Backstage Magazine Digital Edition: October 14, 2021 by Backstage

10.14.21

State of the Entertainment Industry: Special Report

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Contents

vol. 62, no. 29 | 10.14.21

Cover Story

The Green Room

A Harder Cover Story The Green Room Line Against Prospecting Streamers for GoldAdvice

4 IATSE votes to authorize a strike 5 This week’s roundup of who’s casting what starring whomaudience boom 6 Broadway’s 6 Ana8 Villafañe on reopening This week’s roundupBroadway of who’s as Roxiecasting Hart inwhat “Chicago” starring whom

10 Annie Murphy reflects on WhatYour you need toguide knowto the official “Schitt’s Creek” about SAG-AFTRA and IATSE’s 2020 Oscar nominations 9 NOTE FROM THE CD call for equitable paypage 16 Guiding your self-tape page 12

Advice

10 # IGOTCAST 13 CRAFT

GabbieSurvive Briella and thrive

10 S ECRET MAN 13 #AGENT IGOTCAST

Whatever happened to “normal”? Mark Beauchamp

14 SECRET AGENT MAN Features

The power of intention

3 BACKSTAGE 5 WITH... Lucy Fry

Features

8 MEET THE MAKER 4 BACKSTAGE 5 WITH...

Mia Hansen-Løve, David Alan Grier “Bergman Island” writer-director

MEET THE MAKER 9 THE12 ESSENTIALISTS

Cathy Yan, “Birds of Prey” Rela Martine, makeupdirector department head

14 TROOM HE ESSENTIALISTS 11 IN THE WITH

AndreaJeremy Toyias Woodhead, hair and makeup designer 14 CHANGE ARRIVES ON BROADWAY; 15 IT INLAST? THE ROOM WITH WILL Victoria Thomas The 2021–22 season will see eight Black writers produced—a record 21 OUR DREAM BALLOT 15 THE 101And ON the THE2020 CCOOscar SHOULD have agone Introducing new to… industry gig: the COVID-19 compliance officer 32 ASK AN EXPERT Amy Russ on principal and 16 THE FUTURE IS GREEN background Hollywood can do itswork part to combat climate change; here’s how

Casting 22 ASK AN EXPERT Daryl the best tools 22 Eisenberg New Yorkon Tristate for a self-tape 27 California

Casting 28 National/Regional 17 New York Tristate

Cover illustration by John Jay Cabuay.

Cover designed by Ian Robinson. 19 California

20 National/Regional Photo by Saikorn/shutterstock.com. Cover designed by Ian Robinson.

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Backstage 5 With...

Lucy Fry By Allie Volpe

Australian actor Lucy Fry has played her fair share of supernatural characters: an elf in the Netflix film “Bright,” a mermaid on the Australian TV show “Mako Mermaids,” and now a vampire in another Netflix feature, “Night Teeth.” (She does also take on human roles, including mob boss daughter Stella on Epix’s “Godfather of Harlem.”) Here, she discusses the importance of grounding every character in reality and the joys of working on Netflix productions.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: QUINN JEFFREY/SHUTTERSTOCK.COM

What advice would you give your younger self? When I was a little younger, it was about [asking]: Where am I going to get? how am I going to get there? It always seemed so hard and so far. Being in a place now where I’m working consistently, I wish I could just tell her, “It’s OK. Enjoy it. Enjoy the struggle, enjoy the breakthroughs, and don’t think about it too much. Just be in your life now.”

Tell us about your first day on a professional set. My first day on a professional set was a job called “Lightning Point” in Australia. I was playing a surf-crazed alien with two girls who are two of my closest friends now. I remember we were filming in these cornfields in Queensland and [feeling] the excitement of doing it professionally for the first time, doing something that I had trained for years in, and being paid to do what I love. I felt so much pressure to do a good job. It was just a nothing scene—walking into a cornfield on a kids’ show—but I remember feeling so thrilled.

What is your worst audition horror story? I had just done a film that was quite intense, and a bit of intense life stuff [was] happening at the same time. You know [how] when big stuff has happened, you can feel a little shocked and out of your body? I was in the audition and the scene was: She’s finding out she has cancer, and she’s crying about dying. In the scene, I was in so much shock that I didn’t get any of the beats, and there was zero emotion. And then they said cut, and I started crying after. I was so embarrassed.

What performance should every actor see and why? I went to Lincoln Center years ago because you can watch archives of plays there. I watched “Jerusalem” with Mark Rylance. His performance in that was really deep and inspiring; and the ending of it, where he plays this drum, it gets into your bones, even watching it on a recording in a library. That kind of depth that can translate through a screen—I can’t imagine how it would’ve felt in the audience. I feel like he channels an energy that’s greater than himself.

What’s the wildest thing you ever did to get a role? I do remember for “Bright,” I had always wanted to play an elf, and that was the first time I got to audition for an elf. It was a dream of mine when I saw “Lord of the Rings” as a kid. I auditioned four or five times and wrote to [director] David Ayer. And every time I went into the audition room, I just left everything on the floor.

“When I treat the character with that respect, as if they’re a friend, it becomes real—even though they might be an elf.”

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10.14.21 BACKSTAGE

HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! FACEBOOK.COM/BACKSTAGE

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Unions

IATSE Votes to Authorize a Strike

If the union does choose to stage a walkout, it will effectively shut down film and TV production By Diep Tran

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“The members have spoken loud and clear,” said IATSE president Matthew Loeb. “This vote is about the quality of life as well as the health and safety of those who work in the film and television industry. Our people have basic human needs, like time for meal breaks, adequate sleep, and a weekend. For those at the bottom of the pay scale, they deserve nothing less than a living wage.” IATSE represents over 150,000 technicians, artisans, and craftspeople in film, TV, and theater in the U.S. and Canada. The current negotiations with AMPTP are for two contracts: the Basic Agreement and the

Area Standards Agreement. These two film and TV contracts cover 36 IATSE Locals and 60,000 members across the country. Of those members, almost 90% participated in the strike authorization vote. If IATSE chooses to strike, it will effectively shut down film and TV production nationwide. AMPTP has released a statement saying that it “remains committed to reaching an agreement that will keep the industry working. We deeply value our IATSE crew members and are committed to working with them to avoid shutting down the industry at such a pivotal time, particularly since

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AN OVERWHELMING MAJORity of International Alliance of Theatrical Stage Employees (IATSE) members voted to authorize a film and television production strike after contract negotiations with the Alliance of Motion Picture and Television Producers stalled. IATSE leaders’ request from their membership to authorize a strike if needed were approved, with almost 99% voting yes. While the authorization vote does not mean the union will go on strike, it does mean additional leverage for IATSE. The union and AMPTP have resumed negotiations after coming to a standstill last month.

the industry is still recovering from the economic fallout from the COVID-19 pandemic. A deal can be made at the bargaining table, but it will require both parties working together in good faith, with a willingness to compromise and to explore new solutions to resolve the open issues.” The possible IATSE strike garnered support from other entertainment unions, as well as politicians. California’s state senators released an open letter to AMPTP president Carol Lombardini to “negotiate fair successor contracts with IATSE.” “We urge the AMPTP to recognize the sacrifices made by workers in this industry, to negotiate in good faith, and to reach a fair contract to address the core issues of health and safety, reasonable work hours, and fair pay,” said the letter, which was jointly signed by 50 California state senators and Assembly members. New York State senators also sent a joint letter pointing out that the long work hours required by producers have been detrimental to the health of crew members. U.S. Representative Alexandria Ocasio-Cortez and Senator Elizabeth Warren have also expressed support for IATSE. SAG-AFTRA president Fran Drescher and national executive director Duncan Crabtree-Ireland also released a joint statement supporting the IATSE strike authorization, saying, “The results of the IATSE strike authorization vote are a resounding call for fairness, dignity, and respect on the job.”

MARGAUX QUAYLE CANNON

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The show follows Dr. Sam Griffith, who takes over as head of surgery after an accident leaves her boss—who is also her father—in a coma. But the gifted heart surgeon is put to the test when he suddenly awakens, demanding his position back. La Padura & Hart Casting is aboard the project, and has so far attached Sophia Bush in the lead role, plus Jason Isaacs, Edwin Hodge, Skye P. Marshall, Davi Santos, Omar Maskati, and Marium Carvell. The series begins production this month.

What’s Casting

Neil Gaiman Is Back on the Small Screen His latest DC Comics adaptation is searching for its Dead Boy Detectives 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!

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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. “Dead Boy Detectives” From “Doctor Who” to “Good Omens” to “American Gods,” Neil Gaiman has been taking

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over the small screen these last few years, and we’re not complaining! His next screen outing is an adaptation of his 1991 DC Comics characters the Dead Boy Detectives, whom he created as a part of the “Sandman” comics in 1991 alongside artists Matt Wagner and Malcolm Jones III. The creators will serve as consultants on the DC Vertigo pilot for HBO Max, which will be penned by Steve Yockey, Jeremy Carver, and Greg Berlanti. The science fiction thriller follows two boys who refuse to move on to the afterlife despite their untimely

deaths. The boys stay behind on Earth and join forces with a living human to investigate crimes with supernatural elements. Rapaport/Baldasare Casting is attached but has yet to publicly link any actors to the project. Preproduction is underway, and filming is scheduled for late November 2021. Vancouver will host the series during its monthlong shoot.

“Class of ’09” A group of FBI agents who graduated from Quantico together are about to have an unfortunate class reunion after the death of a classmate on a new FX on Hulu limited series. “Class of ’09” is set in a future when criminal justice work has largely been taken over by artificial intelligence; the show will weave together timelines spanning 30 years, examining the choices that have molded the central heroes. The series is being written and executive produced by Tom Rob Smith (“The Assassination of Gianni Versace: American Crime Story”). Brian Tyree Henry and Kate Mara have already been added to the project through Ronna Kress Casting. The production is slated to start shooting later this month in Atlanta.

“Good Sam” CBS has greenlit “Good Sam,” an hourlong medical drama from the executive producers of “Jane the Virgin,” created by series writer Katie Wech.

For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!

FILM

Tilda Swinton Gets Musical By Casey Mink

THOUGH IT’S AN UNLIKELY PREMISE for a movie musical, “The End,” which is about the last family of human beings on Earth, has booked a stacked cast. Joining the musical feature from director Joshua Oppenheimer are Tilda Swinton, George MacKay, and Stephen Graham. Slated for a 2022 production start date, the project will come courtesy of “Parasite” distributor Neon; it will feature original music by Josh Schmidt.

10.14.21 BACKSTAGE

Ana Villafañe

Backstage Live

had their break yet. Just being part of the reopening, for me, is very much a love letter to the artist community at large.”

A New Roxie Hart Reopens Broadway

Ana Villafañe steps in as the iconic “Chicago” leading lady By Phoebe Yates

The following audience Q&A for our on-camera series Backstage Live 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 takeovers and to submit your questions.

