best life. “[My] No. 1 advice would be to live your life. I did not take that bit of advice forever, but when you get an audition and you have no way to relate a real-life situation with the scene you’re doing, it becomes 10 times harder. Sometimes it’s just so nice to go, ‘Oh, this happened to me,’ but if you’re living this studious life in the library and you’re reading these plays and not having real-life experience, you’re kind of a shell of a human. It’s apparent when you walk into casting offices [that] you’re coming in as a student who studied for their test and is ready to get an A+ on it.” The best way to stick with the craft is to have confidence in yourself. “I think we all have those moments in our career where you’re just giving all of yourself, and it’s not about paperwork or presentations—it’s about you sitting alone and doing the work and scraping up these emotions and it not going anywhere. But just know: If you have the undying desire and work ethic [and] you know this is for you, [then] you will be successful, and nothing can stop you. That’s the only way you can be successful.” Want to hear more from Perez? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
RACHEL BROSNAHAN, BEST KNOWN for her Emmy-winning role on Amazon Prime Video’s “The Marvelous Mrs. Maisel,” has signed on for her next gig—and it’s certainly a departure. The actor has joined the upcoming Western “Dead for a Dollar,” starring alongside previously announced stars Christoph Waltz and Willem Dafoe. The feature from writer-director Walter Hill will be produced by Berry Meyerowitz, Neil Dunn, Carolyn McMaster, Kirk D’Amico, and Jeremy Wall. Waltz will also serve as an executive producer.
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MARCOS CRUZ/NETFLIX
FOR TAYLOR ZAKHAR Perez, star of the “The Kissing Booth 2” and “The Kissing Booth 3,” the Netflix franchise is just the beginning. With the final installment now streaming, the multihyphenate actor has his eyes set on the road ahead. Joining us for an on-camera interview via Instagram Live, Perez talked
through his audition process for the coveted musical role of Marco, his career so far (which has taken him from the Chicago suburbs to Los Angeles), and advice he has for aspiring actors.
Perez grew up doing theater in the Chicago area. “I grew up 45 minutes [outside] of Chicago, and I would do musical theater. I would go to school and do theater at night. I knew I liked being in theater, but I swam, and we never had off time. The only way I could do theater would be at the theater in the [next] city over, so I would go to different areas that had auditions, and [I] just did it. I liked getting out of the high school scene, because I
felt more like an adult.”
24 EMMY NOMINATIONS ®
I N C L U D I N G
O U T S TA N D I N G D R A M A S E R I E S LEAD ACTRESS OLIVIA COLMAN
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EMMA CORRIN
SUPPORTING ACTRESS EMERALD FENNELL
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SUPPORTING ACTRESS
SUPPORTING AC TOR TOBIAS MENZIES
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GILLIAN ANDERSON
HELENA BONHAM CARTER
GUEST ACTRESS CLAIRE FOY
WINNER
GUEST ACTOR CHARLES DANCE
SCREEN ACTORS GUILD AWARD
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OUTSTANDING ENSEMBLE IN A DRAMA SERIES
CRITICS CHOICE
BEST DRAMA SERIES
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Jonathan Levine, “Nine Perfect Strangers” director By Casey Mink
Tiffany Boone and Nicole Kidman on “Nine Perfect Strangers”
BACKSTAGE 08.19.21
McCarthy (who are both also executive producers), as well as Bobby Cannavale, Regina Hall, Michael Shannon, and a number of your other favorite actors. The Australia-set shoot was arduous, and Levine, who has directed films like “The Wackness” and “50/50” but never a full series, needed to turn off what he calls the “critical mind” in order to make room for real risk-taking. “By Day 40,” he explains, “you’re not shooting a scene the way you’re shooting a scene on Day 1, and you’re especially not by Day 90. By Day 90, I was trying to come up with new ways to tell the story that interest me and excite me. That was really rewarding and incredible.” But, he adds, “the stamina it requires is crazy—not just physical stamina, but mental stamina.” Having returned to the States
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(and seen a few doctors to help him recover from the toll of the shoot), Levine is planning to take some time off. But he’s “emboldened” now by the knowledge that not only can he withstand such an exacting production; he may have also done a great job. And he plans to bring the knowledge that he gained on “Nine Perfect Strangers” to whatever he does next. “I’ll try to get to that Day 50 headspace on Day 1,” he says. But that “Day Anything headspace,” he acknowledges,
“What happens at the end of something like this—or even halfway through—is that something clicks in. You’re no longer directing with your intellectual brain. You’re directing with your heart and your gut.”
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VINCE VALITUTTI/HULU
“WHAT HAPPENS AT THE end of something like this—or even halfway through—is that something clicks in. You’re no longer directing with your intellectual brain,” says Jonathan Levine of “Nine Perfect Strangers.” “You’re directing with your heart and your gut.” It makes sense that Levine, who directed all eight episodes of the limited series, offers just a trace of new age ethos in discussing his approach. The Hulu thriller, which premiered earlier this month, is set at a wellness center that takes its experimental methods for betterment to questionable, cultish extremes. Based on the book by Liane Moriarty, author of the novel “Big Little Lies,” the series hails from “Lies” creator David E. Kelley. It stars Nicole Kidman and Melissa
exemplifies a catch-22 for up-and-coming creatives. How can a burgeoning director, for example, access something they likely don’t even know exists? Remember that Levine himself only just discovered it. The short answer is: You can’t know and you won’t know—and that’s OK. It may even be preferable. “Certainly, there were things I did in my first couple of movies where I just didn’t know any better, and it turned out they were good things,” he says. But then “you evolve to a point where you do know better, and you’re sort of stopping yourself from taking risks. If you’re constantly taking stock and evaluating your process and where you want to be as an artist, that’s a really good place to be.” The fact that the artist and their art are, by nature and necessity, constantly evolving makes Levine reticent to prescribe any specific advice to aspiring filmmakers. He does say, however, that it’s most crucial to distill your point of view and be unafraid to stick with it. In other words, he says, “I think it’s very important to figure out what makes your take on the world unique.” Malleability is just as necessary when it comes to working with actors, each of whom will inevitably bring different needs and energy with them to set. Needless to say, this was especially true on “Nine Perfect Strangers.” “There were so many—not just brilliant actors, but so many big personalities, so many different types of approaches and processes,” he says. “It is about getting the whole vision and then intuiting what someone needs in that moment. Sometimes, people need to be pushed. Sometimes, people need to feel safe.” Overall, he insists, “It was a very positive vibe.” And if that isn’t the root of wellness itself, what is?
ILLUSTRATION: ANKA DROZD/SHUTTERSTOCK.COM; “LUCIFER”: COURTESY NETFLIX
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THE ESSENTIALISTS
BROOKE LIPTON choreographer
BROOKE LIPTON is not new to the game, having choreographed 749 musical numbers on “Glee.” But it’s her work on the musical episode of Netflix’s hit series “Lucifer” that has made her a first-time Emmy nominee. “Lucifer” lets her deliver. “You have to be smart and focused on the value of everyone’s time. To work with a group that would say what they wanted, and I would say, ‘This is what it’s going to take to do it,’ and they would say, ‘OK, here you go; take it away’—that’s a really beautiful support
Craft
Know Your Angles
VINCE VALITUTTI/HULU
ILLUSTRATION: ANKA DROZD/SHUTTERSTOCK.COM; “LUCIFER”: COURTESY NETFLIX
By Cathryn Hartt
CAMERA TECHNIQUE IS AS much a part of great acting as any of your other tools (voice, body, props, backstory, objective beats, creating your reality). Acting on-camera involves understanding how to communicate through pictures. Let’s start with the basic premise that the camera is mostly about pictures. Think of film as a comic book instead of a novel: You look at the pictures first, then to the words in the bubble to get a bit more understanding. Knowing how important the visual is on film, it’s important to know how your own face comes across on the camera. Know your angles. Get in front of a mirror—or better yet, a camera—and get a very close-up view (head and
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shoulders). Slowly change the direction and angle of your face to see how it reads on camera. Turn your head slowly; tilt it from side to side. Bring your chin slowly down and up. Look at your face as if it were a painting to see what makes a more interesting picture. Some angles might make you look harsh. Some may make you look sweet. We all have a “better side” of our face for pictures, too. Check out your smile. I bet Brad Pitt knows his best angle for that winning smile. Marilyn Monroe? She worked on smiling with the corners of her mouth down instead of up. Yep, that iconic smile was a technique she mastered. Many people have a great natural look. Don’t plasticize yourself
By Casey Mink system. They trusted that I was going to give them the exact product they wanted because they were able to give me what I needed to do that. It feels really special to have a relationship with a show that really cared about what the product was going to look like.” The actorchoreographer relationship is about trust. “You can walk into a rehearsal, and someone’s like, ‘Help me; I don’t want to do this. I’m scared.’ I’m like, ‘Look, I am not going to let you fail.’ If you have never danced before in your life, I can
into something you’re not. But you do want to present yourself at your best. Pay attention to your chin. Holding your chin slightly up makes you appear to be the goofy best friend or second banana. Chin up too high makes you come off as a snob. Chin up even higher can help you to look maniacal. Keeping your chin slightly down is a leading man or woman position. When you shoot your headshots, doesn’t the photographer remind you frequently to bring your chin down a little? This causes your eyes to open up a bit more and allows the light to catch your cheekbones. Angling your chin down a bit more will make you look powerful. You would use this angle for bullies or power characters of any kind (including villains, as well as action heroes). In audition tapes for “bad guys,” I constantly tell the actor to bring their chin down more.
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have you stand on a platform and hold your arms up in the air and have eight girls throw feathers around you and do flips, and you’ll still look like the rock star that you should, because you pointed this direction, and the world went that way.”
Holding your chin down too far makes you look creepy. I recommend this angle if someone is auditioning for a demon or has to change into one during the scene. As you change, start with your chin up more, and slowly bring it down as you morph into the demon. Everyone looks great with their chin slightly down and their head turned about three-quarters to the side. This angle is great for anything from flirty, innocent, and shy to mean and mischievous. It’s good for almost anything. It is also a great way to end most spokesperson commercial auditions. Take these tips out for a spin, and start to learn your own personal angles! Cathryn Hartt is an acting coach and Backstage Expert.
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08.19.21 BACKSTAGE
culture +
Spotlighting the people and projects you need to know
Allow for the Chaos By Asher Grodman
The following Career Dispatch essay was written by Asher Grodman, who stars on the upcoming CBS series “Ghosts.” He also teaches acting at Hunter College and previously instructed inmates in acting at Rikers Island.
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It’s very easy to lose sight of what’s real and what’s opinion, and whose opinion to trust. There’s no ‘right,’ but it feels like there are plenty of wrongs.
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Veronica Setiadi By Jalen Michael
Over a short period of time, actor VERONICA SETIADI used Backstage to find the perfect project to jump-start her career. Here’s how she’s keeping that momentum going. Every audition is a chance to learn. “The audition [for a recent project] was through Zoom, and it was very simple— though I had to wait two hours in the call, as I was No. 28. The director was very nice, and they gave me good feedback. I thought that it would be a great start to my career!” Stick with Backstage, and Backstage sticks with you. “Since September of 2020, I’ve used [Backstage] often, because I figure that [it’s] the most reliable website for casting. [I found my recent project] on Backstage as I was looking for jobs.” Her best advice is simple: Be patient, and be yourself. “My advice is that the industry is very tough; stay strong, and you will make it! Don’t worry, you will get there. It just takes time, and time is flexible. Just be you!”
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; SETIADI: COURTESY VERONICA SETIADI
A LOT OF PEOPLE TOLD ME I shouldn’t be an actor. I was a shy, dyslexic kid with social anxiety and vocal issues. So if you have stumbled upon this article and are fearful that being an actor is impossible, trust me: It’s not. If I could say anything to a younger version of myself, I’d direct him to a quote by the late, wonderful Philip Seymour Hoffman. In a 2007 interview with American Cinematheque, he spoke about his philosophy on acting: “You allow things to be out of control in a
structure…. There’s a story that must be followed, but how to allow for the chaos—the kind of thing that you wish you had control over?” This philosophy has always been my North Star as an actor and teacher. It’s the way I approach scripts, sides, and everything else I work on: studying the story, then finding the spontaneity that brings the story to life. But reflecting back on the 18-plus years I’ve spent as an actor, this quote resonates with my experience in this business, as well. I always knew my “story” or “path”—I
#IGOTCAST.
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Career Dispatch
was going to be an actor, but I never anticipated all the chaos that would get in the way. I could list all my horror stories, but instead I’ll just say that it’s a long list. There’s plenty of rejection and heartbreak, like when I got dropped by two separate agencies on two separate opening nights of two separate productions. However, for me, the greatest impediment—the greatest source of chaos—was the disorientation of working in a subjective art form. As an actor, disorientation is like quicksand: It’s not going your way, and you don’t understand why—and even if you did, you wouldn’t know how to fix it, because you can’t know how your work is perceived. There’s no objective feedback loop. It’s very easy to lose sight of what’s real and what’s opinion, and whose opinion to trust. There’s no “right,” but it feels like there are plenty of wrongs. The most disorienting experience of all is auditioning—which, for years, was the only acting I was doing, because I couldn’t get a job. I was paralyzed by auditions, so I began to study them incessantly, asking myself: What’s the real goal here—not just for me, but for everyone involved? I devoured audition sides, working on scene after scene— anything I could get my hands on. I made myself available to help anyone, anywhere, any time with any audition they had. I created a practice group of actors as a safe space to work on auditions. (We still meet every week.) I developed a deeper understanding of story and spontaneity thanks to the guidance of acting coach Bob Krakower, and I began to grasp my role within the larger picture of a production. In time, I found my process—the rails I could hold onto in the midst of the dark, disorienting storm. I found the structure amid the chaos.
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Spotlighting the people and projects you need to know In the Room With
Ally Capriotti Grant and Pamela Vallarelli
The Fab Five might be the center of “Queer Eye,” but this casting director duo finds its heart By Elyse Roth
back to the office to be edited. And then you go to the network for approval. PV: It kind of ends up being 50–50. We do have a lot of submissions where people nominate someone that they feel is super deserving, but then we find people on the ground, as well. Generally, where have you found candidates for your unscripted projects? ACG: It can be intimidating. Where do you start? But you just start, and you follow your nose and your instincts. We come in with a game plan to hit up these seven neighborhoods on a certain day. But it always gets flipped on its head.
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; SETIADI: COURTESY VERONICA SETIADI
BY NOW, EACH MEMBER OF THE “QUEER EYE” FAB FIVE HAS become a household name, and each season of the Netflix series gets devoured as soon as it hits the streamer. While Antoni Porowski, Tan France, Karamo Brown, Bobby Berk, and Jonathan Van Ness anchor the show, much of its warmth comes from what the producers call its heroes—the everyday people who are undergoing a life change and are helped along in their transformation by the resident experts. Across the series’ five seasons, it has found heroes that touch viewers’ hearts through their unique but relatable stories. Casting directors Ally Capriotti Grant and Pamela Vallarelli share how they find these heroes and what they do to keep each new season fresh. Describe the casting process for “Queer Eye.” Ally Capriotti Grant: We have a team of casting producers and associates that help us out. We’ve got the team in the office, and we’ve got the team who are boots on the ground, in-person in the city that we’re casting in. We work together, we hand out flyers
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when we’re out there in the city, we hit up all the neighborhoods, we go to events—all the good stuff. And then people in the office are also going through email and looking for the nominations and people writing in, and we talk to each other the whole time to find who we want to feature that season.
How do you choose the people that we end up seeing on the series? Pamela Vallarelli: Say we get a great email—someone nominating somebody else: Our casting producer will say, “Hey, we got this great email; I had a great phone call with that person; can you go meet them in person and check out their house and meet their family?” ACG: The show is deeper than just the hero themselves. It’s about: Where do they live? Who do they live with? What’s their backstory? Getting to know those external people in their lives can really help you picture who the hero is. Once we meet them and we fall in love with them, we then put them on camera. That footage then goes
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What advice do you have for people who might be interested in appearing on a show like “Queer Eye” but don’t have any experience on TV? PV: The No. 1 thing for us when it comes to applying for the show is: We need people who are completely honest about who they are and what they’re about. There does need to be a certain degree of vulnerability, because the Fab Five only [have] a couple of days to spend [with them]. For people to have that transformation happen in such a short period of time, you need someone who’s ready to do the work. If somebody has walls up, they’re not really going to transform in just those couple of days. You really need to be ready, willing, and hungry to make a big change in your life.
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Read the full interview at backstage.com/magazine
08.19.21 BACKSTAGE
More Than Mainstream Elizabeth Olsen cut her teeth in theater and indie film. Now, the “WandaVision” star has helped move Marvel from blockbuster films to Emmys-sweeping prestige TV By Manuel Betancourt Photographed by Shayan Asgharnia
“THE THING I LOVE ABOUT BEING AN actor is to fully work with someone and try so hard to be at every level with them, chasing whatever it is you need or want from them.” Elizabeth Olsen grins widely over video chat when recalling many such moments on set with her co-stars. Yet, she can’t bring herself to divorce such a lofty vision of film acting from the technical multitasking it requires. The camera sees all. “But then you move your hair, and you’re in your brain, like: OK, remember that! Because I don’t want to edit myself out of a shot. I know some actors are like, ‘Continuity, shmontinuity!’ But the good thing about continuity is, if you remember it, you’re actually providing yourself with more options for the edit.” That need to balance being both inside the scene and outside of it, fully living it and yet constantly visualizing it on a screen, feels particularly apt in light of Olsen’s most recent project, “WandaVision.” BACKSTAGE 08.19.21
The Disney+ miniseries, which racked up 23 Emmy nominations—including one for Olsen in the outstanding lead actress in a limited or anthology series or movie category—is rooted in the magical possibilities of living your life as if it were being screened for someone else to watch. Playfully paying homage to TV classics like “The Dick Van Dyke Show,” “Bewitched,” and “I Love Lucy,” the buzzy Marvel series set in the small town of Westview imagines what various quaint sitcoms starring Wanda Maximoff (Olsen), her beloved, Vision (Paul Bettany), and a requisite pesky next-door neighbor named Agnes (Kathryn Hahn) would look like. The mysteries at the heart of the show grow with every episode, each fast-forwarding to a different decade: Could this 1950s, black-and-white, “filmed in front of a studio audience” newlyweds bit be a grief-stricken dream? Might this ’70s spoof be a powerful spell gone awry? Could this meta take on
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mockumentary comedies be proof that the multiverse is finally coming to the Marvel Cinematic Universe? The series’ structure, which branches out to include government agents intent on finding out why Westview has seemingly disappeared, calls for the entire cast to play with a mix of genres, balancing a shape-shifting tone that culminates in an epic, MCU-style conclusion. What’s key—and why the show struck a chord with audiences during its nine-episode run—is the miniseries’ commitment to grounding its initial kooky setups and its later special effectsdriven spectacle in heartbreaking emotional truths. It’s no small feat, though it’s one that can often be taken for granted. “I was thinking how hard it would have been to have shot the first ‘Lord of the Rings,’ ” Olsen muses. “Like, you’re putting all these actors [into the frame] later and at all these different levels. All the eyelines are backstage.com
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completely unnatural. And yet the performances are fantastic! And technically, they are so hard. People forget sometimes that these things are really technically hard to shoot. And if you are moved by their performance, that took a lot of multitasking.” As someone who has learned plenty about harnesses, wire work, fight choreography, and green screens (she’s starred in four Marvel movies, including the box office megahit “Avengers: Endgame,” after all), Olsen knows how hard it can be to wrap one’s brain around the work needed to pull off those big, splashy scenes. “If you think about it, it’s, like, the biggest stakes in the entire world—every time. And that feels silly to act over and over again, especially when people are in silly costumes and the love of your life is purple and sparkly, and every time you kiss them, you have to worry about getting it on your hands. Those things are ridiculous. You feel ridiculous. So there is a part of your brain that has to shovel that away and just look into someone’s eyeballs—and sometimes, they don’t even have eyeballs!”
The ability to spend so much time with Wanda, albeit in the guise of sitcom parodies, was a welcome opportunity for Olsen. Not only did it allow the actor to really wrestle with the traumatic backstory that has long defined the character in the MCU, but having the chance to calibrate a performance that functions on so many different levels was a thrilling challenge. “It was such an amazing work experience,” she says. “Kathryn [Hahn] uses the word ‘profound’—which is so sweet, because it is Marvel, and people, you know, don’t think of those experiences as profound when they watch them. But it really was such a special crew that [director] Matt Shakman and [creator] Jac Schaeffer created. It was a really healthy working environment.” Considering that the miniseries spans several sitcom iterations, various layers of televisual reality, and a number of character reveals that needed to feel truthful and impactful in equal measure, Shakman’s decision to work closely with his actors ahead of shooting was key. “We truly had a gorgeous amount of time
together before we started filming,” Olsen remembers. “Our goal was—which is controversial in TV land—that if you wanted to change [anything], like dialogue in a scene, you had to give those notes a week before we even got there. Because sometimes you get to set, and someone had a brilliant idea while they were sleeping, and you’re like, ‘We don’t have an hour to talk about this. We have seven pages to shoot.’ And so, we were all on the same page with one another, knowing what we were shooting ahead of time. “Matt just treated us like a troupe of actors who were about to do some regional theater shit,” she adds with a smile. That spirit of camaraderie was, not coincidentally, at the heart of Olsen’s breakout project, Sean Durkin’s 2011 indie sensation “Martha Marcy May Marlene.” As an introduction to the process of filmmaking to a young stage-trained actor, Durkin’s quietly devastating drama was a dream—and an invaluable learning opportunity. “It was truly just a bunch of people who loved the script, who just were doing the work. I didn’t understand lenses, so I just did
When I think about that version of myself [who starred in ‘Martha Marcy May Marlene’], it feels like a long time ago; there’s a lot learned in a decade.
