Backstage Magazine Digital Edition: September 28, 2021 by Backstage

10.28.21

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5+ Pages OF CASTING NOTICES

The Tale of Tessa Thompson

How she went from auditioning waitress to in-demand leading player

A preview of

Kristen Stewart’s

Princess Diana

Plus:

7 film festival highlights shaking up awards season

whether you're an actor / server, or a server / actor we have a job for you.

R E S T A U R A N T S

Contents

vol. 62, no. 30 | 10.28.21

Cover Story

The Green Room

Acting Cover Story Fearlessly Prospecting for Gold

4 Los Angeles prepares for a new indoor mandate Thevaccine Green Room

6 This week’s roundup of who’s 6 Broadway’s audience boom

casting what starring whom 8 This week’s roundup of who’s Tessa Thompson leans 7 Sierracasting Capri and Brett Graywhom what starring into what scares her, “as talk “On My Block” long as it’s a kind of fear 10 Annie Murphy reflects on Yourcan official guide to the that you breathe into “Schitt’s Creek” Advice

2020 Oscar nominations and give oxygen to”

OTE FROM THE CD pagepage 12 169 NAdvice

Going in for the kill 13 CRAFT 10 #IGOTCAST Survive and thrive John Rinaldi 13 #IGOTCAST 10 SECRET AGENT MAN Mark Beauchamp The curse of the forgotten faces 14 SECRET AGENT MAN The power of intention Features

3 BACKSTAGE 5 WITH...

Features Aunjanue Ellis 4 BACKSTAGE 5 WITH... 8 MEET THE MAKER David Alan Grier Pablo Larraín, “Spencer” and director 12 MEETwriter THE MAKER

Cathy Yan, “Birds of Prey” 9 THE ESSENTIALISTS Adamdirector Stockhausen, production designer 14 THE ESSENTIALISTS

Jeremy Woodhead, 11 IN THE ROOM WITH

hair and designer Nina Gold andmakeup Martin Ware

IN THE ROOM WITH 17 L15 ET THE BUZZ BEGIN

Thomas SevenVictoria of this year’s film festival highlights that could become 21 Ocontenders UR DREAM BALLOT Oscar And the 2020 Oscar SHOULD have gone to… 24 ASK AN EXPERT Daryl Eisenberg on making SK AN EXPERT a32 CD’s Ajob easier Amy Russ on principal and background work

Casting 18 New York Tristate Casting

22 New York Tristate 20 California 27 California 20 National/Regional 28 National/Regional

Tessa Thompson photographed by Shayan Asgharnia on Sept. 26 at Milk Studios in Los Angeles. Styling by Wayman D. Bannerman Cover illustration by John Jay Cabuay. and Micah McDonald. byRobinson. Lacy Redway. Cover designedHair by Ian Makeup by Emily Cheng and Pircilla Pae. Dress by Dion Lee. Shoes by Alevì Milano. Earrings by Cadar. Cuff and climber by Sara Weinstock. Hoop with dangle by Mejuri. Cover designed by Ian Robinson.

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BACKSTAGE, vol. 62, no. 30 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Backstage 5 With...

Aunjanue Ellis By Benjamin Lindsay

No king would be complete without his queen. As the powerhouse Oracene “Brandi” Williams to Will Smith’s Richard—the parents and trainers of tennis legends Venus and Serena— Aunjanue Ellis is a staggering screen presence. Brandi is her family’s stoic rock, and you can’t help but listen to her when she speaks. For Ellis, a recent Emmy nominee for “Lovecraft Country,” it might just be her best work to date.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: LEV RADIN/SHUTTERSTOCK.COM

The way that you embody this character and all her shades is so well done. How did you find your way into her skin? What I’ve noticed about myself and how I work is that I work from the outside in. It gives me something to put my hooks into—the way someone speaks, the way someone walks, idiosyncrasies that they have that I can mimic is a way into the heart and soul of someone. But this was different, because Miss Oracene, she just has a very standard Midwestern, African American way of speaking. And she’s very quiet for the most part. What was the gift for me is that the director [Reinaldo Marcus Green] and the writer [Zach Baylin] interviewed her, and I listened to these interviews over and over. That was my portal to her. I really had to work from the inside out with her.