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Live to chat about Broadway’s reopening and stepping into those legendary jazz shoes. Villafañe is honored to be reopening Broadway. “We talk a lot about Broadway and how Broadway’s reopening. But regional theaters, tours, all of the performing arts—all of [these] artists have been out of work and have been really suffering. It’s not even about having the jobs; it’s about having the hope. You can wake up and say, ‘I’m going to at least audition—put myself out there.’ We can’t let that die. I think a lot about people who haven’t

FILM

The Obamas Go Prestige By Casey Mink

Becoming a professional actor requires constant improvisation. “Back yourself. No one can do that for you; no one will do that better than you. And there’s only one of you, so [bringing anything] to the table that comes from a place that is specifically yours—or comes from any place of truth—is irreplaceable. And I think a lot of times in this business, you’re made to feel like you are replaceable. And sure, there’s always going to be someone waiting in line; there’s always going to be understudies and all these things. So if you approach it with humility but with enough confidence to back yourself, you’re setting yourself up to win. And you have to be adjustable. That’s the thing about this career: It’s a constant improv game.” Want to hear more from Villafañe? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

BARACK AND MICHELLE OBAMA HAVE slated their first narrative project under their Higher Ground production banner, and it is, naturally, brimming with talent. “Rustin,” a biopic about the civil rights and gay rights activist Bayard Rustin, has cast Colman Domingo as its leading man. He’ll be joined by Chris Rock, Audra McDonald, and Glynn Turman in the feature, which George C. Wolfe will direct for Netflix. Wolfe also wrote the script alongside Dustin Lance Black, who won an Oscar for his “Milk” screenplay.

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EMILIO HERNANDEZ

ANA VILLAFAÑE IS BACK ON her feet. The actor made her Broadway debut playing a young Gloria Estefan in 2015’s “On Your Feet!” after being discovered by none other than the singer herself. Now, she’s returning to the Great White Way as Roxie Hart in the long-running revival of “Chicago.” The role will mark a homecoming of sorts for Villafañe, as the actor spent much of the pandemic exploring the world of television, from featured roles on “Younger” and “New Amsterdam” to shooting NBC’s remake of “Night Court.” Villafañe jumped on Instagram

She says that the creative team treated the post-pandemic iteration of “Chicago” like an original show. “I was extremely empowered by the creative team. When I met with [director] Walter [Bobbie] initially about this, I was honest with him, and I was like, ‘I’ve never seen the show on Broadway.’ And he was like, ‘That’s a good thing, because you’ll create it from your own perspective, and you won’t be trying to redo someone else’s version or trying to paint by numbers in any way.’ And he

was in the rehearsal process with us; he built this show as if it was an original company, and preexisting cast members had to relearn the show…. I’m very, very grateful that I got that time to really discover, because usually it’s like, ‘Wham, bam, thank you, ma’am.’ They just inject people in, teach you with stage management and dance captains on your own for a couple days, maybe a week, and then you jump into the show. Kind of [a] trial by fire.”

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Mia Hansen-Løve, “Bergman Island” writer-director By Murtada Elfadl

Mia Wasikowska in “Bergman Island”

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questions have been answered. Her latest, “Bergman Island,” in theaters Oct. 15, follows a filmmaking couple, Chris and Tony (the latter portrayed by Tim Roth) visiting Fårö, the island where Bergman lived. They are both working on screenplays, though writing is easier for him than it is for her. Employing a film-withina-film device, we see Chris’ screenplay come to life as Amy (Mia Wasikowska) also visits Fårö and reconnects with an old flame, Joseph (Anders Danielsen Lie). “Chris and Amy are two sides of the same person, shown at different moments. Yet I never thought they could be played by the same actor,” says Hansen-Løve, explaining

how she cast the film. “Vicky had vulnerability and fragility but also authority—I could see her as a director—while Mia had this innocence about her. I could see her as this eternal teenager, someone who cannot overcome their first love. She’s a prisoner of her feelings. Mia has a lot of experience as an actor, but on set, I felt I was filming an unprofessional actor. She had this openness and freedom in front of the camera, not paying attention to how she would look.”

“I really believe that the way I behave with actors, as a human being with authenticity, will influence the mood of the film.”

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“HORROR WITHOUT catharsis” is how Chris (Vicky Krieps) describes the films of Ingmar Bergman in “Bergman Island.” By contrast, the films of Mia Hansen-Løve always include some form of release, for both her characters and the audience. Hansen-Løve describes that as the heart of why she makes cinema at all. “Bergman, [whom] I love very much, explores the brutality of human relationships. But I couldn’t make my own films this way, because I need catharsis,” she says. Instead, Hansen-Løve’s movies—which include “Things to Come” and “Maya”—are about intellectuals and artistic types in everyday situations. But by the end, you often feel like life’s big

Both of the film’s stories deal with intimate relationships—or as Hansen-Løve puts it, “the difficulty of finding somebody with whom you can have everything. Something’s missing in both relationships.” However, she adds, there are differences between the two couples, too: “Joseph and Amy’s relationship is more physical, more sensual, whereas the bond between Chris and Tony seems more cerebral, yet they have this complicity that comes from doing the same job.” To capture that kind of intimacy on film, Hansen-Løve built a foundation of trust with the actors. “I really believe that the way I behave with the actors, as a human being with authenticity, will influence the mood of the film,” she says. Krieps, who’s known for her breakout role in “Phantom Thread,” is the only actor of the quartet who appears in both stories. That deepened the bond between the actor and director. Says Hansen-Løve, “We developed this strong relationship that had to do with all the obstacles we had to overcome in order to make the film. I spent so many months on the island with Vicky. She brought her kids, I brought my kid, and we became like family.” Hansen-Løve’s mining of her own life for film may seem effortless, but that just means she’s good at her job. “I’m happy it looks easy, but nothing is actually easy, and it’s certainly not easy to create fiction from your own life,” she says. “Part of why you make films is to try to reach what you can’t reach in your life.” Her advice to other storytellers is to trust that the complexity of everyday life is enough to sustain your piece. “Events that can seem banal, that everybody experiences, are what life is about,” she says. “That’s what cinema is about, too.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “I KNOW WHAT YOU DID LAST SUMMER”: MICHAEL DESMOND

Meet the Maker

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RELA MARTINE

makeup department head “I Know What You Did Last Summer” is back and deadlier than ever. And on the Amazon Prime Video reboot series, makeup department head RELA MARTINE created looks to die for. Makeup informed performances—and vice versa. “All the actors were these young, gorgeous people, so it was so much fun to just go, ‘We can do anything!’ I also used the actors’ own natural abilities; like, when they’re in my chair, we kinda have to make it up as we go along.

Note From the CD

Guiding Your Self-Tape

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ILLUSTRATION: MARGAUX QUAYLE CANNON; “I KNOW WHAT YOU DID LAST SUMMER”: MICHAEL DESMOND

By Marci Liroff

EARLIER THIS SUMMER, Equity announced new guidelines in the U.K. for scripted projects regarding self-tapes and Zoom auditions. One really stood out: “It is agreed that casting directors should aim for a four-day minimum turnaround, with a maximum of six pages to learn in this time. Minimum turnaround for three pages or less would be three days. No artist should be asked to learn more than six pages for a first self-tape, and there must not be more than two different roles asked for in one self-tape, and no more than two scenes for each role, with no more than two versions of each scene.” Curious what the performers of the world thought, I opened up this discussion to my actor buddies on Facebook. The unanimous complaint was

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about the sometimes unrealistic turnaround time for sending an audition. Tamela D’Amico, for one, describes an extreme example in which she had three hours to prepare an 18-page scene, which was followed by a request to learn a new role in even less time. Then, when she tested for both, the reader’s internet connection kept freezing. “I prepped so well for this, and it was blown on their end,” she recalls. “I love self-taping and booked my last four projects off of it. I love the control you have. It’s just the other factors beyond my control that have been hiccups.” Speaking for casting directors, please know we don’t put actors in these situations on purpose. I try to give them as much prep time as possible. I’ve noticed that even when I send

‘If you’re crying in that scene and you wipe your makeup, how would you wipe it? Show me how you’d do it with your hands.’ And then they would show me what they would do in the scene, which probably set them up to know what they were actually going to do.” There’s more to fake TV blood than meets the eye. “There’s a lot of different kinds. There’s ones that won’t stain at all, [and] there’s blood that intentionally will. Some of them—there’s glycerin, there’s sugar, there’s a

out the audition first thing in the morning, agency assistants often don’t send them to the actor until the end of the day because they’re busy. My advice is to become besties with your agent or manager’s assistant and ask them to send auditions to you upon receiving the request. That way, you can get coaching and have more time with the material. I’m all for a more generous turnaround time, but sometimes it’s simply not possible due to conditions that are out of my control. In terms of having a bad reader: Yes, that can happen, too, but you have to learn how to “bring it” in any situation. You never know who you’ll be acting opposite on set once you’re hired. In the case of CGIheavy projects, you could be reading to a piece of tape on a green screen! Another actor on Facebook expressed concern that straight offers are now a thing of the past thanks to the rise of selftapes. I don’t feel that they have precluded straight offers;

By Casey Mink

lot of nontoxic stuff, so it’s totally skin-friendly. I use a lot of mouth blood, because I know that mouth blood is OK to go in the mouth if it gets anywhere near it…. Blood can also get sticky and it’s uncomfortable, so patience would be the biggest thing there. But it’s transforming.”

those still exist, and we are seeing people simultaneously as backups when the offer is out, just as before. In that case, I always tell those auditioning that there’s an offer out so that they can choose whether they want to audition. It’s all about full transparency. Self-tapes are nothing new. They help us cover a lot of ground, as there simply aren’t enough hours in the day to see everyone in the room. And while in-person auditions are preferred, the pandemic has made self-tapes the norm. That said, I am not defending the self-tape and all it entails for the actor. I know it’s a lot, and you can feel like you’re in a vacuum with no feedback. But on the plus side, you do have more control over the audition you’re handing in.

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Read our full Note From the CD Want more? at backstage.com/ Allarchives our Backstage Experts can be magazine found at backstage.com/magazine

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Whatever Happened to ‘Normal’?

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with all of my clients: Are things getting better? Are they getting worse? Will I ever see a casting director in person again? These questions have been relentless, and I don’t see them stopping any time soon. The problem is that the casting process has drifted so far from normal that I can’t see a future in which the business returns to where it was before the pandemic. Hell, I can’t even say the word “normal” without a smirk on my face. It’s been my experience that once the genie is out of the bottle, there’s no putting him back in.

The casting process has drifted so far from normal that I can’t see a future in which the business returns to where it was before the pandemic.