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MARVEL STUDIOS
On “WandaVision”
MARVEL STUDIOS
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the same thing all the time. I never knew if the camera would be on me or not. There was just so much purity in that experience, and you only have that once.” The film announced Olsen as a talent to watch: a keen-eyed performer capable of deploying a stilted physicality and clipped delivery, which she used to conjure up a wounded girl learning how to shake off her time spent in a cult in upstate New York. But Olsen admits that it took her a while to figure out how to navigate her career choices afterward. In the years following “Martha,” she felt compelled to try on everything: a horror flick here, a high-profile remake there, a period piece here, an action movie there. It wasn’t until she starred in neo-Western thriller “Wind River” (alongside fellow Marvel regular Jeremy Renner) and the dark comedy “Ingrid Goes West” (opposite a deliciously deranged Aubrey Plaza) that Olsen found her groove. “It was at that point, when I was five years into working, where I was like, Ah, I know how I want it. I know what I need from these people—from who’s involved, from producers, from directors, from the character, from the script—in order to trust that it’s going to be a fruitful experience.” As Olsen looks back on her first decade as a working actor, she points out how far removed she is from that young girl who broke out in “Martha Marcy May Marlene.” “I feel like a totally different person. I don’t know if everyone who’s in their early 30s feels like their early 20s self is a totally different human. But when I think about that version of myself, it feels like a long time ago; there’s a lot learned in a decade.” Those early years were marked by a self-effacing humility that often led Olsen to defer to others when it came to key decisions about the characters she was playing. But she now feels emboldened to not only stand up for herself and her choices, but for others on her sets as well. “[Facebook Watch series] ‘Sorry for Your Loss’ I got to produce, and I really found my voice in a collaborative leadership way. And with ‘WandaVision,’ Paul [Bettany] and I really took on that feeling, as well—especially since we were introducing new characters to Marvel and wanted [those actors] to feel protected and helped,” she says. “They could ask questions and make sure they felt like they had all the things they needed, because sometimes you don’t even know what you need to ask.” It’s a lesson she learned working with filmmaker Marc Abraham on the Hank Williams biopic “I Saw the Light,” and she’s carried it with her ever since. “I really want it to feel like we’re all in this together, as a team,” Olsen says. “That was part of ‘Sorry for Your Loss’ and it was part of ‘WandaVision,’ and I hope to continue that kind of energy, because those have been some of the healthiest work experiences I’ve had.” If Olsen sounds particularly zealous about the importance of a comfortable, working set, it is because she’s well aware that therein BACKSTAGE 08.19.21
lies an integral part of the work and the process. As an actor, she wants to feel protected and nurtured by those around her, whether she’s reacting to a telling, quiet line of dialogue about grief or donning her iconic Scarlet Witch outfit during a magic-filled midair action sequence.
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“Sometimes you’re going to be foolish, you know? And [you need to] feel brave to be foolish. Sometimes people feel embarrassed on set and snap. But if you’re in a place where people feel like they’re allowed to be an idiot,” she says, “you’re going to feel better about being an idiot.” backstage.com
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kind of charisma you can’t fake, but his everyman vibe and whipsmart comedy chops have never found a better home than in the role of Ted Lasso, an upbeat American football coach hired to lead an English football team. The freshman season of the Apple TV+ series, co-created by Sudeikis, announces itself as a fish-out-of-water comedy before its leading man reveals layer after poignant layer.
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Kenan Thompson, “Kenan” The long-gestating sitcom “Kenan” offers further proof that Thompson is one of his generation’s most gifted comedians. Flexing acting muscles he doesn’t often get to exhibit on “Saturday Night Live,” he gives widowed father and morning show host Kenan Williams a threedimensional interiority; he makes private moments as clear as those opposite his co-stars, including Don Johnson, Chris Redd, Kimrie Lewis, and more.
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Aidy Bryant on “Shrill”
Outstanding Lead Actress in a Comedy Series
Going for TV Gold playing Sandy’s students. This season, opposite Kathleen Turner, in particular, Douglas creates a kind of onscreen magic.
Aidy Bryant, “Shrill” You know those screen stars who make you feel like you just want to be friends with them? Bryant is the epitome of this phenomenon, and nowhere is it more apparent than on this Hulu original series. In the actor-writer-producer’s capable hands, the self-deprecating, decidedly un-shrill Annie goes from wanting to fade into the background without upsetting anyone to poignantly exploring her own self-confidence and sense of self-worth.
William H. Macy, “Shameless”
Kaley Cuoco,
Your refresher on the 2021 Emmy-nominated actors By Backstage Staff AS THE BEST OF TELEVISION’S BEST VIE FOR GOLD AHEAD OF THE 73rd Primetime Emmy Awards Sept. 19, we at Backstage are reminded of the fact that some of today’s best-ever on-camera acting lives on our small screens. Now we’re reminding you, too! Read on for your 2021 Emmy voting guide to the comedy, drama, limited series, and TV movie acting nominees.
Outstanding Lead Actor in a Comedy Series Anthony Anderson,
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Michael Douglas,
“The Kominsky Method” Hollywood acting coach Sandy Kominsky has seen better days. Douglas, however, is giving one of his best performances to date. He manages to demonstrate funny or touching chemistry with every one of his scene partners, including Sarah Baker, Nancy Travis, and the many other actors
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Jason Sudeikis, “Ted Lasso” Sudeikis always showcases the
“The Flight Attendant” Cuoco’s wildly funny yet emotionally shrewd performance as an alcoholic flight attendant entangled in a gruesome murder is what grounds even the most absurd twists on this HBO Max comedy-thriller– character study. Just when you think the series is too silly to feel substantial, the producerstar unveils another layer of her Cassie Bowden, raising the emotional stakes amid all the mayhem. Plus, she’s clearly having so much fun.
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“SHRILL”: ALLYSON RIGGS/HULU
“Black-ish” Juggling a growing family, career, and his kids’ sense of Blackness in the lily-white surroundings of upper-middle-class suburbia, Anderson’s Dre Johnson has been equal parts modern philosopher and swaggering goofball on ABC’s hit sitcom for seven wonderful seasons and counting. The naturally funny Anderson’s ability
to pull off both modes continues to impress, as do those moments when he digs deeper.
Playing a role for which he’s been nominated, justifiably, in various awards races for years, Macy was in rare form this past season, showing us new elements of his considerable abilities. Frank Gallagher is still an erratic deadbeat dad, but the legendary actor has entered more and more calculated territory with the character, finding fresh ways to ground someone who’s often high as a kite.
“TED LASSO”: APPLE TV+; “MOM”: MICHAEL YARISH/WARNER BROS. ENTERTAINMENT INC.
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makes Roy Kent—the perpetually furious, repressed, aging footballer brought to life by Goldstein—all the more hilarious. Under all that foul-mouthed rage, there’s a sensitive man in crisis, which Goldstein reveals in the season’s most subtle and effective character arc.
Nick Mohammed on “Ted Lasso”
“SHRILL”: ALLYSON RIGGS/HULU
“TED LASSO”: APPLE TV+; “MOM”: MICHAEL YARISH/WARNER BROS. ENTERTAINMENT INC.
Allison Janney, “Mom” Bonnie is a screw-up who unapologetically screws up other people’s lives. But Janney is so pitch-perfect in her physical comedy, so enduringly endearing, and so damn funny that she makes this (frankly horrible) woman inherently affable. Who else could pull that off? It’s no wonder the seven-time Emmywinning actor frequently sweeps awards shows—and will surely continue to do so. Tracee Ellis Ross, “Black-ish” In some ways, Rainbow Johnson is your typical sitcom mother: frazzled yet poised, put-upon yet supportive. But Ross and the creators of ABC’s most subversive comedy have turned that trope on its head by adding new qualities: She’s goofy, badass, and often borderline deranged. Again and again, the actor has demonstrated her dramatic (and directing!) chops, making us love the Johnson family and its matriarch even more than we already did. Jean Smart, “Hacks” Playing two diametrically opposed roles on “Hacks” and “Mare of Easttown,” Smart ruled our TV screens this spring. She stars as Deborah Vance, a boundarypushing comedian spending the twilight of her career as a washed-up but über-rich Vegas performer. Her delivery of such
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scathingly hilarious lines as “I was just wondering why you were dressed as Rachel Maddow’s mechanic” should be taught in comedy acting classes forever.
Outstanding Supporting Actor in a Comedy Series Carl Clemons-Hopkins,
“Hacks” Marcus could have been a cursory, literally subservient role, receding into the background among larger-than-life women. Instead, Clemons-Hopkins makes the character a drily funny, confident, self-starting (and dare we say sexy?) presence that we miss whenever they’re not around. You’re rooting for Marcus to get out from under Deborah’s thumb from the moment their hot-andcold dynamic is established.
Brett Goldstein, “Ted Lasso” “Ted Lasso” centers and celebrates all things sincere, daring to find humor in hope. Its determinedly earnest tone
Allison Janney on “Mom”
Brendan Hunt, “Ted Lasso” Coach Beard plays things close to the vest. What little we learn about him comes in unexpected bursts of comedy, upping this show’s already high laughper-minute rate. One thing that’s certain, though, is that the actor behind Beard understands him completely; as one of the show’s writers, Hunt likely has the guy’s (apparently bizarre) backstory established down to the smallest detail. Nick Mohammed,
“Ted Lasso” Watching Mohammed’s Nathan Shelley evolve under the titular Ted’s guidance from, essentially, team water boy to assistant coach is one of the many delights of this show’s first season. The way Nate comes into his own, eventually reining in the players’ egos in the locker room, is expertly charted by an actor who doesn’t need to do much to steal a scene.
Paul Reiser,
“The Kominsky Method” Plenty of comedic material has been mined from the dynamic between a man and his girlfriend’s father, which means Reiser deserves credit for capitalizing on that and then some. As Martin Schneider, boyfriend to Sarah Baker’s Mindy, the daughter of Douglas’ Sandy, the veteran comedic star takes those prickly situations in often unexpected directions, zigging when you think he’ll zag.
Jeremy Swift, “Ted Lasso” You’re liable to cringe as much as laugh when it comes to Swift’s Leslie Higgins, AFC Richmond’s director of communications. The brilliance of this veteran actor’s on-camera precision can be seen in every microexpression, whether it’s a grimace or smile. He’s one of those comedians
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who only needs a wordless, splitsecond reaction shot to crack the audience up.
Kenan Thompson,
“Saturday Night Live” After 18 seasons on NBC’s live sketch show—a record, by the way—Thompson is inarguably the backbone of “SNL.” You’d think he’d be sick of giving his all every Saturday night for nearly two decades, but you’d be wrong. The pure, genuine joy Thompson brings to every sketch is palpable. Case in point: this season’s pandemic-era riff on food mascot Uncle Ben opposite Maya Rudolph’s Aunt Jemima.
Bowen Yang,
“Saturday Night Live” It’s not often that a new “SNL” cast member infuses such fresh energy into a season: Yang manages to combine his sharp comedic sensibility with one-ofa-kind characters, cementing his place in a new era for the long-running show. The result is a first-ever Emmy nod for a featured, rather than main, cast member. (Next season, Yang will surely be promoted to the latter—he’s earned it.)
Outstanding Supporting Actress in a Comedy Series Aidy Bryant,
“Saturday Night Live” It may have taken eight years and countless mom wigs, but Bryant has stealthily become one of the most enjoyable “SNL” cast members, week after week. Whether it’s a brief, wordless cameo in a sketch or her accentheavy Sarah Huckabee Sanders, Bryant kills it every time and leaves viewers waiting for her to reappear on the Studio 8H stage.
Hannah Einbinder, “Hacks” How do you hold your own when sharing a scene with a legend like Smart? Ask Einbinder, an impressive TV newcomer and one half of this show’s dynamic duo that lends it equal parts heart and humor. Even as her Ava Daniels gets on our nerves, the actor makes her feel relatable, and demonstrates again and again her ability to pivot between comedy and drama.
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“Saturday Night Live” The Emmy-winning MVP of “SNL” still has an enviable ability to turn mediocre sketches into brilliant ones with a simple head tilt or a widening of her eyes. Her co-stars often laugh so hard that they can barely keep it together on the air. Her characterizations of both actual public figures and everywoman caricatures are as blisteringly damning as they are hysterically funny.
Rosie Perez,
“The Flight Attendant” Much of the fun of watching “The Flight Attendant” is seeing people get in way over their heads. In the case of Perez’s Megan Briscoe, however, there’s an added layer of comedy, as she believes she’s got a handle on things—despite those things involving North Korean corporate espionage. A combination of Perez’s innate confidence and a willingness to fall flat on her face is the key to her scene-stealing work.
Cecily Strong, “Saturday
Night Live” Strong is the quintessential “SNL” star: malleable enough to fit any role, no matter how wacky. In the course of her eight seasons, she’s portrayed the Girl You Wish You Hadn’t Started a Conversation With at a Party, a spot-on Jeanine Pirro and Melania Trump, and countless others. Each of her characters are so fully realized that it seems impossible she’s only had a week to prepare them.
Juno Temple, “Ted Lasso”
Hannah Waddingham,
“Ted Lasso” What’s remarkable about Rebecca Welton, steely head
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Outstanding Lead Actor in a Drama Series Sterling K. Brown, “This Is Us” Playing the multifaceted Randall Pearson means that Emmy winner Brown gets to preach the truth, have mental breakdowns, and occasionally throw out solid one-liners that reveal his superb comedic timing. (Can anyone make dad jokes as charming as he can?) He’s created one of the most enthralling characters in TV drama—no small feat, especially five seasons in.
Jonathan Majors,
“Lovecraft Country” Majors immediately establishes Atticus “Tic” Freeman as this horror extravaganza’s hero with a good heart, determined to protect his family from sinister occult forces and racist 1950s policemen alike. In addition to a sense of swashbuckling adventure, Majors brings dramatic heft to episode after episode, handling extreme scenarios (he’s constantly fighting back tears, covered in blood, or both) with ease.
Josh O’Connor, “The Crown” Alongside a cast of actors who feel more like magicians thanks to their flesh-and-blood portrayals of public figures from increasingly recent history, O’Connor excels at both rendering a convincing impression of Prince Charles and putting his own spin on it. His tormented, decades-spanning love triangle feels, somehow, like an authentic recreation of actual events rather than a series of scripted moments. Regé-Jean Page, “Bridgerton” To call Shondaland’s first Netflix series buzzy would be the
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Uzo Aduba on “In Treatment”
understatement of the season; this tale of 19th-century high British society—“Pride and Prejudice” meets “Gossip Girl”— features the most charismatic of casts. Leading man and rising star Page is perfectly dashing as a duke who is uninterested in noble titles yet poised to give Regency London gossips plenty to talk about.
Billy Porter, “Pose” Everyone on this sequined and stunning series deserves accolades aplenty, but the performance that may most lodge itself in your heart is Porter’s Emmy-winning turn as Pray Tell. With countless friends and lovers dying of AIDS, he’s entrenched in sadness and unimaginable fear; yet he projects infectious joy without ever coming off as saccharine. We’re finally mining the depths of this veteran theater actor’s abilities. Matthew Rhys,
“Perry Mason” If Rhys’ work on “The Americans” posited that he’s one of our best dramatic actors, “Perry Mason” cemented the theory. Rhys takes on the show’s titular investigator with ease, creating his own gritty version of the TV icon while side-stepping the genre’s cliches. The awardwinning leading man balances that grit with vulnerability and restrained emotion, effortlessly embodying a character who proves to be thrilling to watch.
Outstanding Lead Actress in a Drama Series Uzo Aduba, “In Treatment”
“Therapy doesn’t have a target audience. Everyone can benefit,” says psychologist Dr. Brooke Taylor. The same can be said of Aduba’s magnetic performance in this HBO Max reboot. Watching both the actor and the character parse the complexities—and dubious choices—of her patients, and eventually herself, can provide actors with a multilayered lesson on how to truly listen.
Olivia Colman, “The Crown”
Colman excels at capturing Queen Elizabeth II’s stillness and composure down to the smallest gesture on Season 4 of Peter Morgan’s royal drama, set in the Buckingham Palace of the 1980s. Case in point: her vividly rendered conversation with Tom Brooke’s Michael Fagan, the man who broke into the queen’s bedroom to list his grievances. Colman’s silences express as much as a monologue.
Emma Corrin, “The Crown” Stepping into an onscreen character who received almost as much scrutiny as her real-life counterpart, Corrin successfully captures something essential about Diana Spencer, Princess of Wales: her ability to draw you in and demand you watch her. Between the spot-on makeup, hair, and wardrobe work and those eyes that convey sorrow
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“IN TREATMENT”: SUZANNE TENNER/HBO
Temple, always a reliable presence onscreen, plays fiery football player’s girlfriend– turned-publicist Keeley Jones with larger-than-life brassiness and sex appeal—but also with a candor that empathetically paints her as a woman who wants more from her life. The chemistry between her and Goldstein’s hardheaded team captain, Roy, makes for a slow-burn coupling that we can’t help but root for throughout Season 1.
of the fictional AFC Richmond football club, is that we should despise her. Yet thanks to Waddingham’s portrayal, we simply can’t. Initially seeking vengeance against her ex-husband, the team’s former owner, Rebecca eventually finds her moral compass. Rather than a villain, Waddingham gives us a complicated, powerful woman breaking down her inner walls to reveal her heart.
“THE HANDMAID’S TALE”: SOPHIE GIRAUD/HULU
Kate McKinnon,
and shyness, Corrin pulls off the difficult task of stealing this hit show.
Elisabeth Moss,
“The Handmaid’s Tale” Peering out from between the bone-white wings of her handmaid’s bonnet, Moss takes on the role of a lifetime, navigating the despair of an oppressive dystopian world with dignity and a wickedly dark sense of humor. The Emmywinning producer-actor is at her most subtle when the stakes are highest, and watching her handle the pitfalls served up by the distressingly tangible Gilead remains revelatory.
Mj Rodriguez, “Pose” If you’re playing a character you want your audience to root for, study how Rodriguez interacts with her scene partners on “Pose.” The sheer amount of emotional heavy lifting she must do as emerging house mother Blanca Rodriguez-Evangelista in this gorgeously detailed AIDS-era drama proves she can take on any role. A lesser actor would buckle under the pressure of uplifting those around her without resorting to cheesiness. Jurnee Smollett,
“Lovecraft Country” Smollett’s Letitia “Leti” Lewis suffers no fools, moving into a white Chicago neighborhood and fighting both supernatural forces and all-too-real racists without once wrinkling her fabulous frocks. Throughout Misha Green’s ambitious reframing of H.P. Lovecraft’s horror narratives within Black American stories, Smollett both has a blast and showcases Leti’s vulnerability, reminding us of the story’s emotional stakes.
Mandalorian,” he stars on “The Boys,” “Dear White People,” “Better Call Saul,” and more, making him a veritable king of prestige TV) is reason enough for awards recognition.
O-T Fagbenle,
“The Handmaid’s Tale” Contributing to one of TV’s most impressive ensembles working today, Fagbenle’s presence on “The Handmaid’s Tale” remains crucial as a reminder of how the dystopian Gilead deprives its citizens of a normal life. As Luke, lost husband to Moss’ handmaid-revolutionary June, the actor suffuses his physicality with desperation, determination, or both depending on the story’s agonizing twists.
John Lithgow, “Perry Mason”
One of Lithgow’s (many, many) acting gifts is his ability to bring out the best in his scene partners. Watching his E.B. Jonathan evolve from gruff to meek, ending in a gut punch of a twist, is one of the season’s most devastating emotional roller coasters. It’s opposite Rhys’ Perry and Juliet Rylance’s Della that we see the work of a firmly present, organically responsive performer.
Tobias Menzies, “The Crown”
Menzies’ role on “The Crown” somewhat parallels that of his real-life counterpart, Prince Philip. As he states matter-offactly in the Season 4 finale, all Elizabeth II’s family members must do is define themselves in relation to her. The same could be said of supporting cast members
like Menzies, who must elicit sympathy for a character who never seems content with the privilege he possesses.
immensely satisfying comes from the journey Whitford has taken us on—a karmic arc bending, finally, toward justice.
Max Minghella,
Michael K. Williams,
“The Handmaid’s Tale” Moments of beauty and optimism pack a powerful punch amid the otherwise bleak saga that is “The Handmaid’s Tale.” As Commander Nick Blaine, Minghella is responsible for one such moment, made all the more moving by its suddenness: Sharing a boldly romantic kiss with Moss’ June, Minghella makes the case that this character’s heart will win out over his strategic mind.