What’s your No. 1 piece of audition advice? Know your lines, man. My God, know your lines and know everybody else’s lines, too. There are people who I’m sure disagree with this because it makes them feel like they’re not having an authentic, lived-in, in-the-moment experience. But that doesn’t work for me. I need to know the words that I’m saying. I need as much information as I can possibly have, so when I get in the room and I have a reader who doesn’t like me, at least I’ll know what the heck I’m saying. Your lines are your armor. So, I would say, just know that. And be on time. That was a lesson I learned very late in life. If you’re on time, you’re already late.

How did you first get your SAG-AFTRA card? A show called “New York Undercover.” It was a Bonnie and Clyde episode, and I was Bonnie to Terrence Howard’s Clyde. What’s one performance every actor should see and why? Is there anything that’s been especially formative for you? My understanding of good art didn’t come from acting. I think that has made me a better performer, because it came from music, it came from writing. So, in that respect, I would say people like Aretha Franklin, Toni Morrison’s writing. I saw excellence in that art, a kind of expression that I wanted to aspire to. Having said that, everybody should see anything that Ruby Dee ever did.

What advice would you give your younger self? I would’ve told my younger self to have more joy, not take yourself so seriously. I think about myself 20 years ago, even 10 years ago, not realizing that there was joy in what I was doing. It may not have been the best job in the world, but there was joy to be found in what I was doing.

“I had actually been acting for a while before I said, ‘Yes, I am an actor,’ because I had money in the bank, paying my rent with what I did.”

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

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COVID-19

L.A. Readies for Upcoming Indoor Vaccination Mandates Here’s what Angelenos need to know By Diep Tran

BACKSTAGE 10.28.21

is our only way out of this pandemic, and we must do everything in our power to keep pushing those numbers up,” said Garcetti in a statement. “These new rules will encourage more people to get the shot and make businesses safer for workers and customers so that we can save more lives, better protect the vulnerable, and make our communities even safer as we fight this pandemic.” People who have a medical

than 10,000 attendees. It has also mandated that city workers be vaccinated. In Hollywood, one of L.A.’s biggest centers of industry, many production companies are requiring vaccinations for cast and crew. SAG-AFTRA does not mandate vaccinations, but the union does allow producers to require them on a production-by-production basis as a condition of employment. Under the COVID-19 safety protocols agreed upon by the various Hollywood unions, a set is divided into different zones, and workers in one zone cannot physically interact with workers in another zone. On a film or TV set, a producer is allowed to mandate vaccines for anyone in Zone A, which includes actors and anyone who comes in direct contact with them, such as the director and the hair and makeup department.

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FAWAD ASSADULLAH

LOS ANGELES IS FOLLOWING New York City’s lead: Earlier this month, the Los Angeles City Council and Mayor Eric Garcetti approved an ordinance that will require proof of vaccination or a negative COVID-19 test to enter indoor public spaces, including theaters, restaurants, bars, gyms, and malls. The rule will go into effect next week, starting Nov. 4, and the city will begin enforcement Nov. 29. “Vaccinating more Angelenos

condition or religious beliefs that preclude them from being vaccinated will need to provide proof of a negative COVID-19 test taken within 72 hours. This ordinance follows in the footsteps of New York City’s Key to NYC program, which mandates vaccinations for indoor public spaces, including theaters, concert venues, and restaurants. San Francisco and West Hollywood have also passed similar laws. Details on how L.A. plans to implement the ordinance have not been released. In NYC, the city and state have created mobile apps that allow people to store their vaccination information. Noncompliant businesses will first receive a warning, followed by a fine of up to $5,000 for subsequent violations. L.A. had already been requiring vaccinations for sporting events and concerts with more

DON’T PUT YOUR FUTURE ON HOLD Start training in February and graduate an industry-ready professional actor in eighteen months. Study in New York City with working actors.