By Jalen Michael Though she isn’t located in what’s considered a traditional acting town, young actor GABBIE BRIELLA uses Backstage to stay connected to the industry—and to book jobs, of course. Wherever you are, Backstage keeps you close to the action. “Coming from a very tiny town in Georgia, my family and I never really knew where or how to find auditions that were safe and legitimate. So when we came across Backstage through an internet search a few years ago, it was the perfect solution!” Acting is about stretching your truth. “I love playing the villain or the ‘mean girl,’ as well as bubbly high school characters and very intense emotional characters, too. I always like to stretch myself and play characters outside of my comfort zone.” Tell fear to back off. “My best advice would be to go for it! Even if you have low confidence or don’t think you can do it, go for it and don’t let fear keep you from what could be a great opportunity!”

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; BRIELLA: MEGAN DOUGHERTY PHOTOGRAPHY

I’VE ALWAYS LOVED THE movie “Groundhog Day.” For you younger readers who don’t know Billy Murray: First of all, shame on you. But excellent, more recent iterations with the same conceit include “Palm Springs,” “Happy Death Day,” “The Map of Tiny Perfect Things”—the list goes on! Point is: As in those movies, I have had moments this year when I felt stuck in a repeating cycle I did not create. This year began on a dark note with all the madness that took place at the Capitol and the never-ending reports about surging COVID-19 numbers. By spring, our future started to look brighter. Then we realized that brightness was a fakeout—a soft left meant to distract us from the right hook that was about to slam us in the face. During the last 10 months, I’ve had the same conversation

Gabbie Briella

RAQUEL APARICIO

Secret Agent Man

It’s unfortunate. I have clients who light up the room when they walk in. They always end up chatting with the casting director before and after their audition. That level of personal connection is now a distant memory. Every single audition is a request for an actor to self-tape at home. Then, callbacks are virtual. That means you get to pour your heart out for a gallery of small faces on your monitor, and every callback starts with those faces telling others to unmute. The breakdowns we submit to clients now have notices about COVID-19 vaccination requirements for Zone A employees, which is the inner circle of the actual shoot. That means I had to ask every single one of my clients if they were vaccinated. Most answered yes, but a few protested and told me I had no right to ask. Those actors were dropped. My patience for nonsense is stretched pretty thin these days. On the plus side, every production has a strict policy that involves multiple COVID19 tests, and actors get paid for those! I have a client who worked on a futuristic show this year that needed her for several extra days of fittings and prosthetic work. She actually made more getting tested for COVID-19 than she earned as a performer. How’s that for a new world order? As for agents, some of us are back in the office and some aren’t. My life is a mix of both. Working from home has some benefits, but I miss the energy of being around a team of people focused on a common goal. Plus, my suits are getting dusty. So what happens next? I asked my magic eight ball if the industry would ever get back to normal. It responded: “Signs point to yes.” That’s not much to go on, but after the year we’ve had, I’ll take what I can get.

culture +

Spotlighting the people and projects you need to know In the Room With

Andrea Toyias

The CD behind “Diablo IV” and other hit titles on how she casts for video games By Lisa Granshaw

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; BRIELLA: MEGAN DOUGHERTY PHOTOGRAPHY

FROM FIGHTING DEMONS IN THE “DIABLO” FRANCHISE TO choosing to join the Alliance or the Horde in “World of Warcraft,” part of what draws players to Blizzard Entertainment’s video games are the incredible characters they meet along the way. Finding actors that can give them life is the task of Blizzard’s senior casting and voice director, Andrea Toyias. What was it like casting “Diablo IV”? “Diablo IV” is a very specific game, and I think some people still have the idea that video games are kind of fun and comical and silly and over the top. More and more, we’re not looking for cartoony voices; we’re looking for very grounded, gritty, real performances. Voice acting is very hard. When you’re on camera or onstage, you’ve got your face. You can make a sad face or your “blue steel” face, but for voice acting, I need to hear the entire realm of the human

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experience in your voice. That’s really, really difficult, and I don’t think people realize how hard that is unless they’ve done it. For “Diablo IV,” it’s very dark, very grim. It’s a game of rough existence. It’s been challenging. We’re looking all over the globe, because there are lots of accents, to really find performances where people, through their voice alone, can convey the weight of the world. How do you get people to that place in an audition? Oddly enough, we really talked about

COVID-19, because what I have to do as a voice director is take our crazy fantasyscape and make it real. So rather than going, “You’re in a land infested with demons,” we were talking about COVID-19 and how it’s hard. You’re tired and you’re exhausted, and every day there’s more bad news. Think about the weight that COVID-19 has put on you and channel that into your performance, rather than going, “You’re attacked by an onslaught of demon goats.” That doesn’t make sense to anybody. What does make sense is connecting to your own experience of COVID-19 and knowing and feeling safe enough to share with me the fatigue, exhaustion, and sadness in your voice to connect with “Diablo IV.” It’s actually been quite interesting

to cast for a game that’s all about the weight of existence during a time that itself has a weight of existence. I think for the actors I’ve found so far who’ve recorded, it’s almost like an outlet. When they come in on “Diablo IV,” actors don’t have to hide what they’ve been going through for the year. If you’re tired and exhausted and sad and a little bit scared, don’t push that away for the session. Bring that into the session, because that’s “Diablo IV.” It’s been kind of exciting and hard and heavy, but to let the truth of our own lives come into the game—I think that’s really going to sell the game and make our characters more real and empathetic. What advice would you give actors who want to work in video games? I meet a lot of people who are like, “Hey, I can do 55 voices. Here’s my reel of me doing all these different sounds and characters, and it’s funny.” And that’s not who we are any more as an industry. We’re storytellers at the heart of it. If you want to get into voice acting, are you going to need to do different accents and vary your voice? Yes, absolutely. But that’s not what’s going to make you successful. My fivestar actors are the ones who are actors first. The more you can open your heart, the more you can really dive into your truth, the more successful you’re going to be. The best actors I work with are the ones who give me all their baggage, give me all their human story, but on top, can vary it as a demon goat or an orc with textures and sounds and accents. The sound is the background. The acting is the forefront.

Want more?

Read the full interview at backstage.com/magazine

10.14.21 BACKSTAGE

What you need to know about SAG-AFTRA and IATSE’s call for equitable pay By Diep Tran

IN AUGUST, TOM HANKS TOLD SAG-AFTRA MEMBERS, “THE future of SAG-AFTRA is streaming.” This was part of his endorsement of Fran Drescher, who at the time was running for president of the union. Drescher, whose campaign platform included addressing streaming issues, won the election. The rapid growth of services like Netflix, Hulu, Amazon Prime Video, and more has become an issue that has not only upended Hollywood’s distribution model, but has divided SAG-AFTRA and may cause the International Alliance of Theatrical Stage Employees (IATSE) to go on strike. When it comes to film and television contracts, SAG-AFTRA negotiates with the Alliance of Motion Picture and Television Producers (AMPTP). But in 2019, the union negotiated a separate agreement with Netflix that applied to any scripted project produced and distributed by the

streaming giant. It established a residual structure for works that are licensed by Netflix, as well as those produced by the platform. Then, in 2020, SAG-AFTRA brokered a TV and theatrical contract that covered film, television, and new media (which includes streaming). The union

negotiated 2.5–3% yearly wage increases over the three years of the contract. SAG-AFTRA prides itself on having increased the amount of residuals paid out to members whose works appear on streaming platforms. Currently, residuals are calculated based on the amount that a performer was originally paid and how many subscribers the streaming platform has. It’s estimated that performers will see a gain of over $750 million in streaming residuals over eight years. Unfortunately, in exchange, SAG-AFTRA agreed to a new residual structure for broadcast television, costing actors over $170 million in network residuals, according to the Hollywood Reporter. This move was heavily criticized by members of SAG-AFTRA.

In an interview with the Wrap, Drescher said that one of her priorities as the new guild president will be further improving wages and residuals from streamers. (She will serve for two years.) “It’s frustrating to not know how well a show does on a streaming platform and that our members are not benefiting equitably,” said Drescher. “For this reason, I think the structure for the contract should be reconsidered. A ratio of monies paid to a member must remain in direct correlation with the deal made with the studio. If the studio makes money, the member should, too, and the health plan needs to be paid into. There must be a clean relationship where everyone makes money as well as gets benefits, as long as the project does.”

SEAN LOCKE PHOTOGRAPHY/SHUTTERSTOCK.COM

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DANIEL CONSTANTE/SHUTTERSTOCK.COM ; LEV RADIN/SHUTTERSTOCK.COM

A Harder Line Against Streamers

DANIEL CONSTANTE/SHUTTERSTOCK.COM ; LEV RADIN/SHUTTERSTOCK.COM

SEAN LOCKE PHOTOGRAPHY/SHUTTERSTOCK.COM

Drescher also said that the current residual income from streamers is comparable to broadcast residuals: “I know that many of our members survive on their residuals. We want to make sure that we’re continuing to do the best for them. In the past few years, the union has developed a residual formula which gets every actor paid money for as long as a show stays on that platform, which is great. And the money paid is comparable to the network residuals that had been our lifeblood. So we’ve made strides. I’m going to be looking for ways to keep having improvements made.” Many in SAG-AFTRA agree that wages and residuals from streaming platforms need to increase. The union has two governing parties: Membership First and Unite for Strength. For the past four years, Unite for Strength has been at the head of SAG-AFTRA, as former union president Gabrielle Carteris belongs to that party. Membership First has criticized SAG-AFTRA leadership for “undernegotiating” contracts with streamers and using dated calculation models. “We have lost hundreds of millions of dollars because our contracts have not kept pace with exhibition platforms

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as they have evolved,” notes the Membership First website. “We must look at streaming as the new standard and negotiate contracts accordingly. Streaming residual calculations are outdated and insufficient. It’s time for our union to demand that residuals calculations reflect the extraordinary value of our work, and ensure that we participate in the financial life

of our projects in perpetuity.” Membership First also criticized SAG-AFTRA for “[giving] away broadcast residuals.” SAG-AFTRA members seemed to agree with Membership First. They elected party member Joely Fisher to serve as SAGAFTRA secretary-treasurer under Drescher, who belongs to Unite for Strength. It is rare for SAG-AFTRA to be run on a split ticket.

Fran Drescher, SAG-AFTRA president

Workers in Hollywood are also noticing how much money Netflix, Hulu, Amazon Prime Video, Disney+, and other streaming services are making, and they want a piece of that pie. IATSE, the union that represents crew members and craftspeople, recently rolled out a historic strike authorization vote; nearly 99% of voting members gave union leaders the go-ahead to launch a strike should negotiations with the AMPTP around both working conditions and equitable pay continue to stall. One of the sticking points has been lower wages for streaming films and TV projects because they are classified as “new media.” The rates for new media were set before the explosion of streaming services. The residuals for those projects are also lower, and some streaming projects are not subject to pension or health contributions. “In 2009, IATSE and the studios mutually recognized that the economics of new media productions were uncertain, and that greater flexibility in terms and conditions of employment were mutually beneficial. That is simply no longer the case, and the benefits are no longer mutual,” says IATSE leadership. The union claims that it’s time for streamers to pay up. “New media is media. We helped build it. We deserve to be paid fairly for it.” If IATSE goes on strike, it will effectively shut down film and TV production in the U.S. Drescher, Bradley Whitford, Kerry Washington, Mindy Kaling, and many other actors have expressed support for IATSE. SAG-AFTRA recently released a joint statement supporting the cause. “On behalf of our hundreds of thousands of members working across film and television, we stand in solidarity with our IATSE brothers, sisters, and kin,” the statement reads. “The basic quality of life and living wage rights they’re fighting for in their negotiations are the issues that impact all of us who work on sets and productions. We stand with the IATSE.”