Chris Sullivan, “This Is Us”
Sullivan did his best work yet on this season of “This Is Us,” which found his Toby Damon continuing to explore family dynamics with Chrissy Metz’s Kate—and with his own emotions. A good actor can convey not only feeling, but the inability to feel; Sullivan’s alwayscaptivating work on camera packs such a dramatic punch because he pays just as much attention to the character’s flaws.
Bradley Whitford,
“The Handmaid’s Tale” Leaning right into the unnervingly eccentric portion of his career, Whitford continues to make his Emmy-winning turn as the duplicitous Commander Lawrence must-see TV. He elicits audience sympathy, loathing, and downright shivers, all turning on the same frigid dime. The reason the Season 4 finale’s twist is so
O-T Fagbenle on “The Handmaid’s Tale”
“IN TREATMENT”: SUZANNE TENNER/HBO
“THE HANDMAID’S TALE”: SOPHIE GIRAUD/HULU
Outstanding Supporting Actor in a Drama Series Giancarlo Esposito,
Outstanding Supporting Actress in a Drama Series Gillian Anderson,
“The Crown” Anderson is virtually unrecognizable in her SAG Award–winning turn as prime minister Margaret Thatcher, which isn’t just remarkable for its contrast to any of her prior performances. As this season’s foil to Colman’s Queen Elizabeth II, she introduces the most captivating politician-sovereign dynamic on “The Crown” to date. In all its restrained fury, their face-off over the Commonwealth is a master class in quiet intensity.
Helena Bonham Carter,
“The Crown” As Princess Margaret, Bonham Carter reminds us of her preternatural charm while also letting us see her sense of neglect, as she stands forever in the shadow of the monarchy’s power. Her immense love for her sister always shines through, with Bonham Carter maintaining her humanity (and humor) throughout, avoiding melodrama and unveiling layers of compassion.
Madeline Brewer,
“The Mandalorian” Esposito brings such delicious menace to the camera frame that it sometimes feels like it can’t contain his power. The fact that such energy can be adapted for so many different roles (in addition to Moff Gideon on “The
backstage.com
“Lovecraft Country” It’s Williams, as the closeted, self-torturing Montrose Freeman, who delivers this series’ most heartbreaking moment: reciting the names of real Black Americans killed during the 1921 Tulsa race massacre while, thanks to a time-traveling portal, he watches the city burn. That moment proves that great acting can encompass both spectacle and depth, territory Williams has been covering in every role of his on-camera career.
“The Handmaid’s Tale” Emmy recognition is long overdue for Brewer, whose skill as an actor is apparent in the sheer range of her roles: On “Hemlock Grove,” in “Hustlers,” and especially on “The Handmaid’s
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compatriot Serena Joy Waterford, played with agonizing restraint by Strahovski. Together, these two women, who depict either side of the same oppressive coin, create one of TV’s most compelling onscreen dynamics.
Ann Dowd,
“The Handmaid’s Tale” This Emmy-winning star has managed to move the needle dramatically from her introduction on “The Handmaid’s Tale” to a tumultuous Season 4, becoming a central figure through which we view the horrific dystopia of Gilead and its effects on everyday people. Wiley is perfectly cast as Moira Strand, the rebellious friend who bends but never breaks, and has us pumping our fists in the name of feminism.
“The Handmaid’s Tale” Dowd has been giving us great performances for the better part of three decades, but her Emmywinning, scrumptiously nuanced delivery on Hulu’s dystopian drama undoubtedly remains a career high. As devastating overseer Aunt Lydia, she creates a heady mix of blunt force and for-your-owngood tenderness that does what exquisite acting can: humanize a story’s most ruthless villain.
Aunjanue Ellis,
Emerald Fennell, “The Crown” Fennell’s Camilla Parker Bowles, married but still reciprocating the attention of her one-time beau, O’Connor’s Prince Charles, oozes confidence and humor— which, smartly, makes it hard to see her as the homewrecking villain of this historic love triangle. Considering her Emmy recognition is coming on the heels of an Oscar writing win (for “Promising Young Woman”), Fennell is having quite the banner year—and deservedly so. Yvonne Strahovski,
“The Handmaid’s Tale” “What is she thinking?” It’s the question begging to be answered in nearly every episode of “The Handmaid’s Tale”—not of the show’s protagonist, June, but of her at-times keeper, at-times
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Outstanding Lead Actor in a Limited Series or Movie Paul Bettany, “WandaVision”
While he could never have known where the winding, 13-year, sevenfeature journey his entrance to the Marvel Cinematic Universe as J.A.R.V.I.S. in “Iron Man” would take him, Bettany couldn’t have asked for a better (supposed) send-off than Disney+’s astounding “WandaVision,” which has him leaning into comedic beats across genres and time periods, showcasing a side of the dramatic performer that we haven’t seen since his breakout in “A Knight’s Tale.”
Hugh Grant, “The Undoing”
Lin-Manuel Miranda,
“Hamilton” Nobody has more fun onstage than Miranda as the titular “$10 Founding Father” in the filmed version of Broadway’s most revolutionary musical of 2015. Whether resolving to publicize his way out of America’s first sex scandal or rap-battling with Thomas Jefferson in a Cabinet meeting, the composer-lyriciststar suffuses Alexander Hamilton with an infectious joy that translates both in the theater and in your living room.
Leslie Odom Jr., “Hamilton”
To anyone who missed this Tony winner’s daring, nuanced, aweinspiring turn as the Founding Fathers’ would-be villain, it’s now watchable on Disney+; don’t wait for it. Odom’s Aaron Burr is conniving, sure, but there’s so much more: tenderness, desperate ambition, and heartwrenching repentance. Amid the audiovisual fireworks of “Hamilton,” Odom elevates the dynamics onstage with almost Chekhovian nuance, making Burr the show’s highlight.
Outstanding Lead Actress in a Limited Series or Movie Michaela Coel, “I May
Destroy You” The range that Coel taps into to deliver a story inspired by her own sexual assault on this follow-up to her series “Chewing Gum” is nothing short of heroic. Her Arabella is equal parts frightened and frightening in the complex aftermath of her rape. Watching Coel disentangle her character’s pain from the power it has unearthed within her makes for some of the year’s best TV.
Cynthia Erivo,
“Genius: Aretha” First a scientist, then a painter, and now a singer-songwriter: National Geographic’s “Genius” series shines its most illuminating spotlight yet on Aretha Franklin, a woman worthy of the titular label. Exhibiting genius-level on-camera instincts herself is Erivo, inhabiting Franklin’s regal presence, fabulous outfits, and soulful vocals with aplomb. As is obvious by this point in her meteoric career, Erivo can always be counted on to deliver.
Elizabeth Olsen,
“WandaVision” The MCU hasn’t traditionally been known to give its female heroes the emotionally rich and textured material they deserve, but we’re hoping Disney+’s “WandaVision” (and “Black Widow,” for that
It’s impossible to discuss Grant on “The Undoing” without spoiling the ending; this is a murder mystery, after all. Centering Grant as husband, father, and potential cheater-liar-murderer Jonathan Fraser is more than just a clever bit of casting, given our collective fondness for his charmingly romantic roles. Grant capably walks the line between sympathetic and bone-chilling, causing us to second-guess ourselves right up until the series’ final heart-pounding moment.
Ewan McGregor, “Halston” Oozing fabulousness and charisma, McGregor’s iconic fashion pioneer Halston is another convincing and
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Paul Bettany, Kathryn Hahn, and Elizabeth Olsen on “WandaVision”
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“WANDAVISION”: CHUCK ZLOTNICK/MARVEL STUDIOS
“Lovecraft Country” When Aunt Hippolyta gets a “Lovecraft Country” episode of high-flying, time-traveling, mind-bending adventures all to herself, it doubles as a chance for the actor playing her to finally spread her wings. Ellis stuns not just because of her considerable chameleonic abilities—Hippolyta goes from Josephine Baker backup dancer to Confederate soldier–slaying African warrior— but also for the seemingly effortless ways she generates intimacy with her co-stars.
Samira Wiley,
compelling turn in a career full of them. Watching him onscreen, you get the sense that this is an artist who understands artistry at its core. Here a touch of sexy suaveness, there a glimpse of creative fire in his eyes— McGregor makes this titan of industry somehow both more familiar and unknowable.
“I MAY DESTROY YOU”: HBO; “MARE OF EASTTOWN”: MICHELE K. SHORT/HBO
Tale,” she consistently delivers charisma and cohesion within an ensemble. As Janine in the latter, Brewer expertly modulates rebelliousness, hope, and even outright madness. It’s the kind of performance that’s both believable and unpredictable.
matter) signals a turning point— if only because it means we’ll see more of Olsen’s raw-nerve performance as grieving, allpowerful witch Wanda. It’s one of the year’s very best.
Anya Taylor-Joy, “The
Queen’s Gambit” As much a character study in addiction as a chess prodigy’s coming-of-age tale (and a gorgeously wrought period drama to boot), this Netflix hit owes a heaping sum of its success to SAG Award winner and rising star Taylor-Joy. Her skill at rendering Beth Harmon’s growth shows physicalized acting at its finest, and every moment she levels those enormous eyes at her chess adversary or up at the ceiling becomes iconic.
“WANDAVISION”: CHUCK ZLOTNICK/MARVEL STUDIOS
“I MAY DESTROY YOU”: HBO; “MARE OF EASTTOWN”: MICHELE K. SHORT/HBO
Kate Winslet, “Mare of
Easttown” There is plenty of evidence that Winslet as the titular detective on “Mare of Easttown” is one of the greatest TV performances ever. Let’s instead boil it down to a single noise: As we learn who really murdered Erin McMenamin, Mare’s pain and the gravity of the moment escape her body as an involuntary yelp. That wordless sound may be the most real acting moment of the season.
Outstanding Supporting Actor in a Limited or Anthology Series or Movie Thomas Brodie-Sangster,
“The Queen’s Gambit” Undeniably grown-up, and a departure from anything we’ve seen from him before, BrodieSangster’s portrayal of Benny Watts signals a new high point in the former child star’s career. A
foil, coach, and eventual friend to Taylor-Joy’s Beth throughout “The Queen’s Gambit,” he brings hints of touching humanity to this story’s bad boy of chess.
Daveed Diggs, “Hamilton” One of the highlights of 2020 echoed the fervor of Broadway in 2015: With the arrival of the filmed “Hamilton” to Disney+, homebound fans of Miranda’s game-changing musical could watch (and rewatch and rewatch) the stage production’s impossibly talented original cast. Diggs’ Tony-winning turn as both the fearless Marquis de Lafayette and the swaggering Thomas Jefferson is the quintessential example of a tour de force. Paapa Essiedu, “I May
Destroy You” Channeling Coel’s trademark mix of humor and heartbreak, Essiedu adds to the nuance of “I May Destroy You” as a quintessential supporting actor. He brings a grounded presence to Kwame, a gay man exploring the line between sexual liberation and exploitation in one of the series’ most intriguing subplots. His performance makes us ask: Could Kwame please get a spinoff?
Jonathan Groff, “Hamilton”
An arched eyebrow. A pouty pursing of the lips. Groff’s King George III gets the biggest laughs in “Hamilton” because he reins in the theatrics and reigns over his “loyal, royal subjects”— the putty-in-his-hands audience hanging on his every decree. The hint of crazed danger bubbling underneath it all makes his scene-stealing performance a study in impeccable comic timing.
Evan Peters, “Mare of Paapa Essiedu on “I May Destroy You”
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Easttown” After a decade of reliably stellar work on the small screen— especially in the Ryan Murphy TV-verse—Peters’ turn as smitten detective Colin Zabel finally notched him his first Emmy nomination. His half-smiling, prodding delivery of the line, “How do you know what I want?” is sweetness matched with despair, knowing the character’s fate that soon followed.
and her own Emmy-nominated theme song to boot.
Moses Ingram,
Kate Winslet on “Mare of Easttown”
Anthony Ramos, “Hamilton” “I may not live to see our glory.” Ramos delivers emotional knockouts in portraying not one, but two, of the major deaths in “Hamilton.” With fierceness, comedic timing, and just a few lines, he endears us to emancipator-revolutionary John Laurens. And as Philip Hamilton— Alexander’s son, shot dead in a duel—he’s outright devastating. Before “In the Heights,” this pair of 2015 performances proves that Ramos was already a star. Outstanding Supporting Actress in a Limited or Anthology Series or Movie Renée Elise Goldsberry,
“Hamilton” Is there anything Goldsberry can’t do? Between her goofy haughtiness on “Girls5Eva” and this reminder of her Tony-winning prowess onstage, Hollywood should be banging down her door with opportunities. Goldsberry turns Alexander Hamilton’s whip-smart sister-in-law into a feminist icon: In her staggering showstopper “Satisfied,” the diva alternates between belting, operatic singing and spitting some of the sickest rap verses in the show, keeping the emphasis on Angelica Schuyler’s inner ache.
Kathryn Hahn,
“WandaVision” Her performance on “WandaVision” had many claiming we’re in the midst of the Hahnaissance; but real fans have known for years that Hahn is one of the best actors around. As first nosy neighbor Agnes, then sinister sorceress Agatha Harkness, the stalwart performer gives us everything and more: camp, melodrama, sci-fi action,
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“The Queen’s Gambit” Ingram served as the emotional heart of “The Queen’s Gambit,” her appearances as the teenage and adult Jolene bookending this coming-of-age story. With just a handful of scenes, the actor convincingly demonstrated genuine emotional growth and maturity—no small feat for someone making their TV debut. Plus, has there ever been a lovelier, more tender delivery of the racial epithet “cracker”?
Julianne Nicholson,
“Mare of Easttown” “My Ryan! My Ryan!” Spoiler alert: If you watched “Mare of Easttown,” you know that Nicholson’s Lori Ross ultimately shouldered much of the series’ emotional impact; it required the actor to mine unimaginable, devastating depths. It’s no wonder that Nicholson was specifically selected by executive producer–star Winslet for the role. We’ll be thinking about that car scene many TV seasons from now.
Jean Smart,
“Mare of Easttown” “I’m sorry I’m not more maimed for you,” Smart’s Helen Fahey says to her daughter as she’s wheeled into an ambulance. A moment later, when Winslet’s Mare asks if she’d like to be accompanied to the hospital, the sincerity in Helen’s “yes” exemplifies the magic of this “Mare of Easttown” performance: a one-two punch of hilarious, heart-rending messiness that ultimately defines a family.
Phillipa Soo, “Hamilton” As Eliza Hamilton née Schuyler, Soo gives voice to a littleknown aspect of the American narrative: our Founding Mothers. With charismatic dignity and the most impassioned of vocal performances, the actor lends Eliza as much strength as heart— all while avoiding melodrama, sentimentality, and the clichés of the worrying wife. You’ll get scorched during her intimate ballad “Burn.”
08.19.21 BACKSTAGE
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Plays ‘Choir Boy’ & ‘Between Two Knees’ • Seeking submissions from Equity
actors for roles in “Choir Boy” (Tarell Alvin McCraney, writer; Christopher D. Betts, dir.; Rehearsals begin Feb. 1, 2022; tech begins Mar. 18; runs Mar. 31-Apr. 23) and “Between Two Knees” (The 1491s, playwright; Eric Ting, dir.; Presented with Oregon Shakespeare Festival. Rehearsals begin Mar. 22; tech begins Apr. 29; runs May 12-Jun. 4). • Company: Yale Repertory Theatre /
Drama Productions Inc. Staff: Kay Perdue Meadows (Yale Repertory Theatre), artistic assoc.; Amy Boratko (Yale Repertory Theatre), acting assoc. artistic dir.; James Bundy, dean-artistic dir.; Louis DiPaolo (Tara Rubin Casting), casting; Tara Rubin (Tara Rubin Casting), casting; Vanjah Alexander, casting assoc.
• Rehearses and performs in New Haven,
CT. Note: If hired, all actors on contract with Yale Repertory Theatre must be fully vaccinated and will be asked to complete an attestation of vaccination form prior to arrival on campus. • Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from CT. • For consideration, submit PDF of head-
shot and resume, and a video link to your audition (YouTube or Vimeo preferred) to YaleRepEPA21@gmail.com with the subject line “Local Submission/ Actor’s Full Name/2021 EPA.” Submissions deadline is Aug. 20. Any tapes received after the deadline will not be viewed.
• Video Preparation Instructions: Prepare
a two minute contemporary or classical monologue, your choice; preference for heightened or poetic language. If interested in “Choir Boy,” also prepare a 1-2 minute cut of an a cappella song of your choice. Include a slate that includes your full name and the project and/or role for which you’re interested to audition. To ensure that we will be able to view your submission, note that the video should be listed as “Unlisted”
BACKSTAGE 08.19.21
SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. rather than “Private” on YouTube, and as “Anyone” or “People with the private link” on Vimeo.
Casting picks of the week
• All roles at Yale Rep are understudied.
Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual’s sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression. No stage manager positions are available for these productions.
BY LISA HAMIL
stage
‘Dracula’ Bite into this Simi Valley, CA 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.
tv
‘The Wonder Years’ Romanticize the past in Atlanta, GA for this ABC series
musical
• Pays $739-$1325/wk. and $739/wk.
‘Waitress’ Serve looks in this Broadway Equity production in NYC
(understudies). Equity LORT Non Rep C & D Contracts.
George Street Playhouse 21-22 Season, Equity Video Submissions
stage
‘The Taming’ Don’t be a shrew in Addison, TX for this all-female, political, Equity reimagining
• Seeking Equity actors for roles in 2021-
22 season. Season Includes: “Ken Ludwig’s Dear Jack, Dear Louise” (Ken Ludwig (LORT D), writer; David Saint, dir.; 1st rehearsal Sept. 28; 1st preview Oct. 26; runs Oct. 29-Nov. 21); “It’s Only a Play” (Terrence McNally (LORT C), writer; Kevin Cahoon, dir.; 1st Rehearsal Nov. 9, 1st Preview Nov. 30, runs Dec. 3-19); “Her Portmanteau” (Mfoniso Udofia (LORT D), writer; Laiona Michelle, dir.; 1st Rehearsal Dec. 21; 1st Preview Jan. 18; runs Jan. 21-Feb. 13); “Baipás” (Jacobo Morales (LORT D), writer; Julio Monge, dir.; 1st Rehearsal Feb. 1; load in: Feb.14-23; tech: Feb. 24-27; 1st Preview: Mar. 1; runs Mar. 4-27). No roles will be understudied.
film
‘Ninth Life’ Reincarnate in Portland, ME
that includes some diffusion (non direct, soft) is best. The sound is important. Make sure if using a reader that you are easily heard. An external mic (Lavalier) plugs into your device, is economical and sounds great. Your background is clean. Be aware of what’s behind you. A busy or dark background can distract the viewer/listener. Keep the slate separate from the actual audition. Slates can be your headshot or your “live” introduction, whichever you prefer. • Feel free to listen to our podcast (2 epi-
sodes, 20 minutes each) on video auditions here: Part one: https://www. podbean.com/eu/pb-4et4x-927236 and Part two: https://www.podbean. com/eu/pb-xqe4n-92de4c. • 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 $739/wk. (LORT D) and $926/wk.
(LORT C). Equity LORT Non-Rep Contracts.
‘Selling Kabul’
• Seeking video submissions from Equity
actors for “Selling Kabul.”
• Company: Playwrights Horizons Inc.
Staff: Sylvia Khoury, playwright; Tyne Rafaeli, dir.; Alaine Alldaffer, casting dir.; Lisa Donadio, assoc. casting dirs. • Rehearsals begin Oct. 26; tech runs
• Preparation Instructions: Limit your
video submission to three minutes maximum. Actors may prepare either a short contemporary monologue or a monologue from one of the plays. This time limit includes your slate (your name, name of play, and character you will be performing) which should be included at the beginning of your audition submission. Upload your taped audition to Vimeo and include a link for viewing in your email submission. YouTube links are also acceptable, but Vimeo is strongly preferred. Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms. Self tape suggestions for your audition. Framing your shot helps. Make sure your phone/device is in landscape format and not portrait position. Make sure the lighting is sufficient. Non-incandescent, bright white lighting
• Company: George Street Playhouse.
Staff: Pat McCorkle(Viewing Auditions), McCorkle Casting; David Saint, artistic dir.; Scott M. Goldman, general manager. • Rehearses and runs in New Brunswick,
NJ.
• Seeking—All Roles: 18+. • Seeking submissions from NJ. • For consideration, email the video link
and separate attachments of your headshot and resume to epa.submission@mccorklecasting.com with the subject line “Full Actor Name/George Street EPA Submission.” Submissions deadline is Aug. 20.
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Nov. 12-16; runs Nov. 17-Dec. 23, 2021 or Jan. 16, 2022 at The Sharp Theater at Playwrights Horizons in NYC.