10.14.21 BACKSTAGE

Change Arrives on Broadway; Will It Last?

The 2021–22 season will see eight Black writers produced—a record. By Diep Tran

IT TOOK LYNN NOTTAGE 22 YEARS, SOLD-OUT PRODUCTIONS around the country, and two Pulitzer Prizes to get to Broadway. When she finally did in 2017 with her play “Sweat,” she was one of two Black playwrights produced that season. (The other was August Wilson.)

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first play to reopen Broadway following the pandemic shutdown. Others that have followed or are upcoming are shows by Nottage, Ruben SantiagoHudson, Douglas Lyons, Alice Childress, Dominique Morisseau, Keenan Scott II, and Jeremy O. Harris (whose “Slave Play” will receive a return engagement). This moment has been a long time coming, and it’s the byproduct of behind-the-scenes work by many. Recently, Black Theatre United—founded by a group of Black actors, playwrights, designers, directors, and producers—released its New Deal for Broadway. The document

Deal came out of “honest and robust” conversations, not just among Black artists, but with white people as well, who make up the overwhelming majority of Broadway decision-makers. Broadway is not so much a theatrical genre as it is real estate. There are 41 theaters in New York City classified as Broadway. Historically, those theaters have been mainly accessible to those with a proven track record of producing hits, such as Scott Rudin or Cameron Mackintosh. But that’s not the case this season, as a number of incoming shows are from newer producing teams. “There [are] many Black producers who [before] were like, I’m just going to Hollywood, because I know exactly where I can get the work done I want to do,” says Williams. “I think we will be able to attract Black money to Broadway to produce commercial theater. We already have this season, and I believe it will continue.”

Norm Lewis and the cast of “Chicken & Biscuits”

EMILIO MADRID

In the coming months, Nottage will be on Broadway for a second and third time with two works: a comedic play, “Clyde’s,” and “MJ: The Musical,” based on the life of Michael Jackson. And this time around, she’s in better company; the 2021–22 season will see a recordbreaking eight Black playwrights produced on Broadway. “That is a triumph,” Nottage says. “[These writers] have fought hard, they’ve produced beautiful writing, and they belong on these big stages. I feel so blessed to still be able to do this, and I feel immensely excited, even though I will have to double-mask and [wear a face] shield.” Nottage attributes the relative bounty of Black stories to conversations the theater industry has been having in the last year about diversity; these were sparked by the Black Lives Matter protests in 2020 and propelled by the We See You, White American Theater campaign and the work of numerous advocacy organizations. “It’s this cultural reckoning that we’ve been through; it’s really forced everyone in theater to interrogate their practices, including the theater owners, including the unions, including the producers,” says Nottage, who was one of the original signatories of the We See You, W.A.T. letter. “And the fact that you have [eight] shows scripted by African American writers opening Broadway speaks to this shift.” “Pass Over” by Antoinette Chinonye Nwandu was the

was signed by Broadway’s biggest power brokers, including the Broadway League, Jujamcyn and other theater owners, Actors’ Equity Association, and theater companies such as Lincoln Center. As part of the New Deal, the signatories have committed to a number of provisions: making creative teams diverse, standardizing diversity and sensitivity training across all Broadway productions, and diversifying the Tony Awards voting body. According to theater producer Carole Rothman, who signed the New Deal, the document is a commitment to “do better.” She adds: “It is a call for me to be more responsive and to be more thoughtful about the kind of work that we do and the people that are in it—not just writers, but directors, stage managers, designers, everybody that works on the material that we do.” Director-actor Schele Williams, a founder of BTU, says the New

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COVID compliance on set, order PPE [personal protective equipment] needed, and check vaccination and testing status. PAMELA REMLER: I am certified as a COVID compliance officer for film, but I got certified with Dr. Blythe Adamson with Infectious Economics for “Pass Over” to be a COVID safety manager specifically for theater. They are very different [industries] with very different needs, situations, and economic realities. As we all know with this virus, it is ever-changing with the science, with the different strains, with the contagiousness, with the vaccinations, with breakthrough cases… Our goal is to keep everyone safe and to stop the spread of the virus. We want to be ahead of the virus instead of the virus leading us.

The 101 on the CCO Introducing a new industry gig: the COVID-19 compliance officer

By Jack Smart

F ARMSTRONG PHOTOGRAPHY/SHUTTERSTOCK.COM

A CRUCIAL NEW ROLE HAS EMERGED OVER THE LAST 18 MONTHS in the ever-evolving entertainment industry: the COVID-19 compliance officer (CCO). You’ll be forgiven for not knowing what the job entails, as global pandemics only come around every century or so! As recent casting calls reflect, many screen and stage projects are requiring officers to enforce health and safety protocols—and will pay between $200 and $300 an hour. Actors and artists of various backgrounds are stepping into this new territory. So how does one become a CCO, and what are the responsibilities involved? To answer those questions, we turned to two such workers: Jackie Crawford Matalon, a dancer-performer who now serves as lead CCO on union and nonunion films, series, commercials, and live events; and Pamela Remler, a theater

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stage manager in New York City who now serves as the COVID-19 safety manager for Antoinette Chinonye Nwandu’s “Pass Over,” the first play to open in the new 2021 Broadway season. “We are here to help guide everyone through this strange time that we live in with this pandemic,” says Remler, underlining the CCO’s central

function: to keep storytellers and audiences safe. As Matalon says, “With livelihoods at stake, it’s imperative that we all come together to create efficient production environments that allow content creation to move forward.” What does certification as a CCO entail, and what are your day-to-day tasks? JACKIE CRAWFORD MATALON: I’m certified with Safe Sets Level A and B for TV and film; Johns Hopkins health and wellness: COVID Compliance; Johns Hopkins contact tracing; and AEA [Actors’ Equity Association] CCO for theater. Day to day, I oversee

What kind of professional background should an artist who’s looking to become a CCO have? PR: The job is challenging, as you are juggling a lot as a department head. I would definitely recommend this job to a seasoned stage manager or company manager, as both of those jobs already understand the formula of production. That’s not something you want to learn on the job. Are you optimistic about the state of the industry? What challenges do you see ahead? JCM: We need to continue with all safety measures in place for the near future. Producers must not try to cut costs in the COVID department. PR: I hope that soon we can move away from the need for such rigid testing and protocols, but until we reach herd immunity and more Americans and the world get vaccinated, we will have to continue to keep our artists and our theaters safe by testing, wearing masks, and following our protocols. I am optimistic, looking ahead. I feel that theater brings joy to people who are desperate to have it in their lives. So hopefully, the desire and the pull toward entering a theater to experience a great play is the reason [audiences] get vaccinated.

10.14.21 BACKSTAGE

The Future Is Green Hollywood can do its part to combat climate change; here’s how

By Matthew Nerber CLIMATE CHANGE IS A hot-button issue these days, and for good reason. The world’s scientists agree that society’s negative effect on the environment must be dealt with now, or future generations will suffer the consequences. And while Hollywood has often been painted as an industry of excess, some of its major players have stepped up their efforts to combat the impending climate catastrophe. Many are calling for the industry as a whole to do better by the environment, asking a question that’s on many of our minds: How can I do my part? Green practices are becoming increasingly common on film sets big and small; they present an actionable way to help mitigate or reverse environmental damage by reducing waste and limiting the carbon footprint of productions. From recycling costumes to using eco-friendly lighting rigs, here are some green practices being implemented in the entertainment industry today.

Banning plastic bottles

Kate Winslet wasn’t just focused on delivering her Emmy-winning performance on the set of HBO’s “Mare of Easttown.” The executive producer–star made a simple request for the production, one that she says could make significant inroads toward sustainability. “I said to the other producers, ‘You know, we can’t have plastic bottles on this set,’ ” Winslet told Variety. “We gave every crew member and every actor their own bottle at the beginning of the show. And we calculated, across our six-and-a-half-month shoot, that we saved over 77,000 plastic bottles.” Building and lighting sets contributes to huge amounts of waste during film productions. But measures can be taken to reduce the overall footprint of

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Using LED lights

Studios like NBCUniversal have committed to using eco-friendly lighting equipment to help conserve the energy being used by big-budget productions. LED lights, along with solar panels installed on trailers and soundstages, are enabling studios to drastically reduce their energy usage and carbon footprint.

Using hybrid vehicles

Burning fossil fuels has long been known to contribute to the climate crisis. With the advent of electric and hybrid vehicles, manufacturers have given consumers an easy and affordable way to introduce sustainable practices into their lives. Film producers have done the same, and research shows that replacing gasolinepowered vehicles with hybrid transportation on film sets can help studios move toward sustainability. As reported by Green Production Guide, 20th Century Studios was able to avoid 1.24 metric tons of CO2e (carbon dioxide equivalent) on the set of “The Woman in the Window” by switching to hybrid vehicles.

Donating food

The United States Department of Agriculture has estimated that the U.S. alone wastes up to 40% of its food. The fact that all of that ends up in landfills is one of the most pressing problems in the fight to mitigate climate change. Some producers now donate leftover catering as a way to cut down on waste while contributing to the community in which they’re working. Green Production Guide reports that “The X-Files” donated 2,500 meals to Vancouver-area shelters during its Season 11 shoot. Other productions in that city have been inspired to do the same, proving the effectiveness of leading by example.

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Donating hardware

these endeavors, starting with one of the basic principles of sustainability: recycling. As Variety reported in 2020, FX’s “The Assassination of Gianni Versace: American Crime Story” donated “$60,000 worth of furniture, building materials, and appliances to Habitat for Humanity of Greater Los Angeles” once the shoot was complete.

Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events

Submit a Notice |

New York Tristate Plays ‘A Dry Wind In A Desert Place’

• Casting Equity actors and a reader

capable of reading stage directions and adapting to the actors for a staged reading of “A Dry Wind In A Desert Place.” Synopsis: The play is an imagination of the take over of Lafarge Cement by ISIS in 2014. This is the true story of corporate greed during the Syria Civil War. • Company: GW Reed. Staff: GW Reed,

dir.

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. 30-35, Black / African Descent. Bernie: 55-65, White / European Descent. Jeff: 33-38, White / European Descent. Omar: 20-25.

Casting picks of the week

• Seeking submissions from NY. • All roles will be understudied. • Prepare a contemporary monologue no

BY LISA HAMIL

more than two minutes in length. If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name, height, and where you are currently based. • For consideration, submit the video with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) to tomygirlscasting@ gmail.com with the subject line, “[Your full name] - [The role for which you’d like to be considered.]” Submissions deadline is Oct. 21. All stage manager positions have been filled.

stage

‘Strange Courtesies’ Explore the restorative power of truth telling in this San Jose, CA Equity show

FX FBI Show Hunt your suspect in Atlanta, GA

musical

• Pays $1,008/wk. (LORT B.) Equity LORT

Non-Rep Agreement.

‘A Christmas Story’ Mind your tongue in this Christmas classic touring out of NYC

• Rehearsal will be held Nov. 15 from

6:30-10:30 p.m.; reading will be held Nov. 18 from 6:30-10:30 p.m. at Episcopal Actors Guild Hall (The Little Church on the Corner, 1 East 29th St. 2nd Fl. New York, NY 10016) in NYC. • Seeking—Reader: 18+. Levernson

Cement: 18+. Youssef Abad: male, 65. Mohammed or Fatima: female, male, 15. Ali Abad: male, 25. Frank Christianson: male, 50-60. Marion Peters: female, 40-50. Sam Strong: male, 40-60. Farooq Sabah: male, 40-60. Alisha Obyat: female, 23. Omar: male, 30-40. Kalid: male, 25-30. Al-Zumani: male, 50-60. • Seeking submissions from NY. • For consideration, email a dramatic

monologue to gwreed521@gmail.com. Submissions deadline is Oct. 15. • Pays $50 for one rehearsal and the

reading. Equity Staged Reading Code.

‘To My Girls’

• Casting Equity actors for “To My Girls.” • Company: Second Stage Theater. Staff:

Stephen Brackett, dir.; Carole Rothman, president-artistic dir.; Khady Kamara, exec. dir.; Jonathan Chang, artistic asst.; The Telsey Office, casting; JC Lee, writer. • Rehearsals begin Feb. 22, 2022; runs Mar. 22-May 1, 2022 (with possible extension) at Kiser Theater in NYC. Rehearsals and performances will be indoors. These will be live performances with an audience. • Seeking—Castor: 30-39, Asian. Curtis:

35-40, White / European Descent. Leo: backstage.com

Musicals

stage

‘A Dry Wind In A Desert Place’ Follow the money in this NYC Equity production on corporate greed

‘A Christmas Story’ The Musical

• Casting “A Christmas Story,” a musical.

Production states: “This classic holiday tale centers on a mischievous, bespectacled boy, Ralphie, who dreams of getting a BB-gun for Christmas. In the weeks before the big holiday, Ralphie, his friends and his family get into all kinds of situations— including run-ins with a bully with ‘yellow eyes,’ a tongue stuck to a flagpole, a bar of soap in the mouth, a garish leg lamp, a major award and a Chinese Christmas dinner. Based on the humorist Jean Shepherd’s novel ‘In God We Trust, All Others Pay Cash,’ this is a tribute to the original, traditional, one-hundred-percent, redblooded, two-fisted, all-American Christmas.”

student film

‘Infinity’ Go there and beyond in this San Francisco University student production

a ‘sit-down’ in Boston at the Wang Center Dec. 3-19, 2021.”

• Seeking—Standby For Jean Shepard

And The Old Man: male, 35-48, 35 to 60 years old, male; strong comic actor who sings; uptight with a good heart that is buried under a rough exterior; a charismatic storyteller who can draw an audience in to the world of the play; a good-natured curmudgeon; Midwestern; should be a comfortable mover. Voice: Range is high baritone.

• Company: Xmas 6 LLC. Staff: Daniel

Sher, exec. prod.; Xmas 6 LLC, prod.; Joseph Robinette, book; Benj Pasek and Justin Paul, music-lyrics; John Rando, original Broadway dir.; Warren Carlyle, original Broadway choreo.; Matt Lenz, original tour dir.; Michael Rader, dir.; Jason Sparks, assoc. choreo.; Andrew Smithson, musical supervisor; Alison Franck, casting dir.

• Seeking submissions from NY. • Send submissions to blp2021audi-

tions@gmail.com.

• Rehearses Nov. 1, 2021 in NY; runs Dec.

• For consideration, email photo and

3, 2021-Jan. 3, 2022 on tour (New York, Boston, Baltimore, & Durham, NC.) Production states: “The first tour stop is

resume to blp2021auditions@gmail. com with the subject “A Christmas Story” Old Man/Jean Shephered

Standby. Everyone who submits must be vaccinated. Pre-screened self-taped submissions will be received by early August; callback date(s): o/a end of August beginning of September 2021.

• Rate: $600/wk. plus $280/wk. per diem

once tech starts (pro ratable.)

‘Saloon Singer

• Casting “Saloon Singer,” a mini musical

live performance show that features one male lead singer and two supporting female singers. Production states: “’Saloon Singer’ is a mini musical that will be performed weekly in designated live music venues and theaters throughout New York City and the greater TriState area beginning in April 2022.” • Company: Boozy’s LLC. Staff: David

James, coord.

• Rehearses TBD in 2022 in NYC. • Seeking—Songbird: male, 25+, all eth-

nicities, a nightclub singer from the big band era of the 1940s and 50s. Unlucky in love, Songbird appears on stage, night after night, in smoke-filled piano bars and New York City night clubs, recounting through lyrics and verse, the romantic tales of his past. Songbird is a loveable old soul, a romantic at heart, a tuxedo performer, and one of the last true saloon singers from a time gone by. Dame Madame: female, 25+, all ethnicities, on the outside, appears to be a high society lady from the era of the 1940s and 50s, but beneath her expensive furs and pearls, she’s pure dame. Classy in appearance, she is intimidating to most men because of her obvious outward beauty, but on the inside, she’s a hopeless romantic that has become somewhat cynical that true love still exists. Often frequents the nightclub scene, drinks and curses like a sailor, and becomes captivated by the saloon singer who is performing his act on stage. Island Girl: female, 25+, all ethnicities, is a sweet natural beauty, kind in spirit, but subtly overly flirtatious. She is alluring to men because of her obvious feminine charms. The saloon singer, while on stage, recounts his first and only encounter with Island Girl where they met on the Isle of Capri some 20 years ago. It was a brief, but memorable, fling that ended abruptly when Island Girl’s husband discovered when the cat’s away, the mouse will play. • For an audition appointment email

boozysafterdark@gmail.com. Audition times and locations will be provided to selected actors. Be prepared to sing the following two songs during the

10.14.21 BACKSTAGE

casting New York Tristate audition: “Come Fly With Me,” and “I Could Write A Book.” Proof of full vaccination required. • Pays $250/show. Production states:

“Compensation and contract details TBD.”

Student Films ‘Small, Good Things’

• Casting “Small, Good Things,” a gradu-

ate student film. Logline: When a young couple is at odds with each other while grieving after an ill-fated tragedy, the power of food made with love helps mend what is broken. “Small, Good Things” is an intimate silent drama about grief and the healing power of food. • Company: Brookly College Barry R.

Feirstein Graduate School of Cinema. Staff: Dylan Rizzo, dir.-writer; Nico Tepper, DP; Josh Mayfield, AD; Jason Gottlieb, prod.; Dominic Ansel, production design-PA; Ewan Creed, sound. • Rehearses are the first week of

November; shoots Nov. 12 until Nov. 13 or 14 in NYC. • Seeking—Andy Leung: male, 25-40,

Asian, 32. Male lead. A headstrong family man with a sensitive side. Despite the horrific circumstances, he wants to keep pushing through and try to put the pieces of his life back together as quickly as possible. Sherry Leung: female, 25-40, Asian, 32. Female lead. An empathetic and caring wife with a deep and private interiority. She is too battered by grief and wants to slip into sorrow for the time being, not yet ready to move on. • Seeking submissions from NY. • Apply on Backstage.com. • Attach acting resume and reel if you

have one. Auditions will be held in mid-October.

• Pays $100/day ($50 for half-day), plus

travel and meals covered by production. This is a paid job. Actors will be provided with a copy of the film.

Sundance Collab Generic Scene • Casting Sundance collab generic

scene. Production states: “Our cinematography three class requires us to shoot a short scene between 1-2 pages. The interpretation of the scene will depend on the talent available. The scene shot at the sound stage at Feirstein will use high-end production equipment, an excellent opportunity for reel content. Only apply if full vaccinated. Proof required to access CUNY facility.”

• Company: Feirstein Graduate School on

Cinema. Staff: Ajit Dias, dir.

• Key dates: Four different productions

with different interpretations of the same script on Mondays, 2-6 p.m., Nov. 8, Nov. 15, Nov. 22, and Nov. 29 at (Brooklyn Navy Yard) Sound Stage at Feirstein Graduate School of Cinema, located at Steiner Studios, 15 Washington Ave, Brooklyn, NY 11205. • Seeking—Actor 1: 18+, Role tailored to

actor ability and skills, developed collaboratively with the actor. Actor 2: 18+,

BACKSTAGE 10.14.21

Role tailored to actor ability and skills, developed collaboratively with the actor.

• Session fee covers cable and internet

usage. Transportation and meals provided.

• Seeking submissions from NY. • Apply on Backstage.com. • Indicate dates available. • Finished product available for your reel.

• Company: One Scribe Media. Staff:

Lande Yoosuf, casting dir.-CEO.

• Shoots in mid October in Brooklyn or

Manhattan.

• Seeking—Branded Content Talent: all

Online Commercials & Promos

Demo & Instructional Videos

Enable Healthcare Commercial

• Seeking talent for a short online com-

mercial for Enable Healthcare.

‘Daily Burn’ Show Participant

• Company: Sixty First Productions.

Staff: Helena Kincaid-Nalladurai, prod.

• Casting a diverse group of individuals

to be background talent in a fitness show.

• Shoots in New York City or Pomona, NY.

• Company: Daily Burn. Staff: Joshua

Location will be determined at a later date.

• Shoots Wednesday and Thursdays

medical Doctor.

Vela, fitness prod.

• Seeking—Doctor: all genders, 30-65, A

mornings in NYC.

• Seeking submissions from NY. • Apply on Backstage.com. • Pays $200 flat rate for 2-4 hour shoot.

• Seeking—Fitness Show Participant: all

genders, 21-60, all ethnicities, background participant in fitness show willing to exercise on camera.

National Retailer Holiday Promo

• Seeking submissions from NY. • Send submissions to dailyburn365@

• Casting a national retailer Christmas

dailyburn.com.

promo. Synopsis: Grandma reunites with her family during the holiday season. Mom and daughter joyfully embrace grandma and participate in festive activities.

• Complimentary Daily Burn

membership.

• Company: Awakened Films. Staff:

National Commercials

Gillian Schuler, prod.