• Seeking—Taroon: male, 30-35, Afghan;
Afiya’s younger brother; once set on following in the family trade of becoming a tailor, his now-wife Bibi encouraged him to interpret for the Americans in Kabul, in hopes of unseating the Taliban and ushering a new era of peace for their country; when the Americanspulled out of Afghanistan, he was left with a promise of a visa—a promise that remains unfulfilled, to great personal peril. Naïve, idealistic, and with no small amount of bravado, Taroon has been hiding primarily in his sister’s home; at the top of the play, he awaits news of the birth of his first child. Afiya (Possible US/ Replacement): female, 30-35, Afghan; an honest woman struggling to remain uncompromised in a deeply comprobackstage.com
New York Tristate casting
mised situation—the moral center of the play; a serious, capable, and unfailingly good woman quietly keeping her family safe while hiding a deep well of shame; she shares her home with her brother, Taroon, and her husband, Jawid—and both relationships are deeply complicated; on one hand, she is furious with Taroon for putting himself and his family in danger by interpreting for the Americans, but does everything in her power to keep him safe from the Taliban—including hiding him in her apartment for months at a time; on the other hand, she is deeply unsettled by the actions Jawid has taken to try actualize their hope of having a child—which has included an agreement with the Taliban to make them army uniforms, hoping to use this extra income for fertility treatments; cast. Leyla (Possible US/Replacement): female, 25-29, Afghan; Afiya’s neighbor and childhood friend, who works for Afiya and Jawid’s tailor shop with her husband, Amir; the two couples are like family to each other, and live across the hall from each other; Leyla is clever and quick-witted, and enjoys playing flighty and dramatic in counterpart to her closest friend Afiya’s deep seriousness; she is also a new mother to her son, Nabil, who is six months old; she is a deep and true friend to Afiya; cast. Jawid (Possible US/Replacement): 18+, Afghan; a tailor by profession; he has chosen to protect his family by working for the Taliban, and has benefited from the small creature comforts this permits him; he feels extremely guilty about this decision, but never speaks of this shame; he is deeply in love with his wife, Afiya; cast. • Seeking submissions from NY. • For consideration, submit tapes in
Vimeo or Unlisted YouTube format along with headshot and resume preferably as a PDF to PHCastingSubmissions@phnyc.org with your union status in the subject line. Video Audition Preparation: Prepare a short monologue. A personal introduction would be appreciated, but not required. Total video not to exceed five minutes. Submissions deadline is Aug. 20 at 6 p.m EDT. SM and ASM positions are filled 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. • Equity Off Broadway Salary TBA (cur-
rently $656 weekly minimum - Cat AA.)
‘Special’ Scripted Reading • Seeking nonunion readers for a
scripted reading of Ann P. Meredith’s award-winning play, “Special.” The reading has been awarded a NYFA CAC Community Engagement Grant. Panel and Q&A to follow. • Company: Swordfish Productions
Pictures and Theatrical. Staff: Ann P. Meredith, playwright-prod.-dir.
• Performs Sept. 23, 2021 at Theatre Row
on 42nd Street in NYC. backstage.com
Musicals
• Seeking—Readers: all genders, 18+. • Seeking submissions from NY. • Submit the following: one 4x5 head-
‘Grinch,’ Tour, Nonunion
shot, one 2-minute clip, and proof of completed vaccination to annpmeredith7@gmail.com, with “Reader” in the subject line.
• Casting the national tour of Dr. Seuss’s
• Pay provided.
Vivid Stage 2021-2022 Season, Equity Video Submissions
• Seeking video submissions from Equity
actors for roles in Vivid Stage 2021-22 season. Season includes “Portrait of the Window Kinski” (Sara Jean Accuardi, writer; Clark Carmichael, dir. Rehearsals begin Sept. 6; runs Sept. 30-Oct. 10); “Water in My Hands” (Emma Gibson, writer. Rehearsals begin Nov. 8, 2021; runs Dec. 2-12, 2021); “Twirl” (Joe Sutton, writer; Laura Ekstrand, dir. Rehearsals begin Jan. 24, 2022; runs Feb. 17-27, 2022); and “Life’s Work” ( Laura Ekstrand, writer; Betsy True, dir. Rehearsals begin Mar. 28; runs Apr. 21-May 1, 2022). • Company: Vivid Stage. Staff: Laura
Ekstrand, artistic dir.; Clark Carmichael, dir. of “Portrait of the Window Kinski”; Betsy True, dir. of “Life’s Work” • Season rehearses and performs in
Summit, NJ. Note: All actors must be fully vaccinated to be considered for roles this season. Proof of vaccination must be provided.
• Seeking—Roles: 18+, see additional
materials for character breakdown.
minute, comedic contemporary monologue. Slate your name, the role for which you are submitting and title of your piece before beginning your monologue. Your video should be named in the following format: “Your Name_Role.” Submissions deadline is Aug. 20. Callbacks will take place in person at the theater in Summit, NJ.
seeking to increase our knowledge of a diverse pool of actors. Actors of all ethnicities are encouraged to attend. Although some roles are cast from our ensemble, we draw on actors we meet for productions, readings and other projects as well as future opportunities. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.” • Pays $271/wk. Equity SPT Contract.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
Running Subway Productions. Staff: Timothy Mason, book-lyrics; Mel Marvin, music; Matt August, dir.; Bob Richard, choreo.; Peter Leigh-Nilsen, musical supervisor; Brian Schrader and Tegan Meyer, general mgmt.; Chad Eric Murnane, CSA (Binder Casting), casting.
weeks may have up to 12 performances in a given week. The Production runs approximately 85 minutes.”
shot, resume, and video audition to info@vividstage.org.
• Production states: “We are actively
• Company: TROIKA Entertainment/
• Production states: “Performance
• Seeking submissions from NJ and NY. • For consideration, submit your head-
role has been formally offered and accepted, Equity audition notices list the role as “Cast.” For more info visit www.vividstage.org.
made up of individuals that are all different from one another and get much joy in celebrating the holiday, the community, and their differences. We are actively assembling a cast that represents different ethnicities, races, gender identities, religions, levels of ableness, sexualities, and political parties. It is meant to be a metaphor for the rich and diverse cultural tapestry that makes up our melting-pot nation.
NYC; performs on tour.
ethncities.
• When casting personnel state that a
• Director’s Note on Casting: Whoville is
• Rehearsals begin o/a Oct. 25-Dec. 13 in
• Seeking—Equity Actors: 18+, all
• Video tape yourself performing a one
“How The Grinch Stole Christmas.” Synopsis:The Grinch discovers there’s more to Christmas than he bargained for in this heart-warming holiday classic. Max the Dog narrates as the sour and scheming Grinch, whose heart is “two sizes too small”, decides to steal Christmas away from the holiday loving Whos.
• Seeking submissions from NY. • For video submissions all videos should
be uploaded as separate clips, not as one long video. Videos should be labeled in this exact way and order: Slate, Side #1, Side #2, Song #1 (Title), Song #2 (Title). Do not upload the entire audition as one file. Taped submissions must be received by Aug. 16 at 9 p.m. EST. • See Additional Materials online for
open call instructions.
• Rehearsals: Flat. $600.00 p/w;
Performances: Min. $1,500 p/w – Lead. Max. $750 p/w – Principals.; Max. $650 p/w– Featured Ens.; lat. $600 p/w – Ensemble.
‘Waitress,’ B’Way
• Seeking video submissions for the role
of Lulu in “Waitress” on Broadway.
• Staff: NAMCO/ Barry Weissler, Fran
Weissler, Alecia Parker, prods.; Diane Paulus, dir.; Jessie Nelson, book; Sara Bareilles, music-lyrics; Nadia DiGiallonardo, music supervisor; Lorin Lotarro, choreo.; Patrick Goodwin (The Telsey Office), CSA (viewing auditions), casting.
• Rehearsals mid/late August; runs Sept.
2nd at Barrymore Theatre.
• Seeking—Lulu: female, 4-5, young
girl, to play 6 years old. Any ethnicity. Jenna’s daughter. A sweet, carefree child who appears in the last scene of the show. Should have excellent pitch and have a strong, simple voice. Should be shorter than 4’4” and younger than six years old. PRINCIPAL.
29
Actors local to the New York City areaencouraged to submit.
• Seeking submissions from NY. • Preparation: Actors should make a tape
no more than two minutes in length which includes all of the following: A slate of Lulu candidate clearing saying their name, height, current home location and date of birth. This should also include a full body shot. Briefly talking about what they did this summer. Telling us about their favorite movie, TV show or theatre production. Running and jumping into an adult’s arms (safely!) • Taping Instructions: If you are using an
iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). • For consideration, submit the video, along with a photo/resume (if they have a resume), in a downloadable format (Google Drive, Dropbox, etc.) to waitressmusicalcasting@gmail.com with the subject line “[Actor’s full name] [Lulu EPA Audition].” Do no submit tapes to this e-mail address through a third party website. • 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 $2,323/wk. split between two
actors with each being paid the weekly minimum pro rata. Equity Production (League) Contract.
Feature Films ‘Next Stop Christmas’
• Casting “Next Stop Christmas,” a
Christmas family film for Hallmark Channel. • Company: Synthetic Cinema
International. Staff: H. Greer, coord.
• Shoots Aug. 22 in Norwich, CT. • Seeking—Pedestrians: all genders, 8+,
all ethnicities.
• Seeking submissions from CT. • Send submissions to HBGCasting@
gmail.com.
• To be invited to specific roles for your
type, you must visit: https://hbgcasting. com/join-our-database/. • You must have a car to self report and
be local to the East Coast. If you have joined the database within the last two years, no need to re-join. • Pay TBD.
Short Films ‘Wisp’
• Casting “Wisp,” a multi-channel video
art installation slated to be exhibited next spring in New York City. Five characters interact with a dancing wisp of smoke in front of them. It is a short piece around 2.5 minutes long. Actors
08.19.21 BACKSTAGE
casting New York Tristate will be needed for 2-3 hours each on shoot date.
report. Must be fully vaccinated. COVID testing prior to working on set.
Pierre St-Jacques, artist.
Descent, White / European Descent.
• Company: Pierre St-Jacques. Staff:
• Shoot date TBD in mid-late September
in Brooklyn, NY. Possible Zoom meeting beforehand to discuss the role and any questions talent may have.
• Seeking—Men: 20-50, Black / African • Seeking submissions from NY. • Apply on Backstage.com. • Pays $210/12 hrs.
• Seeking—Wisp #1: female, 18-30, all
ethnicities, character sits on a stool and interacts with a floating wisp of smoke in front of them (which will be added via CGI). A curious and intelligent character. Wisp #2: male, 27-35, all ethnicities, character sits on a stool and interacts with a floating wisp of smoke in front of them (which will be added via CGI). A nervous and unsure character. Wisp #3: male, 6-12, all ethnicities, character sits on a stool and interacts with a floating wisp of smoke in front of them (which will be added via CGI). A happy and peaceful character. Wisp #4: 40-50, all ethnicities, character sits on a stool and interacts with a floating wisp of smoke in front of them (which will be added via CGI). A hard, displeased, and angry person. Wisp #5: male, 60-75, all ethnicities, character sits on a stool and interacts with a floating wisp of smoke in front of them (which will be added via CGI). A curious and playful character. • Seeking submissions from NY. • Apply on Backstage.com. • Pays $200. Food and credit also
included. Actors will be needed for 2-3 hours on the shoot date.
Student Films ‘B-Box’
• Casting “B-Box,” a short ten-minute
NYU student comedy film.
• Company: NYU. Staff: Xavier Michael
Griffiths, filmmaker.
• Shoots first week of September in NYC. • Seeking—Asher: male, 20-35, Black /
African Descent, male, 20s, Black, clean cut, suave, earnest. Brandi: female, 20-35, Black / African Descent, female, 20s, Black, natural hair; romantic, strong willed, caring. • Seeking submissions from NY. • Send submissions to xmg202@nyu.edu. • Pays $125/day. Travel and meals
provided.
Scripted TV & Video ‘Empires’ Extras
• Casting nonspeaking extras for
“Empires” a miniseries for a major cable network. • Company: Barbara McNamara Casting.
Staff: Barbara McNamara, casting dir. CSA.
• Shoots Aug. 16-Sept. 3 in Newark, New
Jersey. Schedule tbd. Note: Must self-
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
BACKSTAGE 08.19.21
Reality TV & Documentary ID: ‘Evil Lives Here’ Episode 703 • Casting episode 703 of “Evil Lives
Here,” a crime recreation show for ID Network. Synopsis: When doctors told Charlie what they suspected his fiancé, Ashley, had done, he refused to believe them. When police said she had confessed, he still didn’t want to believe it… because believing it would mean admitting that he had fallen for her lies and spent years blind to the horrific things she had done right under his nose.
• Company: Red Marble Media. Staff: Red
Marble Media, casting dir.
• Shoots Aug. 24-27 (three-four days
shoot) in New Jersey. All cast and crew are required to be fully vaccinated to work on this production.
• Seeking—Charlie: male, 30-40, White /
European Descent, a genuinely nice guy who wants to protect the people he loves and doesn’t want to rock the boat- often to the point of blind adoration. His deep empathy, altruism, and willingness to believe in those around him lead him to ignore the warning signs until it’s too late. Now, he’s haunted by his mistakes and struggles every day to understand how this tragedy came to pass.Lead Role: Physical description: Short blonde hair and beard, light eyes, average height and build.Must be fully vaccinated and can show vaccination status to production. Please state if you are fully vaccinated when applying. Ashley: female, 30-35, White / European Descent, a doubleedged sword- she can be cold, calculating, and unhinged, but she can also be warm, kind, and funny. Her ability to turn on a dime and lie easily without regret makes her a force to be reckoned with, which is why she’s in charge while her husband Charlie is just along for the ride. She commits acts of such physical and emotional trauma that any other person would crumble to pieces, but Ashley keeps on trucking on.Lead Role: Physical description: Short brunette hair (think pixie cut or chinlength), brown eyes, average height and build.Must be fully vaccinated and can show vaccination status to production. Please state if you are fully vaccinated when applying. Ashley’s Mom: female, 55-65, White / European Descent, a mother always knows when their children are going through tough times. Ashley’s mom was no different. When she came to visit her daughter and grandchildren, she could tell that Ashley wasn’t quite herself. In fact, she was well aware that Ashley was with child but couldn’t understand why her daughter was in denial about her latest
pregnancy. She was a decent mother with two children and had a very loving and caring boyfriend. It was a perfect environment for a newborn baby. But what her daughter would do next, her mother never saw coming. Must be fully vaccinated. Ashley’s Older Daughter: female, 10-12, White / European Descent, she always felt loved and protected by her mother. But then there were times when her mom didn’t seem like herself. Too young to understand what was going on and what her mother was hiding from her and her family. Supporting role Notice of Use: The child actor will be excused from the dinner table to go watch tv. The child actor will ask the mom to buy toys from the store. Child actor will watch parents argue while playing with sister in the background. Physical Description: Dark brown hair, average height and build. Production states: “Please note: That the child actor will be required to get a rapid covid test prior to coming to set. Parents/guardians must be fully vaccinated and will also be required to get a rapid test done prior to coming to the set.” Ashley’s Younger Daughter: female, 7-9, White / European Descent, she always felt loved and protected by her mother. But then there were times when her mom didn’t seem like herself. Too young to understand what was going on and what her mother was hiding from her and her family. Supporting role Physical description: Blonde hair, average height and build.Production states: “Notice of use: The child actor will be excused from the dinner table to go watch tv. The child actor will ask the mom to buy toys from the store. Child actor will watch parents argue while playing with sister in the background. Please note: That the child actor will be required to get a rapid covid test prior to coming to set. Parents/guardians must be fully vaccinated and will also be required to get a rapid test done prior to coming to the set.” • Seeking submissions from NY. • Send submissions to sjeanty@redmar-
blemedia.net.
• If possible, submit actor’s online demo
clips along with each actor submission. • Note: COVID safety precautions will be
in full effect during filming. Production will also have a COVID compliance officer on set. All cast and crew are required to get a rapid COVID test done one day prior to coming to set.
• Seeking submissions from NY. • For consideration, email resume, reels,
photo, and any other work you will want production to consider to fridahgonzalezproductions@gmail.com. • Stipend and meals will be provided.
Online Commercials & Promos Promotional Spot, Camp Siblings (Ages 8-12)
• Casting a pair of siblings (brother and
sister; ages ranging from 8-12) for an online promotional spot about a camp. Parents will ultimately be cast as well, so if there is an acting parent in the family, be sure to specify it in your application. • Company: LNBProduction. Staff:
Lauren Bennett, casting prod.
• Shoots one day between Aug. 26-Dept.
3 in NYC. • Seeking—Brother and Sister: all genders, 8-12, all ethnicities, Seeking an actual set of siblings (blended families as well!) to run around a camp together and interact with the games and activities. Note: Must submit video of siblings together for consideration. Brother: male, 8-12, all ethnicities, runs around a camp participating in the activities. Note: Pre-screening video required. Sister: female, 8-12, all ethnicities, runs around a campsite engaging with the activities. Note: Pre-screening video required.
• Seeking submissions from NY. • Apply on Backstage.com. • For consideration, submit a video of the
siblings appearing together on camera and follow these prompts: What are your names?; What are your ages?; What are your favorite summertime activities?; If you could create a camp, what would it look like and what would the campers do during the day?; Tell us something about your sibling that you think is cool about them. • Pays $1,000/per actor, and includes all
web broadcast for three years. Prenegotiated clause that would pay an additional flat rate in case it goes to broadcast.
• Pays $210/day plus $105 for COVID
testing.
National Commercials ‘Solo’
• Casting “Solo.” Logline: A young, hand-
some Latino man is working and demonstrating that with hard work, anything is possible. • Company: Brooklyn College. Staff: F.
Gonzalez, coord.
• Shoots Aug. 28 in Brooklyn, NY. • Seeking—Marco: male, 18-30, Latino /
Hispanic, young Latino man.
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Print & Digital Modeling Bridgewater Chocolate Lifestyle Shoot
• Casting photo shoot for Bridgewater
Chocolate - looking for emotional, precious moments. • Company: Six+One. Staff: James Hill,
prod.
• Shoots TBD date in NYC. • Seeking—Older Couple: all genders,
50-65, Looking for an older couple. Younger Couple: all genders, 30-40, Younger couple. Female: female, 30-39. Young Lead: all genders, 14-18. backstage.com
California casting
• Seeking submissions from NY. • Send submissions to james@sixplu-
NYC Ballet, Ladies Assistant Wardrobe Supervisor
Film & TV Crew
• Pays $200 for the day (3-4 hours are all
Assistant Wardrobe Supervisor at the NYC Ballet immediately. Along with assisting the Ladies Wardrobe Supervisor this person will be responsible for helping to lead a team of stitchers and dressers as well fitting and dressing the women of the company.
‘Martyr of a Forgotten Dream’
include: Running of shows as well as quick changes. Organizing dry cleaning both going out and coming into theatre. Working in theatre costume storage room as well as off-site warehouse restocking/pulling costumes. Excellent organizational skills. Experience with fitting and altering costumes. Excellent machine/hand sewing skills. Comfortable dealing with large amounts of in-house laundry. Some shopping. Comfortable with large groups of children (“Nutcracker” season). Always prepared to work long hours, much of this time spent on foot. Wardrobe 764 Union membership. Computer skills a plus.
• Staff: Waleed Sokkar, DP (https://
sone.com.
that is needed).
Product Shoot, African American/Descent Male Model
• Casting an African American male
model in his 30s-40s for a product shoot. Must have at least 1-2 inches of hair on top. • Company: Collective Casting. Staff:
Giuseppe Beninato, casting dir.
• Shoots in NYC. • Seeking—Model: male, 30-50, Black /
African Descent.
• Seeking submissions from NY. • Send submissions to info@collective-
casting.co.
• Include your phone number and email
in your cover letter. • Rate: $3,000+.
Stage Staff & Tech George Street Playhouse 2021-22 Season, Stage Manager
• Seeking Stage Manager for George
Street Playhouse 2021-22 Season. All Stage Manager positions have been filled for the 21-22 season. Interested Equity stage managers may submit for future consideration. Season Includes: “Dear Jack, Dear Louise” (Ken Ludwig (LORT D), writer; David Saint, dir.; 1st rehearsal Sept. 28; 1st preview Oct. 26; runs Oct. 29-Nov. 21); “It’s Only a Play” (Terrence McNally (LORT C), writer; Kevin Cahoon, dir.; 1st Rehearsal Nov. 9, 1st Preview Nov. 30, runs Dec. 3-19); “Her Portmanteau” (Mfoniso Udofia (LORT D), writer; Laiona Michelle, dir.; 1st Rehearsal Dec. 21; 1st Preview Jan. 18; runs Jan. 21-Feb. 13); “Baipás” (Jacobo Morales (LORT D), writer; Julio Monge, dir.; 1st Rehearsal Feb. 1; load in: Feb. 14-23; tech: Feb. 24-27; 1st Preview: Mar. 1; runs Mar. 4-27). • Company: George Street Playhouse. Staff: Pat McCorkle (McCorkle Casting), casting; David Saint, artistic dir.; Scott M. Goldman, general mgr. • Rehearses and runs in New Brunswick,
NJ.
• Seeking—Stage Manager: 18+. • Seeking submissions from NJ. • For future consideration, resume to
ATTN: Chris Bailey at cbailey@georgestplayhouse.org. Submissions deadline is Aug. 20.
• 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 $739/wk. (LORT D) and $926/wk
(LORT C). Equity LORT Non Rep Contracts. backstage.com
• Seeking to fill the position of Ladies
• Seeking a gaffer for “Martyr of a
Forgotten Dream,” a short film from upand-coming director Benjamin Rummans about how when the people have nothing to eat, they will eat the rich.
• Job requirements/responsibilities
waleedsokkar.com/); Andrew Vecchio, 1st AC (https://www.instagram.com/ andrewvecchio/?hl=en); Mona Mekkawi, production designer (https:// www.monamekkawi.com/); Benjamin Rummans, dir.; Seika Paradeis, Saher Shakir, and Rose Lane Sanfilippo, producing team. • Shoots Aug. 31-Sept. 6 in upstate New
York.
• Seeking—Gaffer (Crew): 18+. • Seeking submissions from NY. • Apply on Backstage.com. • Housing and meals provided.
• The season starts in Aug./Sept. and
runs thru June, split into fall, winter, “Nutcracker,” and spring seasons at the theatre followed by possible tours during the rest of year.
Gigs Broadway COVID Safety Marshals
• Company: NYC Ballet. Staff: Marc
Happel, dir. of costumes.
• Runs August/September 2021 through
• Seeking attentive and customer ser-
June 2022 at the David H. Koch theatre at Lincoln Center along with annual tours to Washington DC, Saratoga Springs NY, and other national/international tours.
vice-oriented applicants to join a team of Broadway COVID Safety Marshals. All applicants must be fully vaccinated for this position. • Company states: “As we welcome audi-
ences back to Broadway, this is the perfect side gig. All applicants should be energetic, comfortable talking to theater-goers and be detail-oriented. A small team of marshals will work together in this outdoor job and must be able to work in all types of weather, while wearing a mask during all shifts, all while maintaining a smile.”
• Seeking—Ladies Assistant Wardrobe
Supervisor: 18+.
• Seeking submissions from NY. • For consideration, submit cover letter
and resume to Marc Happel, Director of Costumes (mhappel@nycballet.com) and Norma Attride, Ladies Wardrobe Supervisor (normajacqueline@aol.com) as soon as possible. An in-person interview at the theatre will follow.
• Company: Street Meet Promotions.
Staff: Craig Buckley, owner.
• Union pay: $1704.14/wk. with benefits,
vacation time, etc. NYCB is an Equal Opportunity Employer. All qualified individuals are encouraged to apply.
• Openings begin in early Sept. at
Broadway houses in the theater district. Offering weekday and weekend shifts from 1.5-3 hrs per day. Some sample hours include: 5:30-7pm, 5:30-8:30pm, 6-7:30pm, 7-8:30pm, 12:30-2pm, 1-2:30pm and more.
‘Selling Kabul,’ Stage Manager Submissions
• Seeking Equity SM and ASM positions
for “Selling Kabul.” Note: SM and ASM positions are filled for this production. Equity stage managers may submit for future productions. Playwrights Horizons is requiring that all artists be vaccinated.
• Seeking—COVID Safety Marshal: 18+,
Qualifications -Be able to work outside in all weather conditions and on your feet for shifts from 1.5-3 hours -Understand and implement Covid-19 safety measures and protocols as required by Broadway theater owners and the Broadway League-Verify vaccination status and explain mask mandates to all guests entering the theaterApplicants that speak multiple languages are encouraged to apply.
• Company: Playwrights Horizons Inc.
Staff: Sylvia Khoury, playwright; Tyne Rafaeli, dir.; Alaine Alldaffer, casting dir.; Lisa Donadio, assoc. casting dirs. • Rehearsals begin Oct. 26; tech runs
Nov. 12-16; runs Nov. 17-Dec. 23, 2021 or Jan. 16, 2022 at The Sharp Theater at Playwrights Horizons in NYC.
• Seeking submissions from NY. • Send submissions to craig.s.buckley@
streetmeetpromotions.com.
• Seeking—Equity Stage Managers: 18+. • Seeking submissions from NY. • For consideration for future produc-
• Send a resume to be considered and let
us know why you want to be part of the team.
tions mail resume to Jenna Ready, Playwrights Horizons, 416 W 42nd St, New York, NY 10036. Submissions deadline is Aug. 20.
• Openings will begin in early September. • For more info, visit www.streetmeet-
promotions.com
• Equity Off Broadway Salary TBA (cur-
• Street Meet Promotions is Broadway’s
rently $787/wk. Cat AA.)
premier promotions agency focusing
31
on increasing short-term walkup sales by providing the friendliest and most knowledgeable team members on the street. • Pay TBD.
Southern California Plays ACT 2021-2022 Season, Equity Video Submissions
• Casting the ACT 2021-2022 season.
Season includes “Cymbeline” (William Shakespeare, writer; Pam MacKinnon, dir. Rehearsals begin Oct. 25; staged readings Nov. 4-6); “Freestyle Love Supreme” (Thomas Kail, Lin-Manuel Miranda, and Anthony Veneziale, creators; Thomas Kail, dir. Runs Jan. 16-Feb. 13, no open roles); “Fefu and Her Friends” (María Irene Fornés, writer; Pam MacKinnon, dir. Rehearsals begin Feb. 22, 2022; tech begins March 17; previews begin March 24; runs April 6-May 1, possible extension to May 8); “The Lehman Trilogy” (Stefano Massini, writer; Ben Power, adaptation; National Theatre and Neal Street Productions, prods.; Sam Mendes, dir. Runs April 27-May 22, no open roles). • Company: American Conservatory
Theater. Staff: Pam MacKinnon, artistic dir.; Andy Chan Donald, assoc. artistic dir.; Joy Meads, dir. of dramaturgy and new works; Allie Moss, literary mgr.casting assoc.; Ariana Johnson, assoc. prod. • Season rehearses and performs in San
Francisco, CA and on tour. All shows listed will take place in person and indoors.
• Seeking—Equity Actors: 18+. • Seeking submissions from CA. • For consideration, fill out the EPA sub-
mission form at https://airtable.com/ shrY5W7fVkzQ9gWLM. You will be asked to upload your headshot, resume, and a Youtube or Vimeo link to a short monologue. Your monologue can be either classical or contemporary, and it should not exceed 3 minutes. Slate (say your name and the character/play title/playwright for your audition piece) at the top of your video. Your slate does not count towards the 3-minute time limit. • A.C.T. welcomes and encourages sub-
missions from actors of all races, ethnicities, ages, genders, physical abilities, and body types. To read more about our casting values and our commitment to inclusive casting at A.C.T., visit https://www.act-sf.org/aboutus/ opportunities/auditions/.
• 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,
08.19.21 BACKSTAGE
casting New California York Tristate as well as performers with disabilities, to attend every audition. • Pays $926/wk. (LORT C); $591.20
weekly minimum plus any applicable minimum wage increase (Experimental). Equity LORT Non-Rep C and Experimental Contracts.
‘Bakersfield Mist,’ Equity Video Submissions
• Seeking video submissions from 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 world-class 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. • Company: Coachella Valley Repertory.
Staff: Ron Celona, dir.
• Rehearsals begin Oct. 18; runs Nov.
9-21, 2021 in Cathedral City, CA.
• 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. • Seeking submissions from CA. • For consideration, submit a two-three
minute monologue of your choice to rcelona@cvrep.org. Submissions deadline is Aug. 20. • Pays $508/wk. (SPT 6.) Equity SPT
Agreement.
‘Dracula’
• Casting “Dracula,” an original adapta-
tion of the Bram Stoker classic, by Patrick John McMahon, for the Actors’ Repertory Theatre of Simi.
• Company: Actors’ Repertory Theatre of
Simi. Staff: Jan Glasband, artistic dir. • Rehearsals to begin Sept. 6 in Simi
Valley; runs Oct. 15-31, 2021, Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. at ARTSpace Black Box Theater, 2956 School St., Simi Valley 93065. • Seeking—Abraham Van Helsing: 50-70,
all ethnicities, (age 50+, m or m-presenting) mercurial healer, Dutch (possibly other non-British) dialect/accent. Jonathan Harker: 18-30, all ethnicities, naive solicitor, open but must play RP British dialect/accent. Mina Murray Harker: 18-30, all ethnicities, practical school mistress, open but must play RP British dialect/accent. Lucy Westenra: 18-30, all ethnicities, vivacious lady of society, open, but must play RP British dialect/accent. Dr. John “Jack” Seward: 25-40, all ethnicities, (m or m-presenting) anxious psychologist/physician, open but must play RP British dialect/ accent. Quincey P. Morris: 18-45, all ethnicities, iconic cowboy in the “Bass Reeves” mold, open but must play Texas/Tejano dialect/ accent. Lord Arthur Holmwood: 21-35, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast
BACKSTAGE 08.19.21
Philoclea: 18+, woman, any ethnicity, 18-29, the younger, practical princess. Profoundly romantic. A good girl who does what’s best for her family. Would prefer not to be a royal if it meant she could settle down with her shepherd, Musidorus. Strong singing voice. Songs include: “Our Lips are Sealed” Musidorus: 18+, man, any ethnicity, 18-29, a guileless--and fearless--shepherd who adores Philoclea. An offbeat hero who is great with physical comedy. A hopeless romantic. Strong singing voice. Songs include: “Mad About You” Mopsa: 18+, woman, any ethnicity, 18-29, handmaiden to Pamela. Warm, skeptical. Wise beyond her years about everyone and everything. She’s the one everyone wants to have a drink with. Strong singing voice. Songs include: “Vacation.” Gynecia: 18+, woman, any ethnicity, 40-65, Queen of Arcadia. Wise, intuitive. A playful spirit, frustrated by the rules and structures of the kingdom she inhabits. Strong singing voice. Songs include: “This Old Feeling” Basilius: 18+, man, any ethnicity, 40-65. King of Arcadia. Blustery and confident but loves his family. Thinks Arcadia is doing great under his rule (it’s not). Fragile under a big cloak of swagger as his ruling style loses popularity. Strong singing voice. Songs include: “Get Up and Go” Pythio: 18+, any gender, any ethnicity, any age. Powerful. Mysterious. Liberated. A great sense of humor. Can see through everyone, they are the Oracle of Delphi, after all. Strong singing voice. Songs include: “Heaven is a Place on Earth” The 8th Player/Dance Captain: 18+, any gender, any ethnicity, any age. A chameleonic and nimble right hand to the Oracle. Must be a confident and idiosyncratic mover. Fun and wild. Super comfortable with audience interaction / no fourth wall. Strong singing voice.
Asian / Pacific Islander, White / European Descent, tragic young nobleman, open but must play RP British dialect/accent. Renfield: 18+, enigmatic asylum inmate, RP British dialect/ accent, but the role is open to interpretation. The Strigoi: 18-60, all ethnicities, Dracula’s ever-present, sinister servants, who are doubled with featured roles; movement/dance experience encouraged. The ensemble will also play a variety of featured roles including: Innkeeper, Londoners, Street Walkers, Villagers, Newspaper Vendors, Asylum Inmates, Young Quincey Harker. Three Brides of Dracula: 18-30, all ethnicities, femmepresenting/androgynous, vampire concubines; must have strong dance/ movement. Mrs. Laura Westenra: 35-45, all ethnicities, Lucy’s ailing mother, open but must play RP dialect/ accent. Ms. Balscombe: 18-35, all ethnicities, f or f-presenting, Seward’s “Ratched-like” assistant, open but must play British dialect/accent. Fiona: 18+, all ethnicities, Lucy’s excitable maid, open but must play British dialect/ accent. Captain Swales: 40+, all ethnicities, salty, seasoned seaman, open but must play British “sailor” dialect/accent. Klove: 30+, all ethnicities, the Westenra’s very proper butler, open but must play RP British dialect/accent. Alma: 30+, all ethnicities, tragic Transylvanian villager, open but must play Romanian dialect/accent. Seth McIntosh: 18+, seedy middleman, open but must play Cockney British dialect/ accent. • Auditions will be held by appt. Aug. 25
from 7-10 p.m. and Aug. 27 from 7-10 p.m. at ARTSpace Black Box Theater, 2956 School St., Simi Valley, CA 93065.
• For an audition appointment, send sub-
missions to jgartdept@sbcglobal.net. Prepare a one-minute monologue of your choice, using the specified dialect/accent of the role you’re auditioning for.
• Seeking submissions from CA. • Video Audition Instructions: Sing a
brief pop/rock song of your choice (no musical theatre). Provide your own accompaniment. As an alternative to singing a song of choice, actors should select any section of one of the three songs for which sheet music and accompaniment is provided at https:// tinyurl.com/hohpasadena and take whatever liberties you need with the tracks. What is important is that actors feel like they can be themselves and have a great time. If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, please slate your name and height.
• Production states: “All actors must pro-
vide proof of COVID-19 vaccination.” Auditions are by appointment only, Aug. 25 and 27 from 7-10 p.m. Callbacks on Aug. 29, 11 a.m.-3 p.m. at ARTSpace Black Box Theater, 2956 School St., Simi Valley 93065. Message to schedule an appointment. This is a non-Equity production, no stipends or pay. • No pay.
‘Head Over Heels’ Equity Video Submissions
• Casting Equity actors for roles in “Head
Over Heels.” No roles will be understudied.
• For consideration, submit the video,
along with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) and in one file to HeadOverHeelsPasadena@gmail. com with the subject line “[Your full name] - [The role for which you’d like to be considered].” Submissions deadline is Aug. 19.
• Company: Pasadena Playhouse. Staff:
Jenny Koons and Sam Pinkleton, dir.choreos.; Ryan Tymensky and Brian Sutow, casting dirs. (The Telsey Office, viewing auditions).
• Rehearsals begin Oct. 12; tech Nov. 2-7;
previews begin Nov. 9; runs Nov. 14-Dec. 19 in Pasadena, CA.
• Seeking—Pamela: 18+, woman, any eth-
• Pays $1,200/wk. Equity LORT B Non-
nicity, 18-29, the favored, older princess. Willful, self-dramatizing, obsessed with appearances--hers and others. Likes to win. She’s hilarious and she sings like a motherfucker. Strong singing voice. Songs include: “Beautiful”
Rep Agreement.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
32
Musicals ‘Baby, The Musical’
• Casting “Baby, The Musical.” Synopsis:
Winner of the Drama Desk award, and nominated for a Tony in 1984, Baby is about three couples each expecting a child and dealing with the painful, rewarding and agonizingly funny consequences of the universal experience of pregnancy and upcoming parenthood. There are the college students, barely at the beginning of their adult lives; the thirty-somethings, having trouble conceiving but determined to try and the middle-aged parents, looking forward to seeing their last child graduate from college, when a night of unexpected passion lands them back where they started. • Company: Conejo Players Theatre.
Staff: Candace Gray, prod.
• Rehearsals will be from 7:30-10 p.m., at
CPT Monday-Thursdays beginning on Sept. 2 (weekend rehearsals only if needed); runs Nov. 5-21 (Fri. and Sat. at 8 p.m., Sunday at 2 p.m., and Sat Nov. 20 at 2 p.m.) in Thousand Oaks, CA.
• Seeking—Danny Hooper: 18-29, all eth-
nicities, College junior, music major, punk rock performer. In a serious relationship with Lizzy. Lizzy Fields: 18-30, all ethnicities, College junior, wants to be a writer. In a serious relationship with Danny. Alan McNalley: 45-65, all ethnicities, Middle aged man. Married to Arlene. Empty nester. Arlene McNalley: 45-64, all ethnicities, Middle aged woman. Married to Alan. Empty nester. Pam Sakarian: 25-45, all ethnicities, Athletic and active 30 something. Married to Nick. Nick Sakarian: 25-44, athletic and active 30 something. Married to Pam. • Seeking submissions from CA. • Prepare 32 bars of any song from a
musical (Not from Baby, the musical). Bring your own audio device with the accompaniment music (no voices on your accompaniment). You will also be given a short script to do a “cold read” after you sing. Note: Masks will be required once you enter the theatre and may only be removed once on stage during your audition. Note: CPT is a nonprofit, non-Equity, and no pay community theater. All rehearsals and performances will be in person at the theatre in Thousand Oaks, CA. We are expected to meet together within the safety guidelines established by the State of California and the County of Ventura. This show calls for the performers to be in brief but close contact with each other. Please take this into consideration before auditioning. If you are cast, you will be Required to be fully Vaccinated. Also, please contact us if you have contracted COVID-19 or have recently been in contact with someone who has contracted COVID-19. The Conejo Players Theatre will take every step to ensure the safety and comfort of everyone involved. Audition Dates: Aug. 21, 22, and 28, 2021 at 5 p.m. in person at Conejo Players Theatre, 351 South Moorpark Rd, Thousand Oaks, CA 91361. Producer: cancangray@ gmail.com.
• No pay.
backstage.com
California casting
‘Mamma Mia!’
• Seeking video submissions from Equity
singers and dancers for a production of “Mamma Mia!” • Company: Actors Theater Series, Inc.
Staff: Tom McCoy & Cathy Rigby, prods.; B.T. McNicholl , prod. artistic dir.; T.J. Dawson, dir. (viewing auditions); Keith Thompson, music dir.; Dana Solimando, choreo. (viewing auditions); Julia Flores, casting dir. (viewing auditions). • Rehearsals begin Oct. 12; runs Oct.
29-Nov. 21. Rehearsals and performances will be in La Mirada, CA and indoors.
• Seeking—Pepper: male, 18+. Eddie:
male, 18+. Lisa & Ali: female, 18+. Ensemble: 18+.
• Seeking submissions from CA. • Singers: Prepare 16 bars of an appropri-
works at the front desk at the shelter. Erica: 35-55, Black / African Descent, works at the front desk at the shelter. Clients at Shelter: 18-55, Asian, Black / African Descent, Latino / Hispanic, White / European Descent. Extras: all genders, 18-55, clients in the shelter.
and resume with your video link to Video@Florescasting.com. Submissions deadline is Aug. 21. • McCoy Rigby Entertainment has allied
with Broadway for Racial Justice to ensure that you have the ability to work and thrive in a space that is free of racism. In being Allied with BFRJ, McCoy Rigby Entertainment has pledged to elevate the standard of equity and inclusion for BIPOC through active and ongoing protocol changes. McCoy Rigby Entertainment pledges to unlearn practices that are rooted in white supremacy and to learn, within a relationship of accountability with BFRJ, how to create the safest possible space for you as an artist to do your work. If you would like to see a copy of our protocols, feel free to reach out to us and those can be provided. • Equity’s contracts prohibit discrimina-
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. • Pays: $913/wk. Equity COST Contract.
Short Films ‘The Patient’
• Casting “The Patient,” a horror short
film.
• Company: Mustardseed Production.
Staff: Michael Armstrong, owner. • Shoots in L.A. • Seeking—Susan: female, 25-45,
White / European Descent, a troubled girl who communicates with an evil entity and torments people. Chris: male, 25-30, Black / African Descent, backstage.com
• Seeking—Dancer: all genders, 18-50,
all ethnicities, any ethnicity, all genders. Seeking dancers for scenes in the “play within the film” of an adaptation of “Phantom of the Opera.” Scenes will range from townspeople dancing to writhing demons to more classical ballet. Style will be rooted in ballet but use some contemporary and mid-20th-century modern vocab (Martha Graham meets Agnes de Mille). Send self tapes of either performance or class video, a basic across the floor grand allegro combination or 16-32 bars of lyrical ballet turns, port d’bras, leaps.
Student Films ‘Left Hook Ladies Club’
• Casting “Left Hook Ladies Club,” the
• Local Los Angeles actors encouraged to • For consideration, email your headshot
shoots in October, possibly into November, in L.A.
• Pay provided.
Arts. Staff: Alexandra Miller, writerdir.; Caden Hollander, prod.; Kiara Simmons, DP.
submit.
• Online and in-person rehearsals;
headshot, and demo reel to mustardseedprodinfo@gmail.com.
• Dancers: Prepare the choreography
combination at https://www.dropbox. com/h/2f7n0l1mila7k8/ AACVB7Qq_rcwVuptq014wm32a?dl=0.
California. Staff: Vivian Ip, student.
• Seeking submissions from CA. • For consideration, submit resume,
story of a group of 1950s housewives who form a secret boxing ring in the woods to escape their restrictive personal lives and find freedom through excelling at a sport typically reserved for men.
ate song of your choice or the material posted at https://www.dropbox.com/ sh/2f7n0l1mila7k8/ AACVB7Qq_rcwVuptq014wm32a?dl=0.
• Company: University of Southern
• Seeking submissions from CA. • Apply on Backstage.com. • For consideration, in your cover let-
ter, note your availability for the entire month of October and first week of November. Include self-tape with submission. Perform the specified actions for the role.
• Company: USC School of Cinematic
• Copy, credit, and meal provided. SAG
student waiver.