• Shoots Oct. 26 in Basking Ridge, NJ. • Seeking—Mom: female, 35-45, White /

European Descent, non-speaking role, warm and approachable, excited for the holidays. Daughter: female, 5-8, White / European Descent, non-speaking role, warm and approachable, excited for the holidays. Dad: male, 35-45, White / European Descent, nonspeaking role, warm and approachable, excited for the holidays. 55-65 year old Female family member: female, 55-65, White / European Descent, an energetic, young looking Grandma is visiting her family for the holidays after a long separation.This non-speaking role, requires realistic, not theatrical portrayal of emotion (joy, fun, excitement, love, relief). Must have good ability to interact with a 5-7 year old child.Must be able to self-report in personal vehicle to Basking Ridge, NJ on 10/26.Must be fully vaccinated.Must be willing to take a Covid test within 72 hours of the shoot and present negative results.

Postable Commercial

• Casting non-union commercial for

Postable to be aired on cable television and the internet. Postable is a card company that mails cards for you. • Company: Alhadeff & Co. Staff: Mark

Alhadeff, dir.

• Shoots Oct. 22-23 in the Tri-State area

(TBD).

• Seeking—Grandma: female, 65+, a

sweet older woman who appears to be senile, but underneath it she has a biting humor and a keen mind. When she realizes her family is not utilizing modern day technology she whips her iPhone out and educates them on how to use a cutting edge app to send a greeting card. Humor is a must She is a versatile actor who can look out the window absently and then turn on a dime. A firecracker. Julie: female, 30-50, caring, concerned. Sincere. A good mom and a good daughter. Comic ability necessary. Tim: male, 30-50, a good husband. Reliable. Caring. Maybe he’s a little nerdy. He’s certainly not expecting his mother in law to start dropping f-bombs. Lucy: female, 6-10, a bright young girl. Maybe a little wiser than her years. sad to see Grandma losing her memory happy to share how she made her Christmas card. Timmy Jr.: male, 5-8, good kid. Eager to please his grandma. Likes to play with his toy truck.

• Seeking submissions from NJ. • Send submissions to jason@awakened-

films.com.

• For consideration, submit a demo reel

and own a vehicle to self-report.

• Pays $650 flat rate. Rate includes travel

and fresh manicure. Note: Must be able to self report to Basking Ridge, NJ on Oct. 26. Must submit proof of vaccination. Must submit negative Covid test 48 hours before Oct. 26.

Online Promo, Vaccinated African Americans in NYC

• Seeking submissions from NY. • Send submissions to mark@north7me-

• Seeking stories of NYC-based African

dia.com.

Americans that have decided to get vaccinated to maintain relationships with family, friends and loved ones.

• Note your availability for Oct. 22-23

(shoot will be only one of those days).

genders, 18+, Black / African Descent.

• Seeking submissions from NY. • Send submissions to info@onescribe-

media.com.

• For consideration, submit name, age,

location, occupation, recent photo and a description of your story. • $50 gift card provided.

Promotional & Event Modeling 1960’s Good Humor Man

• Casting a male model to play the role of

a 1960’s Good Humor ice cream man at a festival in NYC.

• Company: Big Apple Bride Events. Staff:

Sarah Stefanski, event planner.

• Works Oct. 15-17 (Fri.-Sun.; 12-5 p.m.

each day) in NYC.

• Seeking—1960’s Good Humor Ice

Cream Man: male, 18-40, interact with guests and hand out ice cream bars. • Seeking submissions from NY. • Send submissions to sarah@bigapp-

lebride.com.

• Pay will be discussed with interested

models.

Stage Staff & Tech ‘A Dry Wind In A Desert Place,’ Stage Manager Submissions

• Seeking Equity Stage manager for a

staged reading of “A Dry Wind In A Desert Place.” Synopsis: The play is an imagination of the take over of Lafarge Cement by ISIS in 2014. This is the true story of corporate greed during the Syria Civil War. • Company: GW Reed. Staff: GW Reed,

dir.

• Rehearsal will be held Nov. 15 from

6:30-10:30 p.m.; reading will be held Nov. 18 from 6:30-10:30 p.m. at Episcopal Actors Guild Hall (The Little Church on the Corner, 1 East 29th St. 2nd Fl. New York, NY 10016) in NYC.

• Seeking—Equity Stage Manager: 18+. • Seeking submissions from NY. • For consideration, email resume to

gwreed521@gmail.com or mail to GW Reed, 134 Remsen St. #4A, Brooklyn, NY 11201. Submissions deadline is Oct. 15. • Pays $50 for one rehearsal and the

reading. Equity Staged Reading Code.

The New York City Ballet Costume Shop, Tailor/Draper -Men’s Department • Seeking a Tailor/Draper for the Men’s

Department. New York City Ballet is one of the foremost dance companies in the world, with a roster of spectacular dancers and an unparalleled repertory. backstage.com

California casting

Founded in 1948 by George Balanchine and Lincoln Kirstein, New York City Ballet quickly became world-renowned for its athletic and contemporary style. Widely acknowledged for its enduring contributions to dance, New York City Ballet is committed to promoting creative excellence and nurturing a new generation of dancers and choreographers. • Company: NYC Ballet. Staff: Marc

Happel, dir. of costumes; Jarod Lewis, costume shop mgr. • Work begins immediately and runs

through June 3 at Lincoln Center in New York, NY. Note: Full time, union position; 35 hours a week. • Seeking—Tailor/Draper: 18+, will be

responsible for all draping, tailoring, pattern making and cutting for the women’s/men’s departments, including all new productions and rebuilding & refurbishing of existing productions. Requirements: Excellent tailoring (men’s dept.), draping, pattern making & cutting skills; Excellent organization & time management skills; Great communication skills; Knowledge & experience with women’s/men’s clothes/costumes; Good sewing skills; machine & hand sewing; Experience with ballet costumes, tutus, & stretch fabric is essential; At least 5 years professional costume shop experience required; no “fashion designers”; full time, union position; 35 hours a week. • Seeking submissions from NY. • For consideration, interested, qualified

candidates may apply by forwarding their resume, references, and portfolio to Marc Happel, Director of Costumes at MHappel@NYCBallet.com and Jarod Lewis, Costume Shop Manager at JLewis@NYCBallet.com with “Tailor/ Draper” in the subject line. No phone calls. • NYCB is an Equal Opportunity

Employer. We encourage all qualified individuals to apply.

• Pays $32.15/hr. Union rate. NYCB is an

Equal Opportunity Employer. All qualified individuals are encouraged to apply.

Southern California Plays ‘Strange Courtesies’

• Seeking Equity actors of all ages, eth-

nicities, and genders for San Jose Stage Company’s upcoming live and in-person production in collaboration with African-American Shakespeare Company of “Strange Courtesies.” Synopsis: Citizens of South Africa are confronting a painful past through the Truth and Reconciliation Commission, which has heard thousands of reports about murders, tortures and other human rights abuses of the apartheid era. “Strange Courtesies” explores the potential restorative power of truth tellbackstage.com

ing; the significance of sympathetic witnesses; and the tasks of both perpetrators and bystanders in the TRC process. Can dignity be restored to victims and their families while offering a basis for individual healing, and promoting the reconciliation of a divided society? • Company: San Jose Stage Company.

Staff: Randall King, artistic dir.; Cathleen King, exec. dir.; L. Peter Callender, playwright.

• Rehearsals begin Jan. 11, 2022; runs

Feb. 2-27 in San Jose, CA.

• Seeking—Equity Actors: 18+. • Seeking submissions from CA. • For consideration, submit video via

https://zfrmz. com/189YnaufC7SmjC0TvflW. Submissions deadline is Oct. 15. Video Preparation Instructions: Prepare a contemporary monologue in a South African dialect totaling no more than two minutes. Ensure that your video recording is uploaded to a streaming service such as YouTube or Vimeo with all access permissions set to allow anyone with the video link access.

• Local Bay Area stage managers encour-

aged to submit. San Jose Stage Company is committed to equity, diversity, and inclusion in casting and uses a color and culturally conscious approach to casting. Stage managers of any race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials.

character is involved in a kiss scene. Production states: “COVID protocols are going to be strictly followed and the director will do everything they can to make the set feel like a safe space for these intimate scenes.” Pyra: female, 18-25, Ethnically Ambiguous / Multiracial, White / European Descent, a girl who dyes her hair blonde so people know she’s loud. Loving girlfriend of Katrina. An outgoing girl who was raised in a sheltered liberal household for her entire life. While she’s very supportive and patient, she is also a powder keg style of angry. Must be able to play a 17-year-old. Note: This character is involved in a kiss scene. Production states: “COVID protocols are going to be strictly followed and the director will do everything they can to make the set feel like a safe space for these intimate scenes.”

beginning of the script where Damon appears to be the standard rom-com lead, and one from the end where he is revealed to be a predator; both lines are of your choosing.

from the character you’re auditioning for.

Wired Magazine’s ‘5 Levels,’ Children/Teens

vided (options for vegetarians and vegans Included). Copy of film will be provided either in DVD or digital format. Credit provided.

(ages 13-17) to appear on camera and have a science expert explain a new concept to them for Conde Nast and Wired Magazine’s next installation in their “5 Levels” series, in which experts are challenged to explain a scientific concept at increasing levels of complexity to five different people (including a child and a teen).

Northridge. Staff: Morgan Potter, dir.; Erika Martinez, prod.; Hye Young Ra, AD; Emma Steiner, dir. of photography; Oliver Ruta, editor; Lexi Sakugawa, sound; Joanna Zhang, screenwriter. • Shoots Oct. 23 and 24, with a possible

reshoot on Nov .6 and/or 7 in LA county, CA. Note: Must be available during these days.

Student Films

• Seeking—Clara: female, 18-29, a

‘Stay In, Come Out’

young, innocent woman moving into her first apartment; she is romantic, hopeful, and soft; by the end of the film, she proves her strength and will to survive; we are looking for girl-nextdoor types; must be comfortable performing a choreographed fight with a prop knife, although no wild stunts will be required; provide a video submission introducing yourself and providing two line reads; one from the beginning of the script where Clara is friendly and cheerful, and the other when she is amidst the horror of the story; the lines will be of your choosing. Damon: male, 18-30, a handsome handyman who meets Clara while taking care of her apartment, and is eventually revealed to be a serial killer preying on isolated women; we are looking for boy-nextdoor types who have an incredibly innocent appearance mixed with the everyman type from romantic comedies and sitcoms; include a video submission introducing yourself and provide two line readings; one from the

• Casting “Stay in, Come Out,” a student

short film about a bisexual girl coming out to her conservative mother during quarantine. Production states: “We encourage LGBTQ+ actors to submit for this production. Important: This film contains heavy topics and intimate scenes (kissing). The director will work to make sure the set feel safe for the actors.” • Company: Dodge University

Productions. Staff: Richard Aneese Kouar, dir.; Roman Acosta, prod.; Vivi Husted, UPM.

• Rehearses via Zoom; shoots in Orange

County and Irvine County, CA.

• Seeking—Katrina: female, 18-25,

Ethnically Ambiguous / Multiracial, White / European Descent, a tomboyish brown-haired girl who was raised by a conservative family and has only recently realized that they were bisexual. She’s a good girl, loves her mama, loves Jesus and America too. Must be able to play a 17-year-old. Note: This

• Pays $100 stipend plus meals. Will

receive a copy of the final product to use for a reel.