• Shoots Sept. 4-5 and 11-12 in Topanga,
CA. Note: One day of stunt choreography and rehearsals in Los Angeles, CA in late August/early September. • Seeking—Barbara: female, 18-28, all
‘The Silent Water’
• Casting “The Silent Water,” a 8-10
ethnicities, never without a smile, Barbara’s natural athleticism combined with her pure love of boxing makes her the most talented of the group; in another time she could’ve gone pro, but in the 50s their club is the only time she can spread her wings and refine her abilities; she wants to share the joy and freedom she feels with the others women and takes more pride in helping the others improve than winning. Betty: female, 18-24, all ethnicities, the newest addition to the group, Betty is equally excited and frazzled; what she lacks in technical ability she makes up for in enthusiasm; naive and kindhearted, she finds that boxing is a cathartic outlet for a deep rage she didn’t know she had until she stepped into the ring; plus she lives with her mother and needs to get out of the house. Cheryl: female, 18-28, all ethnicities, is just happy to be here, mostly because she doesn’t have anywhere else to be; she loves boxing and has a sense of pride in her ability to take hit after hit, but she is truly there for the company and connection that exists no where else; she thrives in the energy and ambiance of the club, even if that includes a bloody nose and buried jaw. • Seeking submissions from CA. • Apply on Backstage.com. • Include any experience in stunt cho-
reography, stage combat training, or boxing. Reels for these talents are highly encouraged. • Copy, credit, and meal provided.
‘Phantom of the Opera’
• Casting “Phantom of the Opera,” a
minute student film produced by Loyola Marymount University. Logline: Coming to a therapy session, a woman believes in her delusion that her dead husband talked to her through a fish. Tone: Fantasy, Romance. • Company: Loyola Marymount
University. Staff: Yintao Gong, dir.
• Rehearses TBD; shoots Sept. 18-19 in
Los Angeles, CA.
• Seeking—Alison: female, 20-30, all
ethnicities, a baker. She doesn’t have large ambitions, and all she wants is to enjoy life with her friends and family. Jeff is not only her husband but also her best friend forever. She depends on his companionship a lot, especially after her mom passes away. Diana: female, 30-40, all ethnicities, Diana is a psychiatrist. She looks quiet and understanding. Her job is to evaluate if patients are suffering from mental disease, but she also tries to understand them and help them go through all the pain. Gretchen: female, 20-30, all ethnicities, Gretchen is Alison’s friend. Compare to Alison, she is the more rational one. She takes care of Alison when she immerses in the grief and tries to help her go through the trauma. Jeff: male, 20-30, all ethnicities, Alison’s husband. They have known each other since college and have experienced so many things together. He understands her insecurity and always supports Alison with his accompany and love. • Seeking submissions from CA. • Send submissions to ygong@lion.lmu.
edu.
• Day rate and meals. Pays $50/day
(lead) and $30/day (supporting).
student film with a horror twist on the classic tale. Set in Los Angeles in the late 1940s, at a modern opera company.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
33
Online Commercials & Promos Anderson Auto Marketing Campaign Video
• Casting Anderson Auto dealerships
marketing campaign. Featuring a customer browsing for a new vehicle, a pleasant receptionist who welcomes all the potential buyers, and a sales rep who wants to make sure the customer gets the best deal. • Company: Think Out Loud Studio. • Tentatively shoots Aug. 27 at a stage in
Burbank, CA.
• Seeking—Customer: 25-50, The cus-
tomer is someone who is looking for a new car and Anderson Autos is something they have started looking into for a new vehicle. Receptionist: 25-50, The friendly receptionist is here to welcome all customers in Anderson Auto and help them get setup with a sales rep. Sales Rep: 25-50, The Anderson Auto Sales rep is a friendly attentive person who is there to help the customer get the best experience when trying to purchase a vehicle. • Seeking submissions from CA. • Send submissions to morgan@think-
outloud.studio.
• Share your general availability and any
current photos if headshots are not current. Production company may reach out with a script and request a video of your reading.
• One day shoot with a day rate of $700.
Branded Commercial, Dancer
• Casting a dancer for a branded com-
mercial. Seeking someone with a lifelong passion for dance and movement, who actively makes an effort to stay healthy and active on a daily basis. This is for a branded commercial about people struggling with joint health issues and aims to show different ways to stay moving and engaged. The role would include working with a physical therapist to demonstrate different exercises, sharing your testimonial on camera, and performing simple dance rehearsal visuals. • Company: Scale Media. Staff: Sean
Elayda, prod.-prod. mgr.
• Shoots Aug. 18-19 in Los Angeles, CA. • Seeking—Dancer: 45-65. • Seeking submissions from CA. • Send submissions to sean.elayda@
scale.tech.
• For consideration, submit a self tape of
you answering the following questions: 1.) What is your name and where are you from? 2.) What is your background in dance? 3.) How important is mobility to you? 4.) Do you have any joint health issues? 5.) How do these issues affect your everyday? 6.) Have you taken joint health supplements before?7.) If so, what do you look for in a supplement? • Pays $350 for each shoot day.
Halloween Game Commercial • Casting a Halloween-themed commer-
cial for well-known game company. • Staff: Emma, coord.
08.19.21 BACKSTAGE
casting National/Regional • Tentatively shoots Sept. 7-8 near
Pasadena, CA. Majority of the scenes to be filmed at night. • Seeking—Protagonist: all genders, 18+,
all ethnicities, We follow our protagonist as they attempt to outrun a group of masked attackers, using their parkour skills to escape their pursuers and find refuge in a (albeit haunted-looking) mansion. But just when they think they’ve barricaded themselves in, the mob creeps up behind them. Now they’ve got to fight their way out. Note: Stunt or parkour background required, include experience in your cover letter. Key Background: all genders, 18+, all ethnicities, a member of the masked mob who charges our protagonist in a coordinated fight scene. Note: Stunt or martial arts background required, parkour skills a huge plus. Include experience in your cover letter. • Seeking submissions from CA. • Apply on Backstage.com. • Pays $200-$500. Daily rate commensu-
rate with role, plus travel and meals provided.
Mini Photo Printer Road Trip Travel/Influencer Shoot, LA • Casting a road trip lifestyle video/
photo shoot for client’s Mobile Mini Photo Printer. Seeking energetic, stylish, and gen-z talent for this production. Will take place at 3-4 different locations over the span of 1 or 2 days. • Company: Grow With Bamboo. Staff:
Stavro Victor, content prod. at Bamboo. Production states: “Bamboo is proudly one of the top growth marketing firms in consumer technology. We produce paid social ads for online advertising.” • Shoots late to last August/ early
September (will happen on a Mon.-Fri.).
• Seeking—Talent: 16-25, all ethnicities. • Seeking submissions from CA. • Send submissions to stavro@growwith-
bamboo.com.
• Share recent photo or headshot. • Pays $600-$700/day and video/photo
use in perpetuity.
Dancers & Choreographers 21-22 LA Clippers Hoop Troop Audition
• Seeking Southern California’s most
enthusiastic and energetic people to join the 2021-2022 Hoop Troop Entertainment Team for the LA Clippers 2021-2022 NBA season. Looking for hype people who can energize a crowd of 20,000, throw t-shirts from center court, have on camera persona, attend appearances in the community, interact with fans of all ages, and bring their best to every LA Clippers home game! • Entertainment coordinator states:
“Please pass along this information to any person ages 18+ who may be interested in auditioning for an NBA Entertainment Team. No experience is required but participants must be willing to learn and be an active team player.”
BACKSTAGE 08.19.21
16-Feb. 13, no open roles); “Fefu and Her Friends” (María Irene Fornés, writer; Pam MacKinnon, dir. Rehearsals begin Feb. 22, 2022; tech begins Mar. 17; previews begin March 24; runs Apr. 6-May 1, possible extension to May 8); “The Lehman Trilogy” (Stefano Massini, writer; Ben Power, adaptation; National Theatre and Neal Street Productions, prods.; Sam Mendes, dir. Runs Apr. 27-May 22, no open roles).
• Company: Los Angeles Clippers. Staff:
Vaoesea Leota, entertainment coord.
• All LA Clippers home games will be held
at the Staples Center arena in Los Angeles, CA.
• Seeking—LA Clippers Hoop Troop: all
genders, 18+.
• Auditions will be held Aug. 22 at 10 a.m.
(Park in the open lot on the Sepulveda side; check-in, 9 a.m.) at Westwood Recreation Center, 1350 S Sepulveda Blvd., Los Angeles, CA 90025.
• Company: American Conservatory
Theater. Staff: Pam MacKinnon, artistic dir.; Andy Chan Donald, assoc. artistic dir.; Joy Meads, dir. of dramaturgy and new works; Allie Moss, literary mgr.casting assoc.; Ariana Johnson, assoc. prod.
• Send submissions to vleota@clippers.
com.
• Pre-registration and up to date infor-
mation can be found here: https:// laclippers-forms.formstack.com/ forms/hoop_troop_20212022_auditionm as well as on the official NBA website: https://www.nba.com/clippers/hooptroop.
• Season rehearses and performs in San
Francisco, CA and on tour. All shows listed will take place in person and indoors.
• All LA County safety guidelines will be
in place, so please bring a face mask and your vaccine card, if obtained.
• Seeking—Equity Stage Manager: 18+. • Seeking submissions from CA. • For consideration, submit resumes to
• Compensation will discussed at 21-22
Hoop Troop Orientation.
Jack Horton, Production Manager, at jhorton@act-sf.org. Submissions due Aug. 19.
• A.C.T. welcomes and encourages sub-
Theme Parks & Attractions
missions from actors of all races, ethnicities, ages, genders, physical abilities, and body types. To read more about our casting values and our commitment to inclusive casting at A.C.T., visit https://www.act-sf.org/aboutus/ opportunities/auditions/.
Halloween Horror Nights 2021, Scareactor Application • Seeking submissions for scare actors
for Universal Studios Hollywood’s Halloween Horror Nights 2021.
• Equity’s contracts prohibit discrimina-
• Company: Universal Studios Hollywood. • Rehearsals slated for end of August;
Halloween Horror Nights performance dates: Sept. 7, Sept. 9-12, Sept. 15-19, Sept. 22-26, Sept. 29-Oct. 3, Oct. 6-10, Oct. 13-17, Oct. 20-24, and Oct. 26-31.
• Seeking—Scareactor: all genders, 18+,
all ethnicities, performers who meet the following requirements: 6’1”+Also seeking 5’6”-5’10” who can portray the following characters: The Bride of Frankenstein from the 1935 Universal film; Poppy Hill from the 2018 Netflix series “The Haunting of Hill House;” and Olivia Crain from the 2018 Netflix series “The Haunting of Hill House.” • Seeking submissions from CA. • For consideration, visit bit.ly/2021HHN • All performers hired for the positions
will be covered under the terms and conditions of a collective bargaining agreement with the American Guild of Variety Artists (AGVA).
Stage Staff & Tech ACT 2021-2022 Season, Stage Manager
• Seeking Equity stage managers for the
ACT 2021-2022 season. Season includes “Cymbeline” (William Shakespeare, writer; Pam MacKinnon, dir. Rehearsals begin Oct. 25; staged readings Nov. 4-6); “Freestyle Love Supreme” (Thomas Kail, Lin-Manuel Miranda, and Anthony Veneziale, creators; Thomas Kail, dir. Runs Jan.
tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. • Pays $1,109/wk. (LORT C); $591.20
weekly minimum plus any applicable minimum wage increase (Experimental). Equity LORT Non-Rep C and Experimental Contracts.
CalArts School of Theater, Production and Studio Associate, Master Carpenter • Seeking Production and Studio
Associate and Master Carpenter who will provide general production support for all CalArts School of Theater and Center for New Performance productions as assigned. • Company: CalArts. • Full time position. • Seeking—Full Time Job: 18+. • Seeking submissions from CA. • Send submissions to lclements@
calarts.edu.
• Pay provided.
‘Head Over Heels,’ Stage Manager
• Seeking an Equity stage manager for
“Head Over Heels.”
• Company: Pasadena Playhouse. Staff:
Jenny Koons and Sam Pinkleton, dir.choreos.; Ryan Tymensky and Brian Sutow, casting dirs. (The Telsey Office, viewing auditions).
• Rehearsals begin Oct. 12; tech Nov. 2-7;
previews begin Nov. 9; runs Nov. 14-Dec. 19 in Pasadena, CA.
34
• Seeking—Equity Stage Manager: 18+. • Seeking submissions from CA. • For consideration, submit resumes to
the attention of Kristen Hammack, Business Manager at production@pasadenaplayhouse.org. Submissions deadline is Aug. 19. • Pays $1,202/wk. Equity LORT B Non-
Rep Agreement.
Northern California Online Commercials & Promos Mini Photo Printer Road Trip Travel/Influencer Shoot - SF • Casting a road trip lifestyle video/
photo shoot for client’s Mobile Mini Photo Printer. Seeking energetic, stylish, and gen-z talent for this production. Will take place at 3-4 different locations over the span of 1 or 2 days.
• Company: Grow With Bamboo. Staff:
Stavro Victor, content prod. at Bamboo. Production states: “Bamboo is proudly one of the top growth marketing firms in consumer technology. We produce paid social ads for online advertising.” • Shoots late to last August/ early
September (will happen on a Monday - Friday).
• Seeking—Talent: all genders, 16-25, all
ethnicities.
• Seeking submissions from CA. • Send submissions to stavro@growwith-
bamboo.com.
• Share recent photo or headshot. • Pays $600-$700/ day and video/photo
use in perpetuity
National/ Regional Plays 4th Wall Theatre Company 2021-22 Season
• Seeking video submissions from Equity
actors for the 4th Wall Theatre Company 2021-2022 Season. Season includes “A Doll’s House Part 2” (Lucas Hnath, writer. Rehearsals begin Sept. 13; runs Oct. 14-Nov. 6); “The Lifespan of a Fact” (Jeremy Kareken & David Murrell and Gordon Farrell, writers; Rehearsals begin Dec. 6; runs Jan. 13, 2022-Feb. 5, 2022); “Gloria” (Branden Jacobs Jenkins, writer. Rehearsals begin Feb. 21, 2022; runs Mar. 24-Apr. 16); and “Between Riverside and Crazy” (Rehearsals begin Apr. 11, 2022; runs May 12-June 4). backstage.com
National/Regional casting
• Company: 4th Wall Theatre Company.
Staff: Philip Lehl, artistic dir.; Alanna Dorsett, Kim Tobin-Lehl, and James Black, dirs.
• All rehearsals and performances will
take place in-person at Spring Street Studios, 1824 Spring St., Studios 101 and 232, Houston, TX 77007. Performance schedule: Thurs. Fri., Sat. eves at 7:30, Sun at 3; there is a 7:30 Monday eve performance in the last week, meaning that shows close on a Saturday. • Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from TX. • For consideration, include your name,
the titles and authors of your monologues and if you are local to Houston, TX in the body of your email with a video audition to info@4thwalltheatreco.com. Audition should consist of one verse monologue from a Shakespeare play and one contemporary monologue not from plays in our season. The combined length of the two monologues should not exceed three minutes.Submissions deadline is Aug. 20 at 11:59 CDT. • Local Houston, TX actors encouraged
to submit. 4th Wall Theatre Co. encourages participation by performers of all races and ethnicities. The Equity stage manager for all four productions has been hired. • 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 $320/wk. plus health and pension
contributions. Equity SPT Cat. 2 Agreement.
‘A Christmas Carol’
• Casting the non-union 2021 National
touring company of “A Christmas Carol.”
• Company: Perseverance Productions,
L.L.C. Staff: Lowell Williams, prod. • Rehearsals begin Nov. 1 at the
Claremont Opera House, Claremont N.H. Tour leaves New Hampshire Friday after Thanksgiving. See www.perseverance-productions.com for full schedule. • Seeking—Bob Cratchit: male, 18+, all
ethnicities, also plays ensemble roles. Emily Cratchit: female, 18+. Tiny Tim: all genders, 12+. Martha Cratchit: female, 12+. Peter Cratchit: male, 18+. Ghost of Christmas Past: 18+. Ghost of Christmas Present: 18+. Mr Fezziwig: male, 18+. Mrs Fezziwig: female, 18+. Belle: female, 18+. • Auditions will be held by appt. Aug. 21
from 10 a.m.-4 p.m. at Belnap Mill, 25 Beacon St. East, Laconia, NH 03246. And Aug. 28 from 10 a.m.-4 p.m. at Ripley Studios, 20 8th Ave., Studio 17A, New York City, NY 10014. • Apply on Backstage.com. • For an audition appointment, email
CC2021Auditions@gmail.com.
• You will be asked to perform a 1-2 min-
ute monologue (preferably with a British or Cockney accent), and sing a backstage.com
Christmas Carol of your choosing. You may be asked to “move” as well, so dress appropriately. If you play an instrument, you may accompany yourself or sing a cappella. If you play an instrument that does not lend itself to accompanying (such as a flute, recorder, clarinet, etc,) we will ask you to play a short piece that shows your abilities. This is not a necessity. If you do not play an instrument – no problem. • Pay includes additional $800 food and
incidentals stipend, travel and room. Meals are provided at venues before performances.
Arden Theatre Company 2021-22 LORT Season
• Seeking video submissions from Equity
actors for roles in 2021-22 season. Season includes: “A Streetcar Named Desire” (Tennessee Williams, writer; Terrence J. Nolen, dir.; F. Otto Haas Stage 1st Rehearsal Dec. 21; runs Jan. 13-Feb. 13 with a possible extension to Feb. 20); “Backing Track” (R. Eric Thomas, writer; Rebecca Wright, dir.; Arcadia Stage; Rehearsals begin Jan. 25; runs Feb. 17-Mar. 27 with a possible extension through Apr. 10); “School Girls; Or, the African Mean Girls Play” (Jocelyn Bioh, writer; Amina Robinson, dir.; Arcadia stage; Rehearsals begin Apr. 12; runs May 5-June 12 with a possible extension through June 26); and “Into the Woods” (Stephen Sondheim, music and lyrics; James Lapine, book; Terrence J. Nolen, dir. F. Otto Haas; Rehearsals begin May 3; runs May 26-June 26 with a possible extension to July 10). All roles will be understudied. Note: Due to Covid-19 and Social Distancing Efforts, accepting video submissions in lieu of in-person EPAs locally at the theatre and in NYC. • Company: Arden Theatre Company.
Staff: Terrence J. Nolen (he/him), prod. artistic dir.; Jonathan Silver (he/him) (viewing submissions), assoc. artistic dir.. • Season rehearses and performs in
Philadelphia, PA.
• Seeking—Equity Actors: 18+, all ethnic-
ities, for all roles.
• Seeking submissions from PA. • Preparation Instructions: Prepare and
record one of the below options: One monologue no longer than two minutes in length or one musical selection (preferably of your choosing approximately one minute in length or selections from the accompaniment provided at https://tinyurl.com/5bzznpe6) and a one-minute contemporary monologue. • Note: If choosing this option, include
both selections in one video. At the top of your video, slate your name and the piece(s) you will be presenting. In addition, you may include this information in the video description below and/or on slides in your video, but it is not required. Upload your video to only either YouTube (unlisted video) or Vimeo link. For cast roles, auditioning performers will be considered as possible replacements only. Arden Theatre Company is an EOE/AA employer, values diversity in the workplace, and prohibits discrimination. Actors of all backgrounds and abilities are encouraged to submit an audition.
• For consideration, submit a copy of
your headshot and resume, and a link to your video submission to casting@ ardentheatre.org. Submissions deadline is Aug. 20.
• 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 $926/wk. (F. Otto Haas Stage) Equity LORT C Contract and pays $739/ wk. (Arcadia Stage) Equity LORT D Contract. Equity LORT Non-Rep. Contracts.
‘Brave New Works’
• Equity actors for roles in three-reading
series “Brave New Works.” Series include “Marry Me, Bruno Mars” (Megan Tabaque, writer. Rehearsal runs Oct. 19-24; reads on Oct. 24); “Honey Bees” (Emma Lee, writer. Rehearsal runs Oct. 26-31; reads on Oct. 31); and “Any Minute Now” (Alix Sobler, writer. Rehearsal runs Nov. 2-7; reads on Nov. 7). Note: Local Atlanta/North Georgia area actors are encouraged to audition. Performers of all ethnic and racial backgrounds are encouraged to submit. • Company: Theater Emory. Staff: Megan
Tabaque, Emma Lee, and Alix Sobler, playwrights; Melissa Foulger, Heidi Cline McKerley, Adam Koplan, dirs.; Lisa Paulsen, Leslie Taylor, and January LaVoy (Theater Emory), artistic dirs.; Lydia Fort, dir. of Theater Emory Playwrighting Center; Meghan Truhett and Caitlin Volz, casting coords. • Rehearses and performs in Atlanta, GA. • Seeking—Equity Actors: 18+. • Seeking submissions from GA. • For consideration, submit audition
form, resume, headshot/image, and video submission link to teauditions@ gmail.com (preferred) or call Meghan Truhett at (404)-727- 5323 and leave a voicemail if you have no email access. Submissions deadline is Aug. 20.
• Video preparation instructions: Email a
video recording of you performing one monologue of your choice and one of the sides provided at http://theater. emory.edu/home/get-involved/professional-auditions.html, sides provided below with the character descriptions. If you do not have a reader, pause for the accompanying role’s lines. Make these videos available to us by utilizing a private YouTube or Vimeo. Send the instructions needed to access your video. • Callbacks, if needed, will be held on
Zoom.
• 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 $550/wk. with pension and health
contributions. Each reading contracted
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separately under the SPT Staged Reading Rider by special arrangement with Equity.
City Theatre Company 202122 Season • Seeking Equity actors for roles in City
Theatre Company 2021-22 Season. Season includes “Live from the EdgeUniverses” (Rehearsals begin TBD; tech runs Oct. 5-8; runs Oct. 9-31); “An Untitled New Play” (Justin Timberlake, writer; Matt Schatz, music, book & lyrics; Reginald L. Douglas, dir. Rehearsals begin Nov. 2; tech runs Nov. 2-26; runs Nov. 27-Dec. 19); “The Medium,” SITI Company (Rehearsals begin TBD; tech runs Jan. 18-21, 2022; runs Jan. 22-Feb. 13); “Paradise Blue” (Dominique Morisseau, writer, Kent Gash, dir. Rehearsals begin Feb. 15; tech runs Mar. 8-11; runs Mar. 12-Apr. 3); and “The Garbologists” (Lindsay Joelle, writer; Monteze Freeland, dir. Rehearsals begin Apr. 5; tech runs Apr. 26-29; runs Apr. 30-May 22). • Company: City Theatre Company, Inc.
Staff: Marc Masterson, artistic dir.; Clare Drobot, assoc. artistic dir.; Monteze Freeland, assoc. prod.; James McNeel, managing dir. • Rehearses and performs in Pittsburgh,
PA.
• Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from PA. • For consideration, email video link, your
contact information, and separate attachments of your headshot and resume to epa.submission@mccorklecasting.com. Submissions deadline is Aug. 19. • Video Instructions: Limit your video
submission to three minutes maximum. Actors should prepare one contemporary monologue (from a play written within the last 20 years) of their choosing. This time limit includes your slate (your name, name of play, and character you will be performing) which should be included at the beginning of your audition submission. Upload your taped audition to Vimeo and include a link for viewing in your email submission. Youtube links are also acceptable, but Vimeo is strongly preferred. Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms. Self tape suggestions: Framing your shot helps. Make sure your phone/device is in landscape format and not portrait position. Make sure the lighting is sufficient. Nonincandescent, bright white lighting that includes some diffusion (non direct, soft) is best. The sound is important. Make sure if using a reader that you are easily heard. An external mic (Lavalier) plugs into your device, is economical and sounds great. Your background is clean. Be aware of what’s behind you. A busy or dark background can distract the viewer/listener. Keep the slate separate from the actual audition. Slates can be your headshot or your “live” introduction, whichever you prefer. • Feel free to listen to our podcast (2 epi-
sodes, 20 minutes each) on video auditions here: Part one https://www. podbean.com/eu/pb-4et4x-927236 and Part two https://www.podbean. com/eu/pb-xqe4n-92de4c
08.19.21 BACKSTAGE
casting National/Regional • Understudies will not be cast. Dates and
programming subject to change.
• 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 $739/wk. Equity LORT D Non-Rep
Contract.
Florida Repertory Theatre 2021-22 Season
• Seeking video submissions from Equity
actors for roles in 2021-22 season. Season includes “The Woman in Black” (Stephen Mallatratt, adaptation; Susan Hill, novel as source material; Steve Pacek, dir.Rehearsals begin Oct. 5; runs Oct. 26-Nov. 14); “West Side Story” (Arthur Laurents, book; Leonard Bernstein, music; Stephen Sondheim, lyrics; Kody C Jones, dir. Rehearsals begin Nov. 2; runs Nov. 23-Dec. 15); “Morning After Grace” (Carey Crim, writer; Chris Clavelli, dir. Rehearsals begin Dec. 14; runs Jan. 4-26, 2022 with a possible extension through Jan. 30); “Driving Miss Daisy” (Alfred Uhry, writer; Maureen Heffernan, dir. Rehearsals begin Dec. 28, 2021; runs Jan. 18, 2022Feb. 13); “Into the Breeches!” (George Brant, writer; Eleanor Holdridge, dir. Rehearsals begin Jan. 18, 2022; runs Feb. 8-Mar. 5); “Buddy: The Buddy Holly Story” (Alan Janes, writer; Jason Parrish, dir. Rehearsals begin Feb. 23, 2022; runs Mar. 16-Apr. 11 with a possible extension to May 2); “A Doll’s House” (Lucas Hnath, writer; Chris Clavelli, dir. Rehearsals begin Mar. 23, 2022; runs Apr. 13-May 16); “Maytag Virgin” (Audrey Cefaly, writer. Rehearsals begin Mar. 22; runs Apr. 12-May 22). Note: The season outlined above is subject to change. • Company: Florida Repertory Theatre.
Staff: Greg Longenhagen, artistic dir.; Jason Parrish, assoc. artistic dir.; John Martin, exec. dir. • Season rehearses and performs in Ft.
Myers, FL. Note: Florida Repertory Theatre is a fully COVID vaccinated workplace. • Seeking—Equity Actors: 18+, all
ethnicities.
• Seeking submissions from FL. • For consideration, submit a YouTube or
Vimeo link (no private or password-protected videos will be accepted, and please do not email attached video files or file transfer or download links), a headshot (pdf or image file) and a resume (pdf) at https://bit.ly/3ioOAoP. Information is also available at: https:// www.floridarep.org/about-floridarep/ casting-calls/ Submissions deadline is Aug. 20. The theatre plans to hold inperson callbacks and agent submissions in Florida and in New York per Equity and CDC guidelines later in the summer. • Audition Preparation: Prepare one or
two brief monologues, or if you’re a singer interested in one or both of the musicals, a monologue, and a brief song. You may select a song of your choosing that is in the style of one of
BACKSTAGE 08.19.21
the musicals. If you’re auditioning for Buddy, consider accompanying yourself or including footage of you playing your instrument. If you cannot provide your own accompaniment, you may sing one of the following selections for which music and accompaniment are provided (Sheet Music: https://spaces. hightail.com/space/WYoCjdesvp; Sound Files: https://spaces.hightail. com/space/KFUdZ19tyt). For “West Side Story,” men should sing “Tonight,” and women may choose between two songs, “Tonight” or “Anything Goes.” For “Buddy,” men can choose between “That’ll be the Day” or “Shout.” Women should sing “Shout.” For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary.
• Seeking submissions from TX. • Visit the following Dropbox folder
where you can access the side for the role(s) you are interested in www.dropbox.com/sh/4x201trdu7cl4b5/ AADwhz4-xUVq-0bLfBGMJ7qfa?dl=0. • Film your audition safely from your
home. Post your audition video to YouTube/Vimeo/Dropbox. Visit https:// airtable.com/shrZOqjdniSBxsBpz to submit your information, headshot, resume, and link to your audition for the creative team to review. • All video submissions will be viewed in
full by the team. In-person callbacks will be scheduled per Equity safety guidance during the final weeks of August. Must be willing to follow strict safety standards and agree to COVID testing which will be paid for by WTT. This production will be presented with very limited audience on The Terry Martin Main Stage.
• 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.
• Learn more about the play here:
https://www.laurengunderson.com/allplays/the-taming and https://thetamingplay.tumblr.com/. WaterTower Theatre is dedicated to diversity and inclusion as a core value, and as such we strongly encourage actors of all ethnicities, abilities, genders, and ages to audition. Local actors encouraged to submit.
• LOA approval/salary level pending;
2019-20 weekly minimum: $682). Housing provided for out-of-town performers.
• The cast is comprised of three roles,
‘The Taming’
• Casting Equity actors for roles in “The
Taming.” Synopsis: “The Taming” by Lauren Gunderson is an all-female political farce inspired by Shakespeare’s “Taming of the Shrew.” A new play about modern American political extremism, feminism and beauty queens, this gangly Democratic Republic of America, James Madison, GOP, Liberal angst, and three wildly different women who might just be political geniuses. It focuses on the role of women in contemporary American government, bipartisanship, the founding fathers and lots of pageantry. Settings: The present, Georgia, at the hotel hosting the Miss Georgia Pageant, and July, 1787, the Constitutional Convention in Philadelphia. • Company: WaterTower Theatre. Staff:
Lauren Gunderson, writer; Cheryl Denson, dir.; Shane Peterman, producing artistic dir.; Elizabeth Kensek, assoc. prod. • Rehearses Sept. 20-Oct. 12 (Mondays
are the observed Equity day off); runs Oct. 13-24 (Wed.-Sun.) in Addison, TX.
• Seeking—Katherine: 20-29, a Southern
belle and determined pageant winner in her 20s who also plays George and Martha Washington in 1787 as well as Dolley Madison. Actors may demonstrate any non-musical talents such as magic tricks, baton-twirling or tapdancing. Patricia: 30-49, conservative aide to Georgia’s Sen. Peter Baxter, in her 30s-40s, who also plays James Madison in 1787. The character of Patricia appears without pants (but with undergarments using a sheet to cover up until she can locate her suit pants) for a portion of the show. Bianca: 20-39, a liberal Southern hipster activist in her 20s-30s who also plays a sweet Southern good-girl intern, and Charles Pickney in 1787.
with each role portraying two to three characters. Note: The play features adult language and content, including queer themes and profanity in every role. Per the playwright, “Actors need not be white.” If you have any questions, email Associate Producer, Elizabeth Kensek at EKensek@watertowertheatre.org. • 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 TBA (pending approval). Equity
SPT Contract.
Theatre Exile 2021-2022 Season, Equity Video Submissions
• Casting Equity actors for the Theatre
Exile 2021-2022 Season. Season includes “Extreme Home Makeover” (Makasha Copeland, playwright. Rehearsals begin Oct. 5; runs Oct. 28-Nov. 21), “The Motherf*cker With The Hat” (Stephen Adly Guirgis, playwright. Rehearsals begin Jan. 11, 2022; runs Feb. 3-Feb. 27 or Mar. 6, 2022), and “Today is My Birthday” (Susan Soon He Stanton, playwright. Rehearsals begin Apr. 5, 2022; runs Apr. 28-May 22 or 29, 2022.). • Company: Theatre Exile. Staff: Deborah
Block, producing artistic dir.; Brey Ann Barrett, interim assoc. artistic dir.; Randi Alexis Hickey, administrative asst. • Season runs in Philadelphia, PA. • Seeking—Equity Actors: 18+. • Seeking submissions from PA. • Create a single video file with two con-
trasting monologues of no more than
36
one minute each. With slating the video should be no more than three minutes total. When slating, include the following: name, pronouns (if comfortable sharing), the titles and authors of your two selections. You may submit your video via this submission form link https://bit.ly/3jsiYQf Note that you are submitting for the Equity Auditions. Submissions deadline is Aug. 20. Note: We do not produce musicals at this time and your submission should not consist of a song performance. To optimize the best sound and video possible we encourage you to turn off any ambient noise (air conditioner/tv/radio) and select a well lit area with minimal backlighting for your video. • Equity $508/wk. Equity SPT 6
Agreement.
Musicals Cleveland Play House 202122 Season
• Seeking Equity actors for the Cleveland
Play House 2021-22 season. Season includes: “Where Did We Sit on the Bus?” (Brian Quijada, writer; Matt Dickson, dir. Rehearsals begin Sept. 28; runs Oct. 29-Nov. 14), “Light it Up!” (Jason Michael Webb and Lelund Durond Thomspon, writers of new musical; Christopher Windom, dir. Rehearsals begin Nov. 2; runs Dec. 3-22), “The Three Musketeers” (Catherine Bush, writer; Laura Kepley, dir. Rehearsals begin Jan. 4, 2022; runs Feb. 11-27), “Antigone” (Sophocles, writer; Lauren Keating, dir. Rehearsals begin Feb. 8; runs Mat. 11-22), and “I’m Back Now” (Charly Evon Simpson, writer. Rehearsals begin Apr. 5, 2022; runs May 5-22). • Company: Cleveland Play House. Staff:
Maryann Morris, assoc. dir. of production; Maureen Burns, artistic prod.; Judy Bowman, CSA casting dir. • Season rehearses and runs in
Cleveland, OH.
• Seeking—Actors: 18+. • Seeking submissions from OH. • Slate your name and what you are going
to perform prior to beginning. Label video Last Name-First NameSubmission. Submit headshot/resume and video to the following link: https:// tinyurl.com/7c32tebn. Label all documents: Last Name-First Name-Resume, etc. Deadline for submissions is Aug. 19. • Prepare either two contrasting mono-
logues of your choosing, no longer than three minutes total, or prepare one contemporary monologue and a song up to one minute in length. You may use a song of your own choosing or use the sheet music and accompaniment provided for “O Holy Night” below: • Sheet music: https://www.dropbox.
com/s/gzb3txkwb0cnvdj/428120201-OHoly-Night-Sheet-Music%20-%20flattened.pdf?dl=0 • Soprano: https://www.dropbox.com/s/
cqm1mwtkglgs13q/Oh%20Holy%20 Night%20-%20Soprano.m4a?dl=0 • Alto: https://www.dropbox.com/s/
jmdae7xa3hp5f0v/Oh%20Holy%20 Night%20-%20Alto%20.m4a?dl=0
backstage.com
National/Regional casting
• Bass: https://www.dropbox.com/
ingly flawed protagonists must rely on the strength of their shared bond to escape the wily charms of an up-andcoming cult leader.
Scripted TV & Video
Reality TV & Documentary
• Equity’s contracts prohibit discrimina-
Vivian Hua, dir.-co-writer; Lisa Sanaye Dring, co-writer.
ABC’s ‘The Wonder Years’
‘The Real Magic Mike’ Nonscripted Series, Background
shoots Dec. 18-20 and possibly Dec. 21 in the Pacific Northwest.
• Company: ABC Television. • Shoots in greater Atlanta area. • Seeking—Middle School Student: 9-15,
• Tenor: https://www.dropbox.com/s/
bfuyzagcol9r73s/Oh%20Holy%20 Night%20-%20Tenor.m4a?dl=0
s/6l05dbqxymyjmtm/Oh%20Holy%20 Night%20-%20Bass.m4a?dl=0
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. (LORT B), $739/wk.
(LORT D). Equity LORT B & D Non-Rep Contracts.
Feature Films Upcoming Feature Film
• Casting boys, 11-13, with theatre experi-
ence for an upcoming feature film.
• Company: Boston Casting Inc. • Shoots in the fall in New England area. • Seeking—Boys with Theatre
Experience: male, 11-13, Black / African Descent, White / European Descent. • Seeking submissions from MA, RI, NH,
ME, VT and CT.
• For consideration, submit a photo, your
resumé, and your email to bostoncastingkidsandteens@gmail.com. You will be contacted if further materials are needed. • Pays SAG scale. No travel, no lodging,
local hire. Billing and dressing room at producer’s discretion.
Short Films ‘Ninth Life’
• Casting “Ninth Life,” a short film cen-
tered around a young man grappling with his upbringing in Maine and his place in the wider world.
• Staff: H. Spritz, coord. • Shoots Aug. 23 in Portland, ME. • Seeking—Mother: female, 18-30, White
/ European Descent, this shoot captures the main character’s mother on her wedding day many years before the events of the film, and also in a dream sequence. No dialogue or line memorization required. • Seeking submissions from ME. • Send submissions to henryspritz@
gmail.com.
• Pays $50 for three-hour shoot.
Transportation and food will be covered.
‘Reckless Spirits: A Queer BIPOC Metaphysical Comedy’
• Casting “Reckless Spirits,” a hyperreal
buddy comedy featuring two BIPOC best friends of Asian and Latinx descent: Yvette, a neurotic therapist, and Syd, gender-fluid performance artist. Led by a series of meaningful coincidences into an uncanny new world of psychics, spells, and spirits, the charmbackstage.com
• Company: REDEFINE Media LLC. Staff:
• Casting “The Wonder Years,” a new
television series filming in Atlanta, GA.
• Rehearses on or around Nov. 6-7;
• Seeking—Guy: male, 18-60, Ethnically
White / European Descent, non-union minors age 9-15 with a valid Georgia minor work permit. Portrayable as Caucasian male or female. Looking for minors to portray our middle school background for our upcoming school scenes. Make sure to inclide GDOL permit number in your submission.
Ambiguous / Multiracial, White / European Descent, a handsome, relaxed-looking LA-type in his early 40’s, Guy is the charming cult leader and founder of NWAGOWADOL, whose dark intents are masked by his charisma. A man with immense magickal abilities, Guy is a “dreamwalker” and manipulative “spider,” keen to use his psychic talents to prey upon an unsuspecting Yvette. Dashiki: male, 18-80, Ethnically Ambiguous / Multiracial, White / European Descent, despite being far from West African descent, Dashiki is an ethnically misguided lackey in the NWAGOWADOL dream cult who insists on donning a dashiki during all of his daily activities because it gives him “spiritual” comfort. He loves the garment so much he even decided to become reborn and renamed himself after it. In the past, he wore white dreads. Dream Cult Member / Lightkeeper: all genders, 18-80, all ethnicities, member of the NWAGOWADOL dream cult, which is all about New Age love and light, though a sinister darkness lies beneath their surface. Obsessed with their handsome, charismatic cult leader and will do anything to see him succeed in converting minds. Handsome Patient: 18-30, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, youthful and can make a clean-cut therapist swoon. No lines. Elderly Patient: all genders, 60+, all ethnicities, elderly and scared of a mean therapist. Recoils in fear. Innocent Patient: all genders, 22-60, all ethnicities, shocked person who looks on wideeyed as her therapist begins bawling in front of her. Yvette: female, 22-35, Asian, An early 20’s straight-laced Japanese-American therapist who is addicted to green juice, health food, and fancy manicures, Yvette seems to “have it all” in the traditional sense. Yet while talented and disciplined in many ways, Yvette’s secret is that she is terrible at her job, yet won’t leave her structured life... until a dream cult finally beckons.
• Seeking submissions from GA. • Apply on Backstage.com. • For consideration, include a current
headshot (taken within the last 7 days), size card, height, weight, and clothing size. • Pay on a 10 hour guarantee + pre-
employment test pay + fitting pay.
Nickelodeon Live-Action Projects, Performers with Disabilities
• Seeking young performers for upcom-
0-35, open to talent both under and over 18 years old. All talent that identifies as disabled are encouraged to submit. All disabled identities are encouraged to submit. This includes but is not limited to the following: physical, visible, non-visible, mental, neurodiverse, blind/low vision, d/Deaf or hard of hearing, performers who are verbal, performers who are non-verbal, performers who use assistive technology. • Seeking submissions nationwide. • For sonsideration, submit self-tape
auditions to Nickonlineopencall@nick. com. Note: Please do not send any sensitive personal information like financial or health information, or anything else you consider confidential. • Contract details TBD.
• SAG-AFTRA Short Project status. Pays
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
$300/day for Yvette, $250/day for Guy, $150/day for Dashiki, and payment TBD for background roles.
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• Shoots August in various locations in
Las Vegas. Note: Must be Las Vegas local. Must be fully vaccinated by the time of filming.
• Seeking—Background Performers: 21+,
all ethnicities, must be Las Vegas locals; must be 18+ for scenes including (but not limited to) Pool Parties (swimwear shots), Club /Lounge vibe (cool.hip, sexy), Focus Groups (nice casual chic), Cafe (nice casual chic). • Seeking submissions from NV. • For consideration, submit photos (head-
shot and body shot) and contact number to vegascastingextras@gmail.com. • Pays $100 min./day; varies depending
on role.
Printing Services Company Digital Content
• Dates TBD. • Seeking—Performers with Disabilities:
Northwest Region for all roles.
Susan Salgado, casting dir.
funny kids with great confidence, fun personalities, and lots of energy. If your child can sing, dance, rap, and/or play musical instruments, we want to see those talents too. We are committed to diverse, inclusive casting. For every role, please submit qualified performers, without regard to disability, race, age, color, national origin, ethnic origin, sexual orientation, gender identity, or any other basis prohibited by law. We look forward to watching talent from all over North America through this online open call. Note: Please do not send us any sensitive personal information like financial or health information, or anything else you consider confidential.” Pretsfelder Demchick, CSA, casting dir.; Elizabeth Hay, casting assoc.
• Seeking candidates local to the Pacific
• Company: Triple Threat Casting. Staff:
Multimedia
• Company: Nickelodeon. Staff: Danielle
sideration, submit a cover letter of interest along with a reel and if possible, an explanation of connection to subject matter is desired (it will go a long way towards capturing our attention) to vivian.redefine@gmail.com.
in “The Real Magic Mike,” an unscripted reality TV show.
ing live-action projects via self-tape from the safety of their own homes.
• Production states: “We are looking for
• Seeking submissions from WA and OR. • Auditions will be held Sept. 5. For con-
• Seeking Background for various severs
• Casting a printing services company’s
digital i.e. website, social, emails, online advertising, etc. (October 2021-January 2022). • Company: Genuine Casting. Staff:
Genuine Casting, CD.