• Seeking kids (ages 7-10) and teenagers

• Company: California State University,

Contract.

self and provide two line readings. One from the beginning of the script where the characters are innocent and cheerful, and one from the end of the script, where the characters are amidst the worst of the horror. Both lines can be of your choosing.

• Craft services and meals will be pro-

short horror film about the dangers women face. Synopsis: A young woman moves into her new apartment and meets the cute handyman with who she has an instant connection. Then throughout the night, weird things begin to occur, and she soon discovers the once cute love interest is a dangerous killer.

• Pays $562/wk. Equity BAT Tier 3

• In your video audition, introduce your-

Multimedia

• Casting “What Lies In The Walls,” a

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.

gmail.com.

• Seeking submissions from CA. • Apply on Backstage.com. • Submit a recorded video of both sides

‘What Lies In The Walls’

• Equity’s contracts prohibit discrimina-

• Seeking submissions from CA. • Send submissions to morganp209@

• Production states: “Check out

‘Quantum Computing Expert Explains One Concept in 5 Levels of Difficulty’ on WIRED’s YouTube Channel to see an example of a previous episode -- we’ll be following the same format.” • Company: Conde Nast. Staff: Thomas

Giglio, casting dir.

• Shoots Dec. 6 in LA. • Seeking—Boys: 7-10. Girls: 7-10. Teen

Boys: 13-17. Teen Girls: 13-17.

• Seeking submissions from CA. • Send submissions to elina_stella@con-

denast.com.

• Parents/guardians should include their

contact info as well, in addition to info about your child -- you may be asked to coordinate a quick video call with you and child. Parents must be able to report with child to the LA shoot location on Monday, Dec 6th. • Child/teen should be smart, engaging

and a good listener. Bonus points for an interest in science and math. • Parents must send their phone number

and email address for their children to be considered. Send some info about your child and their interests as well. • Pays $100 stipend.

Online Commercials & Promos Digital High School Ad

• Casting students, teacher, and parent. • Company: Riches & Saint. Staff: Nicole

Ramirez-Zimmer, Senior Account Manager.

10.14.21 BACKSTAGE

casting National/Regional • Shoots in October in Fontana, CA. • Seeking—Student: male, 14-18, Latino /

Hispanic, Actors needed for RJA academy for E high Fontana Ads - we are auditioning for three different ads must be bilingual both English and Spanish.Video #1 - high energy, enthusiastic roleVideo #2 - more interactive roleVideo #3 - more of a supporting role. Student #2: 14-18, Latino / Hispanic, Actors needed for RJA academy for E high Fontana Ads - we are auditioning for three different ads must be bilingual both English and Spanish.Video #1 - high energy, enthusiastic roleVideo #2 - more interactive roleVideo #3 - more of a supporting role. Student #3: 15-25, Latino / Hispanic, Actors needed for RJA academy for E high Fontana Ads - we are auditioning for three different ads must be bilingual both English and Spanish.Video #1 - high energy, enthusiastic roleVideo #2 - more interactive roleVideo #3 - more of a supporting role. Parent: female, 40-45, Parent role - interactive role - looking for parent and child actors for digital video ad. Teacher: 35-45, Teacher role - looking to cast both teacher and parent - video digital ad for E High Fontana. More of a lead role - interacting with student. • Seeking submissions from CA. • Send submissions to noor@richesand-

saint.com.

• Pay provided.

Print & Digital Modeling Pharmaceutical October 2021 Shoot

• Seeking talent for various roles in an

upcoming pharmaceutical shoot (print and nonunion video). Breakdown is attached. Note: Multi-day booking not guaranteed. • COVID- 19 Cancellation: In the event

that a production must be canceled or pushed for any COVID- 19 related reason the model contract will be considered void and any payment will be canceled. This includes if a production is canceled or if a model must cancel due to experiencing COVID- 19 symptoms. • Company: Cast Partner. Staff: Lizzy

Weinraub, casting.

• Shoots Nov. 1-5 in L.A.; fit dates TBD.

Note: Some talent may be upgraded to different shoot dates of Nov. 8-12. • Seeking—Real Kickboxing Coaches:

male, 40-50, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent. Real Expert Mud Runner: female, 30-35, Latino / Hispanic. Real Expert Mechanical Bull Rider: male, 30-40, White / European Descent. Real Expert Wakeboarder: male, 30-35, Black / African Descent, White / European Descent. Real Expert Roller Derby Player: female, 25-30, White / European Descent. Real Expert Boxer: female, 30-35, Black / African Descent. Real Expert White Water Rafter: male, 35-45, Ethnically

BACKSTAGE 10.14.21

Ambiguous / Multiracial. Real Expert Female Kickboxer: all genders, 30-35, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent.

• Seeking submissions from CA. • Send submissions to apply@castpart-

ner.com.

• HCP Main/HERO Role Rate. Session:

$500+20% per 10 hour session - to be paid in 2021. Wardrobe fitting fee (2 hours): $75 + 20% agent fee - to be paid in 2021. Usage/Exclusivity: $6500 + 20% agent fee - to be paid in 2022.

• Pays $680/wk. Equity BAT Tier 3

Contract.

Northern California

• HERO Options: Additional 1 year: $3575

+ 20%, with same usage and exclusivity as above. Additional 2 years: $7150 +20%, with same usage and exclusivity as above • HCP Secondary Role Rate: Session:

$500+20% per 10 hour session - to be paid in 2021. Wardrobe fitting fee (2 hours): $75 + 20% - to be paid in 2021. Usage/Exclusivity: $3500 + 20% agent to be paid in 2022

Student Films ‘The Passenger’

• Secondary Options: Additional 1 year:

• Casting “The Passenger,” a student

$1925 + 20%, with same usage and exclusivity as above. Additional 2 years: $3850 +20%, with same usage and exclusivity as above.

film. Synopsis: In this slice-of-life fantasy, we follow high school teacher, borderline alcoholic, and lonely Isak, as he picks up passengers over the course of one night in San Francisco. Reality and his Subconscious blur as he deals with personal demons of the past in his attempt to make some sort of connection with someone.

• HCP Backup Rate: (Must to come to set

for covid precaution reasons - will be released or upgraded once testing is complete).

• Session: $350+20% for a 10 hour ses-

sion.Wardrobe fitting fee (2 hours): $75+20%.

• Company: San Francisco State

University. Staff: Erik Marez, prod.

• Shoots in November (dates TBD based

on availability) in San Francisco, CA.

• Seeking—Isak: male, 45-60, AP high

Stage Staff & Tech

school teacher by day and rideshare driver by night. A middle-aged man with few friends and no family. Isak is an undistinguished but relatable San Francisco resident who longs for human interactions, however, his failed past relationships and struggles with alcoholism hinder his ability to make meaningful connections. He attempts to fill the void through small talk with his passengers, which is often unreciprocated. Loneliness is a meandering theme in this project.

‘Strange Courtesies,’ Stage Manager • Seeking Equity stage managers of all

ages, ethnicities, and genders for San Jose Stage Company’s upcoming live and in-person production in collaboration with African-American Shakespeare Company of “Strange Courtesies.”

• Seeking submissions from CA. • Apply on Backstage.com. • Food, travel reimbursement, copy, and

• Company: San Jose Stage Company.

Staff: Randall King, artistic dir.; Cathleen King, exec. dir.; L. Peter Callender, playwright.

credit provided.

• Rehearsals begin Jan. 11, 2022; runs

Feb. 2-27 in San Jose, CA.

• Seeking—Stage Manager: 18+. • Seeking submissions from CA. • For consideration, fill out this form

Student Films

entirely and submit cover letter and resume (PDF versions only) via https:// forms.zohopublic.com/sanjosestagecompany/form/ StageManagerSubmissions/formperma/gIGeYkf-dgd3uy-_oi713ZesAyTPaYzAxGCfr-4Bs4w. Submissions deadline is Oct. 15. Local Bay Area stage managers encouraged to submit. • San Jose Stage Company is committed

to equity, diversity, and inclusion in casting and uses a color and culturally conscious approach to casting. Stage managers of any race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials.

• Equity’s contracts prohibit discrimina-

‘Infinity’

• Casting “Infinity,” a thesis film.

Synopsis: Infinity is a thriller about Raymond, an SFPD detective whose alcohol addiction creates an alter ego that is adamant about murdering people but doesn’t want to hide any longer. Will Raymond overcome alter ego’s plan or will the alter ego overpower Raymond? This film is inspired by Dr. Jekyll and Mr. Hyde, and Fight Club. • Company: San Francisco State

University. Staff: Diksha Sharma, dir.; Evan Fields, prod.; Autum, assoc. prod.; Claire, sound designer; Delle, AD; Yang, production designer. • Shoots TBD a weekend between Nov. 11

and 21 in San Francisco, CA.

• Seeking—Raymond: male, 28-35,

Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, Southeast Asian / Pacific Islander, White / European Descent, (protagonist), is a very innocent character, who had an abusive father that has led him to become an alcoholic; he is constantly fighting himself rather his alter ego who is adamant to get caught; he is someone who has constantly something on his mind and appears to be in his thoughts; no one knows about his deep dark secrets. Warner: female, 35-40, all ethnicities, is a senior officer at SFPD, she is really good at her job and trusts the people she works with; she doesn’t mind breaking few rules here and there as far as they don’t cause harm to anyone; she is genuinely concerned for Raymond and considers him as an important part of SFPD; but even after being so smart with her detective work, she doesn’t see what is coming at her. Dr Khan (Therapist): male, 40-50, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, is the only person in the entire film who knows more about Raymond than anyone else; he is the only one a little suspicious but can’t breach his client’s privacy. Blake: male, 40-60, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, Southeast Asian / Pacific Islander, is the alter ego that Raymond lives with and fears the most; Blake is humorous, smart, intuitive, and charming but doesn’t fall for it as he is also a serial killer; he very lovingly and politely murders his victims and finally wants credit for his work; he also appears to be homosexual. Michael: male, 35-45, all ethnicities, Raymond finds Michael with his son in the parking lot; he reminds him of his father and the relation they have; if you have a child actor about the age of 12-14 that could play the part of the son. John: male, 14-18, all ethnicities, Raymond watches John and his father, Michael in the parking lot and this reminds him of his relationship with his father; the child actor can be accompanied by his father who is also an actor; this would make casting more realistic. • Seeking submissions from CA. • Apply on Backstage.com. • Include a video with submission and

mention your availability.

• Meal, copy, and credit provided.

National/ Regional Plays Citadel Theatre Company 2021-2022 Season

• Casting Equity actors for the Citadel

Theatre Company 2021-2022 Season. backstage.com

National/Regional casting

Season includes “Outside Mullingar” (John Patrick Shanley, playwright; Beth Wolf, dir. Runs Feb. 11-Mar.13, 2022, Wed.-Sun.) and “Picasso At The Lapin Agile” (Steve Martin, playwright; Scott Phelps, dir. Runs Apr. 22-May. 22, 2022, Thurs.-Sun.). • Company: Citadel Theatre Company.