• Shoots mid-Sept. within an hour or so
from Boston. Talent will self-report.
• Seeking—Family With 2-3 Children:
25-55, all ethnicities, Parents of all ages, but at least two children should be tweens or younger who would be available for the photoshoot. Must be able to self-report to print shoot location which will be within an hour or so from Boston, MA. Same Sex Couple: 25-55, all ethnicities, Same sex couple. All ethnicities and ages.Must have a dog or a cat who could attend the photoshoot. Must be able to self-report to print shoot location which will be within an hour or so from Boston, MA. • Seeking submissions from MA, NH and
CT.
• For consideration, submit to research@
genuinerp.com and online via https:// form.jotform.com/212164621768154. • Pays $1,500/person all inclusive i.e.
print shoot day, usage, use of personal photos, etc.
Online Commercials & Promos Golfer Training Product Video
• Casting short testimonial videos of new
golf training products. Ideal candidates
08.19.21 BACKSTAGE
casting National/Regional would be male golfers over 35 years old, energetic and comfortable on camera. • Company: Blackfish Media. • Shootings will be throughout South
Florida at a multiple golf course locations. Shoots should only take about 15 minutes. • Seeking—Golfer: male, 35-80, all
ethnicities.
• Seeking submissions from FL. • Apply on Backstage.com. • No pay. Access to over $5,000 worth of
golf training available.
Game Intro, Prospector Character
• Seeking an actor for a prospector char-
acter in a game intro for content around an escape room attraction this month in Atlanta, GA. Note: Filming will take a day and will be filmed on-site in the escape room. Client is looking for an old, prospector type of character. Something very similar to Tom Waitt’s character in “The Ballad of Buster Scruggs.” Production states: “Script will be short (about a half page, maybe a little more) and a teleprompter will be provided on set, all though we’d ultimately prefer not to have to depend on it. Note that travel will not be included so please only submit if you are in the Atlanta area. If you have any questions, feel free to reach out!” • Company: Carbon Film. Staff:
Carbonfilm.tv, managing partner.
• Shoots one day TBD in Atlanta, GA. • Seeking—Prospector: male, 40+, all
ethnicities, older prospector character with a grizzly look/accent. • Seeking submissions from GA. • Send submissions to casting@carbon-
film.tv.
• Pays $750.
HealthCare.Gov Project
• Casting a commercial for HealthCare.
Gov.
• Company: Genuine Casting. Staff:
Genuine Casting.
• TBD. • Seeking—Healthcare.gov Users: 19-35,
all ethnicities, people who have used HealthCare.gov to sign up for a health planAll ethnicities, genders. Production states: “Must have used HealthCare.gov in 2021 [2/15/21-8/15/21] to sign up for a new plan or re-enroll/re-evaluate old plan.” • Seeking submissions from AZ, TX, LA,
AL, FL, MI, OH, NC, WV, IN, OK, MT, UT, KS, MO and WY.
• For consideration, submit to research@
genuinerp.com and via https://form.jotform.com/212223851332142. • Pays up to 5,000 maximum flat rate.
Shapewear Brand, Wedding Dress Models • Seeking talent that has been recently
married or will be getting married to model in their wedding dress. Would like the talent to wear shapewear that is provided and do a review on the product plus model the product before putting on the wedding dress. Must be comfortable talking on camera. • Staff: J. Rumley, talent prod. • Remote shoot - can be located any-
where in the US.
BACKSTAGE 08.19.21
• Seeking—Female Talent: female,
• Shoots in Red Rocks on a horse farm
• Seeking submissions nationwide. • Apply on Backstage.com. • Pays $200/day for a remote shoot.
• Seeking—Models: all genders, 22+, all
25-40, all ethnicities.
converted to home in Denver, CO. ethnicities.
• Seeking submissions from CO. • Send submissions to hana@dumpling-
house.net.
• Note your availability and include a few
Print & Digital Modeling
shots of previous work you’ve done.
• Online only. Web video. Buyout in full.
• Pays $100/day.
Medical Device Video/Print Shoot
Theme Parks & Attractions
• Casting actors for non-broadcast vid-
eos and/or still photography for a Medical Device product shoot.
Six Flags over Georgia scare actors
• Company: The Talent Group Inc. Staff:
Stephen Black, owner.
• Shoots Aug. 25-Sept. 3 in Pittsburgh,
• Casting 100 scare actors for Six Flags
PA. Note: Talent will be needed for twofour days depending on role. • Seeking—Role #1: male, 32-57, Asian;
de gouvernement et aux organisations mondiales pour les aider à prendre des décisions éclairées et efficaces en réponse à la COVID-19 et à d’autres défis sanitaires critiques. Parce que l’ACTION basée sur L’EVIDENCE est PUISSANTE.”
Fright Fest Atlanta Georgia.
• Company: About Faces Models and
shoots Aug. 25, 26, 30, and 31; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $4250 for this role. Role #2: male, 37-58, Black / African Descent, shoots Aug. 25, 26, 30, and 31; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $5500 for this role. Role # 3: male, 58-75, Asian, shoots Aug. 25- 26; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $3500 for this role. Role #4: male, 37-62, Asian, shoots Aug. 25, 26, 30, and Sept. 2; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $5500 for this role. Role #5: female, 25-45, Asian, shoots Aug. 30 and Sept. 1; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $4000 for this role. Role # 6: male, 25-45, Black / African Descent, shoots Aug. 30 and Sept. 2; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $4250 for this role. Role #7: female, 45-65, Asian, shoots Aug. 30 and 31; do not submit unless you are available for all dates; make sure to take into consideration travel dates/ time to and from Pittsburgh; pays $4000 for this role.
Talent. Staff: Lesa Laforce, talent dir. • Runs Sept. 17-Oct. 31 (every Friday,
Saturday and Sunday evenings from 4 p.m. to closing) in Atlanta, GA. Note: There will be one training day prior to your starting. Schedule is flexible but would prefer being able to work every shift.
• Seeking—Scare Actors: 16+. • Seeking submissions from GA. • Send submissions to talent@aboutfac-
esmt.com.
• Note: We need to know your available
dates to be put on the schedule. You will need to sign a parking application and a confirmation of a background check.
• Pays $10 per hour flat. Includes parking
pass each day. Payment will be received every two to three weeks.
Corporate & Internet Videos (Voiceover) Global Health (PMA), FrenchSpeaking African Voiceover Actress • Seeking a French-speaking African
Audiobooks & Podcasts Children’s Sleep Podcast Based on Russian & Louisiana Creole Folktales • Seeking voiceover actors for a chil-
dren’s sleep podcast based on folktales. Episodes are primarily in English, but voice actors must be able to speak a few phrases/sentences in the folktale’s respective language of origin. Share samples of your work to be considered. • Company: Wonder Media Network.
Staff: Emily Rudder, chief of staff.
• Records remotely. Talent must have
access to professional studio and/or equipment. • Seeking—Narrator, Princess & Misc.
Characters for Russian Folktale: female, 15+, a young female actor (20s30s) to voice multiple roles in a Russian folktale. Seeking Russian voice actors who speak Russian for these roles. Grandmother/Witch for Russian Folktale: female, 40+, to voice a grandmother/witch in a Russian folktale. Seeking Russian voice actors who speak Russian for these roles. Misc. Characters for Louisiana Creole Folktale: female, 15+, looking for a young female actor (20s-30s) and an older female actor (40+) to voice multiple roles in a Creole folktale. Prioritizing actors who can speak either Louisiana Creole/Kouri-Vini, or Louisiana French.
• Seeking submissions worldwide. • Send submissions to emily@wonderme-
dianetwork.com.
• Audio to be used in a podcast.
Stage Staff & Tech
• For consideration submit current pho-
voiceover actress for a global health spot. Project manager states: “We revolutionize the way global family planning and health data are collected and promote effective data use for decisionmaking. It is important to the project that this voiceover be done by a French-speaking female from an African nation for authentication reasons.”
• Pays $3,500-$5,700 depending on
project mgr.
ble for sewing, pattern making, build and construction of theatrical costumes for stage/screen. Costumes include custom theatrical, ready-towear garments, gowns, suits, bridal/ tailoring a plus. Advanced sewing skills are needed. This position leads the fitting process and oversees the execution of the sewing team. Experience: 3 to 5 years of costume & garment construction, theatre background is a plus. Knowledge of sewing equipment.
• Seeking submissions from PA, NY, IL,
GA, MA, DC and NC.
tos to pittsburgh@talentgroup.com.
number of shoot days per role and usage. See role for specific rate. Rate includes travel and accommodations.
WeedFeed Product Shoot, Models
• Casting models for a new WeedFeed
apparel and products line. Content will live on website, Instagram, and a few other places. • Company: Dumpling House Media.
Staff: Hana C., opps and partnerships.
• Company: BTC. Staff: Annalise Burdett, • Records remotely. Must be able to
record own voiceover with professional studio equipment. • Seeking—French-Speaking African
Female: 18+, French-speaking actress. • Seeking submissions worldwide. • Send submissions to annalise@
bethechangegroup.com.
• Send over a demo recording of this part
of the script in French, speaking at a slow pace: “Nous avons fourni les résultats de notre enquête à tous les niveaux
38
American Music Theatre, Wardrobe Lead
• Seeking a wardrobe lead for American
Music Theatre’s “Winter Wonderland” 2021.
• Production states: “Lead is responsi-
backstage.com
National/Regional casting
• The Primary Responsibilities Include:
Responsible for sewing, pattern making, build and construction of theatrical costumes for stage/screen. Responsible for every costume including laundering, cleaning, and maintenance. Thorough understanding of the costume design and construction processes and all the related aspects, and how they relate to the overall experience. Changing, quick changing, maintaining, and continuing consistency with the original costume design. Working with the Costume Designer/ Artistic Director (CSM or SM) to identify needs for supplies, equipment, and materials for the wardrobe. Work with Artistic Director (CSM/SM) to create the structure of the wardrobe department training and supervising the wardrobe team, including: Assigns specific duties to all wardrobe crew members. Attend all fittings. Dresses actors or facilitates quick changes for any cast member as needed. Attends specific run-thru and technical/dress rehearsals. Attends all meetings as required. Must be able to lift and carry up to 50 pounds. Must be able to perform physical activities such as, but not limited to, lifting, bending, standing, climbing, and/or walking. Performs other related work as required. • Company: American Music Theatre.
Staff: Daniel Radlbeck, stage mgr.
• Works in Lancaster, PA. • Seeking—Wardrobe Lead: all genders,
21+, all ethnicities.
• Seeking submissions from PA. • Send submissions to jobs@amtshows.
com.
• Pays a competitive bi-weekly salary
commensurate with experience.
Arden Theatre Company 2021-22 Season, Stage Manager
• Seeking stage managers for Arden
Theatre Company 2021-22 Season. Note, all stage manager positions have been filled. However, stage managers may submit to be considered as a possible replacement or for future opportunities. • Season includes: “A Streetcar Named
Desire” (Tennessee Williams, writer; Terrence J. Nolen, dir.; F. Otto Haas Stage 1st Rehearsal Dec. 21; runs Jan. 13-Feb. 13 with a possible extension to Feb. 20); “Backing Track” (R. Eric Thomas, writer; Rebecca Wright, dir.; Arcadia Stage; Rehearsals begin Jan. 25; runs Feb. 17-Mar. 27 with a possible extension through Apr. 10); “School Girls; Or, the African Mean Girls Play” (Jocelyn Bioh, writer; Amina Robinson, dir.; Arcadia stage; Rehearsals begin Apr. 12; runs May 5-June 12 with a possible extension through June 26); and “Into the Woods” (Stephen Sondheim, music and lyrics; James Lapine, book; Terrence J. Nolen, dir. F. Otto Haas; Rehearsals begin May 3; runs May 26-June 26 with a possible extension to July 10). • Company: Arden Theatre Company.
Staff: Terrence J. Nolen (he/him), producing artistic dir.; Jonathan Silver (he/ him), assoc. artistic dir.
• Rehearses and runs in the Philadelphia,
PA area.
backstage.com
• Seeking—Stage Manager: 18+. • Seeking submissions from PA. • For consideration as a possible replace-
ment or for future opportunities, submit resume to casting@ardentheatre. org. Submissions deadline is EOD Aug. 20.
• 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 $1,109/wk. (F. Otto Haas Stage/
consideration for stage management positions at City Theatre Company. Current season includes “Live from the Edge-Universes” (Rehearsals begin TBD; tech runs Oct. 5-8; runs Oct. 9-31); “An Untitled New Play” (Justin Timberlake, writer; Matt Schatz, music, book & lyrics; Reginald L. Douglas, dir. Rehearsals begin Nov. 2; tech runs Nov. 2-26; runs Nov. 27-Dec. 19); “The Medium,” SITI Company (Rehearsals begin TBD; tech runs Jan. 18-21, 2022; runs Jan. 22-Feb. 13); “Paradise Blue” (Dominique Morisseau, writer, Kent Gash, dir. Rehearsals begin Feb. 15; tech runs Mar. 8-11; runs Mar. 12-Apr. 3); and “The Garbologists” (Lindsay Joelle, writer; Monteze Freeland, dir. Rehearsals begin Apr. 5; tech runs Apr. 26-29; runs Apr. 30-May 22). 2021-22 season have been filled. Any interested SMs may submit for potential future positions.
• Rehearses and performs in Pittsburgh,
PA.
• Seeking—Stage Manager: 18+, all
ethnicities.
• Seeking submissions from PA. • For consideration for potential future
positions submit resumes to Monteze Freeland, Associate Producer at submissions@citytheatrecompany.org. Submissions deadline is Aug. 19.
• 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. Equity LORT D Non-Rep
Contract.
Cleveland Play House 202122 Season, Stage Manager
• Seeking Equity stage managers for the
Cleveland Play House 2021-22 season.
nation. 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.
Cleveland, OH.
• Seeking Equity submissions for future
Staff: Marc Masterson, artistic dir.; Clare Drobot, assoc. artistic dir.; Monteze Freeland, assoc. prod.; James McNeel, managing dir.
Maryann Morris, assoc. dir. of production.
• Season rehearses and runs in
City Theatre Company 202122 Season, Stage Manager
• Company: City Theatre Company, Inc.
• Company: Florida Repertory Theatre.
• Company: Cleveland Play House. Staff:
LORT C) and $911/wk. (Aracadia Stage/ LORT D). Equity LORT C & D Non Rep Contracts.
• All stage management positions for the
Season includes: “Where Did We Sit on the Bus?” (Brian Quijada, writer; Matt Dickson, dir. Rehearsals begin Sept. 28; runs Oct. 29-Nov. 14), “Light it Up!” (Jason Michael Webb and Lelund Durond Thomspon, writers of new musical; Christopher Windom, dir. Rehearsals begin Nov. 2; runs Dec. 3-22), “The Three Musketeers” (Catherine Bush, writer; Laura Kepley, dir. Rehearsals begin Jan. 4, 2022; runs Feb. 11-27), “Antigone” (Sophocles, writer; Lauren Keating, dir. Rehearsals begin Feb. 8; runs Mat. 11-22), and “I’m Back Now” (Charly Evon Simpson, writer. Rehearsals begin Apr. 5, 2022; runs May 5-22).
• Seeking—Stage Manager: 18+. • Seeking submissions from OH. • For consideration, email resume to
casting@clevelandplayhouse.com, Attn: Maryann Morris, Associate Director of Production. Submissions deadline is Aug. 20.
• 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 $1,202/wk. (LORT B), $911/wk.
(LORT D). Equity LORT B & D Non-Rep Contracts.
Florida Repertory Theatre 2021-22 Season, Stage Manager
• Seeking stage management submis-
sions for “West Side Story.” Submissions will also be accepted for consideration for replacements in the season’s other shows. Season includes “The Woman in Black” (Stephen Mallatratt, adaptation; Susan Hill, novel as source material; Steve Pacek, dir. Rehearsals begin Oct. 5; runs Oct. 26-Nov. 14); “West Side Story” (Arthur Laurents, book; Leonard Bernstein, music; Stephen Sondheim, lyrics; Kody C Jones, dir. Rehearsals begin Nov. 2; runs Nov. 23-Dec. 15); “Morning After Grace” (Carey Crim, writer; Chris Clavelli, dir. Rehearsals begin Dec. 14; runs Jan. 4-26, 2022 with a possible extension through Jan. 30); “Driving Miss Daisy” (Alfred Uhry, writer; Maureen Heffernan, dir. Rehearsals begin Dec. 28, 2021; runs Jan. 18, 2022Feb. 13); “Into the Breeches!” (George Brant, writer; Eleanor Holdridge, dir. Rehearsals begin Jan. 18, 2022; runs Feb. 8-Mar. 5); “Buddy: The Buddy Holly Story” (Alan Janes, writer; Jason Parrish, dir. Rehearsals begin Feb. 23, 2022; runs Mar. 16-Apr. 11 with a possible extension to May 2); “A Doll’s House” (Lucas Hnath, writer; Chris Clavelli, dir. Rehearsals begin Mar. 23, 2022; runs Apr. 13-May 16); “Maytag Virgin” (Audrey Cefaly, writer. Rehearsals begin Mar. 22; runs Apr. 12-May 22).
39
Staff: Greg Longenhagen, artistic dir.; Jason Parrish, assoc. artistic dir.; John Martin, exec. dir. • Season rehearses and performs in Ft.
Myers, FL.
• Seeking—Stage Manager Positions:
18+, all ethnicities.
• Seeking submissions from FL. • For consideration, submit a resume
with “Stage Manager Search” in the subject line to auditions@FloridaRep. org. Stage Manager resumes will also be accepted as possible replacements for other productions. The season outlined is subject to change. Submissions deadline is Aug. 20. • Equity’s contracts prohibit discrimi-
• LOA approval/salary level pending;
2019-20 weekly minimum: $682). Housing provided for out-of-town performers.
‘Personality: The Lloyd Price Musical,’ Stage Manager • Seeking Equity stage managers for
“Personality: The Lloyd Price Musical.” • Company: People’s Light. Staff:
People’s Light Theatre & B. Jeffrey Madoff of The Hard Kill, LLC, prods.; Eric Cornell, exec. prod.; Sheldon Epps, dir.; Edgar Godineaux, choreo.; Kaeli Carr, assist. choreo.; B. Jeffrey Madoff with Lloyd Price, book; Lloyd Price, music-lyrics; Shelton Becton, music dir.; Erin Sheffield (People’s Light) & Adam Hess (DR Theatrical Mgmt), GMs; Duncan Stewart (CSA of Stewart/Whitley), casting dir.; Micah Johnson-Levy & Samantha Walsh, casting assistants. • Rehearsals begin Feb. 1, 2022; runs
Mar. 2-27 in Malvern, PA.
• Seeking—Equity Stage Manager: 18+,
all ethnicities.
• Seeking submissions from PA. • For consideration, submit resumes to
Chaz Brastow, Director of Production via e-mail at brastow@peopleslight. org or mail to Chaz Brastow, Director of Production, People’s Light, 39 Conestoga Road, Malvern, PA 19355. Submissions deadline is Aug. 19. • Equity’s contracts prohibit discrimi-
nation. 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. Equity Non-Rep LORT D
Contract.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
08.19.21 BACKSTAGE
Ask An Expert Agents Education Film Headshots Television Theater Unions Voiceover
Q:
What should I do while I’m in school to jump-start my acting career?
—@samson.curtis
Our Expert Jeff Kaplan is a dance and theater professor and Backstage Expert.
*Submit questions for our Experts on Backstage’s Facebook, Instagram, or Twitter accounts, or via our forums page at backstage.com/forums! The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.
BACKSTAGE 08.19.21
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ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; KAPLAN: COURTESY JEFF KAPLAN
Great question! I appreciate your impulse to think strategically. Your query also reflects an understanding that success in the performing arts takes time. In most cases, the “big break” or “discovery” occurs more often in stories than it does in real life. For the majority of working performers, professional advancement is a process of one opportunity leading to the next, so thinking ahead indicates a precocious sense of how career trajectories in the arts unfold. The following advice might seem unsatisfying, but in my view, students should focus on school while they’re in school. Professional opportunities can be exciting for students, but they should not come at the cost of their education. Students shouldn’t be taking on commitments during the semester that conflict with their college classes or rehearsals; they’ll end up dashing between campus and outside venues, which eats up a lot of time. Unless you return to school for a graduate degree, these four years are a unique opportunity. In all likelihood, you won’t have an assemblage of experts focused on your development or the space in your life to luxuriate in learning ever again. Consequently, you should use this time to absorb as much knowledge as possible. Study a foreign language; take literature classes; learn about history; throw in a personal finance course; read constantly; try out an instrument. Investing in knowledge will inform your future work. The more you know and the greater your ability to think critically, the more insight you will bring to your roles. You can further your career in performance within the framework of higher education, however. Summer internships have a way of turning into full-time employment after graduation. Participate in a study abroad program. Develop professional materials (headshots, résumé, website) during your coursework. Audition for everything in your department. Create a system of organization for all of your projects, papers, and notes so you can use them as future reference. See as much live performance as you can. Revel in these four years of training so that you come out of your program with full momentum into the professional world.
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