Staff: Ellen Phelps, production manager.

• Season runs in Lake Forest, IL. • Seeking—Equity Actors: 18+. • Seeking submissions from IL. • Audition Forms and information can

be found at www.citadeltheatre.org/ auditions. Prepare one 60-Second, Comedic Monologue. • For consideration, email a single file

containing video audition, resume, headshot, and forms to auditions@ citadeltheatre.org. Submissions deadline is Oct. 20. • Pays $231/wk. (CAT N) Equity CAT

request audition accommodations, call (801) 363-7522, 11 a.m.-5 p.m. MST.

Musicals

solidarity with Black Lives Matter and those who demand justice and equality for our Black communities. We acknowledge that we must to do better as a theater company and a society to combat the horrific injustices endured by these communities throughout our history.

‘Plaid Tidings’

• Salt Lake Acting Company stands in

Equity actors for one role in “Who’s Holiday.”

• Seeking video submissions from

Equity actors for roles in “Passing Strange.” People with disabilities and those of all gender identities and expressions are encouraged to audition.

• Company: Salt Lake Acting Company.

Staff: Stew, book-lyrics; Stew and Heidi Rodewald, music; created in collaboration with Annie Dorsen; Todd Underwood, dir.-choreo.; Alex Marshall, music dir.; Cynthia Fleming, exec. artistic dir.; Cassie Stokes-Wylie, literary mgr. • Rehearsals begin Feb. 28, 2022 (Mon.-

Fri., 5-10 p.m. and Sat. 10 a.m.-6 p.m.); runs Apr. 6-May 15 (Weds.-Sat., 7:30 p.m. and Sun. 1 p.m. and 6 p.m.); with additional performances Apr. 19 at 7:30 p.m. and May 7 at 2 p.m. Theater hopes to film and stream the performance to share with audiences as well. Note: Covid-19 precautions as mandated by Equity will govern rehearsals and performance. Anyone entering Salt Lake Acting Company must show proof of full vaccination. • Seeking—Narrator: male, 50-60,

Black / African Descent. Youth: male, 25-35, Black / African Descent. Mother: female, 40-50, Black / African Descent. Hugo, Christophe, Terry: male, 30-40, Black / African Descent. Sherri, Renata, Desi: female, 30-40, Black / African Descent. Mr. Franklin, Joop, Mr. Venus: male, 30-40, Black / African Descent. Edwina, Marianna, Sudabey: female, 30-40, Black / African Descent. • Seeking submissions from UT. • For consideration, email audition as

YouTube video submissions to cassie@ saltlakeactingcompany.com. Submissions deadline is Oct. 15 at 10 a.m. MDT. Callbacks will be held Oct. 24. • Preparation Instructions: Prepare two

brief music selections of contrasting style in contemporary rock, gospel, R&B or similar styles. You may also choose from accompaniment provided at https://drive.google.com/drive/ folders/1rj1LrpzFudo-AJqFmtgGD0ahY64jyJFI. • For more info, questions, or to

backstage.com

• Company: Theatre Workshop of

• Rehearsals Nov. 4 - 25; runs Nov.

• Seeking—Sparky: 18+. Smudge: 18+. • Seeking submissions from MA. • For consideration, email video submis-

sion to auditions@theatrenantucket. org. Prepare the song and sides found at https://drive.google.com/drive/ folders/1-W4br79V-6tZ32NIJliy2aSQyvmXnBQ?usp=sharing for the character you are auditioning for. If you do not have access to a reader, you may just read your characters lines. Submissions deadline is Oct. 15.

• Pays $523/wk. Equity SPT 6 Contract.

‘Passing Strange’

Rep Contract.

Tidings.”

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.

‘Who’s Holiday’

26-Dec. 4 in Nantucket, MA.

• Casting Equity actors for “Plaid

• Equity’s contracts prohibit discrimi-

Agreement.

Nantucket. Staff: Justin Cerne, dir.; Andrew Graham, music dir.

• For more info, visit www.theatrenan-

tucket.org.

• Seeking video submissions from

• Pays $404/wk. Equity SPT Agreement.

• Company: Theater Wit NFP. Staff:

Christopher Pazdernik, dir.; Matt Lombardo, author.

Scripted TV & Video

• Rehearsals begin Nov. 1, 2021; tech

begins Nov. 15; runs Nov. 22-Dec. 26 (no performance Dec. 24 or Dec. 25) in Chicago, IL.

FX FBI Show

• Seeking—Cindy Lou Who: female,

40-49, all ethnicities, female presenting, approx. 40; not the Cindy Lou Who you remember. This is an adult, street-wise, jailbird, foul-rhyming Cindy Lou Who. She has grown up, grown older, parted from the Whoville upbringing, led a sordid life, and is now reaching out to her friends on Christmas Eve. Sings two Christmas songs and one rap. Funny, but with few illusions. Comfortable performing full length one person show with some improvisatory elements.

• Casting a new FX show shooting in

Atlanta, GA.

• Company: Sandi Alessi Casting. • Shoots fall and winter in Atlanta, GA. • Seeking—FBI Agents: all genders,

25-70, to play FBI agents (and other various roles). Note: Must be fully vaccinated. Political Figures: 35-90, to play political figures (and other various roles) to shoot this fall and winter. Atlanta. Must be fully vaccinated. Crazy Looking People: 18+, think missing teeth, loss of hair, scars, etc. (and other various roles). Note: Must be fully vaccinated.

• Seeking submissions from IL. • For consideration, prepare two video

auditions for the first round. One with the side and one with 30 seconds of an a-capella version of any xmas carol you’d like to sing. You may also use the accompaniment at https://www.youtube.com/watch? v=i_WCFUGCv6M. Submit resume and videos at https:// forms.gle/fMfwVBnsFAbytn8AA sides are also available at the link. Submissions deadline is Oct. 16.

• Seeking submissions from GA. • Send submissions to gcrockercast@

gmail.com.

• Pay provided.

Stage Staff & Tech

• For more info, visit www.theaterwit.

org.

‘A Comedy of Tenors,’ Stage Manager

• Equity’s contracts prohibit discrimi-

• Seeking Equity stage managers for “A

Comedy of Tenors.”

• Company: Riverside Theatre Inc. Staff:

Allen D. Cornell, artistic dir.; Kyle Atkins, assoc. prod.; Jimmy Brennan, dir.; Wojcik / Seay Casting, casting. • Rehearsals begin Jan. 11, 2022; runs

Feb. 1-20 in Vero Beach, FL.

• Pays $460/wk. (contract minimum

• Seeking—Stage Manager: 18+. • Seeking submissions from FL. • For consideration, submit to kylea@

$435 per week). Equity CAT Contract.

riversidetheatre.com (Kyle Atkins, Associate Producer, 3250 Riverside Park Drive, Vero Beach, FL 32963). Submissions deadline is Oct. 29. Full Vaccination is required.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

• Equity’s contracts prohibit discrimina-

• Pays $1,454/wk. Equity LORT B+ Non-

‘Jacob Marley’s Christmas Carol,’ Stage Manager

• Seeking an Equity stage manager for

“Jacob Marley’s Christmas Carol.”

• Company: Fulton Theatre Company.

Staff: Tom Mula, dir.

• Prep being Nov. 2; rehearsals begin

Nov. 7; runs Nov. 30-Dec. 26 in Lancaster, PA. Note: Vaccination: All employees must be fully vaccinated against the Covid-19 virus prior to arrival at Fulton Theatre. Covid Guidelines: All employees and Educational Fellowship Participants will adhere to all Federal, State, and local governments Covid-19 guidelines, CDC Covid-19 guidelines.

• Seeking—Equity Stage Manager: 18+,

all ethnicities.

• Seeking submissions from PA. • For consideration, email resume to

jobs@thefulton.org or mail to Timothy Markus, 12 N Prince St., Lancaster, PA 17603. Submissions deadline is Oct. 15.

• Equity’s contracts prohibit discrimina-

Experimental Contract.

Lookingglass Theatre 2021-2022 Season, Stage Manager

• Seeking stage managers and assistant

stage manager for the Lookingglass Mainstage 2021-2022 season. Season includes “Her Honor Jan Byrne” (Preproduction begins Oct.19; runs through Dec. 19 with a possible extension through Dec. 26) and “Lucy and Charlie’s Honeymoon” (Preproduction begins Dec. 28; runs through Apr. 10, 2022). • Company: Lookingglass Theatre Co.

Staff: Sarah Burnham, dir. of prod. • Season rehearses and performs in

Chicago, IL. Rehearsal will be five day work week. Tech weeks will be six day work week. • Seeking—Stage Manager: all genders,

18+, all ethnicities, for both shows. Assistant Stage Manager: all genders, 18+, all ethnicities, for “Her Honor Jane Byrne” • Seeking submissions from IL. • For consideration, submit resume to

Sarah Burnham at sburnham@lookingglasstheatre.org. • For more info, visit http://www.

lookingglasstheatre.org.

• Pays $732/wk. (SM) and $638/wk.

(ASM) Equity CAT IV Agreement.

10.14.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert

There are some standard things that make a clean and accessible self-tape. If you can’t get to all these points, that’s OK—what matters is that you do the self-tape. But there are some basic parameters that make for an enjoyable video that catches a casting director’s eye and makes them want to watch it all the way through. You need a camera. An iPhone is fine, as the quality is high enough to give us the footage we need. Make sure the camera is on something stable; prop it up on some books or a tripod. Don’t put the camera or laptop on your lap. I want your body to be free to move. I want you to be engaged fully—not just in your voice, not just in your face. Acting is not just about your face; it’s everywhere. Having a stable camera allows you to move your entire body. I like lights that are facing you. Overhead lights are OK, but you can get a $6 ring light on Amazon and prop it over your phone or computer camera, facing head-on. It offers a little more brightness and gets rid of the shadows. Don’t film with windows behind you, because that backlights your body, and details can get lost. In terms of sound, the internal microphone in your phone or computer is generally enough. A handheld mic is dangerous because you can lose your ability to act fully. For musical theater, I don’t love when an actor has headphones and we only hear you singing a cappella, sans the accompanying track. For your backdrop, a neutral wall or a blue screen is lovely; but does it matter? No. Can you do it in front of your shower curtain? Sure. A bookshelf? OK. Your kitchen? Sure. None of that matters. Ideally, a solid wall would be great, but if it’s not, it’s not a big deal. It’ll help elevate the shot a bit. None of this is a dealbreaker, but if you have access to these items, you’ll be better equipped to create a quality self-tape so that we can focus on you and your performance. *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 10.14.21

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; EISENBERG: COURTESY DARYL EISENBERG

Daryl Eisenberg is a casting director and managing partner at Eisenberg/ Beans Casting.

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Backstage Magazine Digital Edition: October 14, 2021

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This week’s roundup of who’s casting what starring whom