OUR PROGRAMS

The sequel, which is still in the development stages, will pick up with the pair tangled in a second lethal mystery, which will be “another international adventure full of intrigue and hijinks,” per the announcement. Additional plot details are being kept under wraps as the project gears up for production. Laura Rosenthal is casting, but no additional talent has been announced yet. Jeremy Garelick is set to direct. Filming will begin in January 2022 in Paris and Hawaii.

the rest of the ensemble. Production on the series is set to start this November in Los Angeles.

The Weeknd Will Be Your ‘Idol’ The pop singer is co-creating a new HBO drama By Rebecca Welch

STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles! Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for

For more upcoming productions and casting news, visit backstage.com/news/casting

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“The Idol” Get ready to worship your latest obsession: HBO’s “The Idol.” Pop icon Abel Makkonen Tesfaye (aka The Weeknd) is co-creating the drama series with “Euphoria” creator Sam Levinson, which he’s also starring in opposite Lily-Rose Depp. He’ll play a powerful Los Angeles club owner and secret cult leader who becomes embroiled in a romance with a rising pop star (Depp). Betty Mae Casting will put together

TELEVISION

Betty Gilpin Continues Her Reign By Casey Mink

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

“GLOW” EMMY NOMINEE GILPIN HAS signed on to star in and executive produce “Blood Sugar,” which is currently in development at HBO. Co-written by Duke Merriman and Preston Thompson, the series tells the tale of an entrepreneur whose frozen food business is laughed off the “Shark Tank” stage. She then goes on to find fame and fortune. Claire Wilson will serve as showrunner, with Lucy Tcherniak on board to direct. The project is one of many on Gilpin’s plate: She’ll play one of the title characters in Showtime’s “Three Women” and is also starring in the upcoming Watergate series “Gaslit.”

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MARGAUX QUAYLE CANNON

Get cast!

the latest news on project development during this time.

“Murder Mystery 2” Jennifer Aniston and Adam Sandler are getting back to business in this sequel to their 2019 whodunit comedy “Murder Mystery,” which found them among a group of unlucky spouses caught on the wrong end of a murder.

COURTESY NETFLIX

What’s Casting

“Boy Kills World” Sam Raimi is attached to produce another dark project for “It” star Bill Skarsgård, from director Moritz Mohr. Skarsgård will play Boy, who’s born deaf and unable to produce verbal speech. When his family is murdered, he flees into the jungle, where he stumbles on a shaman who takes him under his wing. The mysterious man trains him to be a ruthless killing machine. The project, cast by Nancy Nayor, has tapped Yayan Ruhian to play the shaman and Samara Weaving to portray an assassin. Set to start filming in early 2022, production will take place in the United States and South Africa.

of on-set experience. I got really great at hitting my marks without looking and making sure that even though there were 30 people around me, I could really stay focused on the scene. Even when you’re preparing for those harder scenes, sort of learning your process by which you take yourself to a more emotionally vulnerable state and level, just getting that real-world practice on set in the actual environment—those are things that I will, of course, continue to take with me forever. But I really learned a lot about how Hollywood can work and how hard of a business it can be, and how much you have to push for things to be successful and to prove yourself to people.”

The “On My Block” cast was a team made in heaven. SIERRA CAPRI: “It’s weird. I always get asked, ‘What are you going to miss about the show?’ And believe it or not, the main thing is probably the cast, because we are a family. Even though we’re gonna see each other all the time, it’s just weird not actually working together, because it’s so rare that we have that type of energy. And hopefully we do all get to work with each other again.” BRETT GRAY: “I always say, at some point, I would love to get into producing; and my dream is to get us back together in some way.”

They both used Backstage to get a foot in the door. BG: “Honestly, my advice for new actors would be to get on Backstage and get serious about Backstage, and to at least start there. Try to just put your foot out and start learning.” SC: “Definitely. If you were an actor back then and you weren’t looking at what was being posted, then you just weren’t a go. It was for background work. It was always something that you could submit yourself for, and it’s always an opportunity for anyone of any race, any shape, size—it doesn’t matter. You can always find something that’s right for you. But I’d probably also say: Never take no for an answer. That’s the main thing I have to tell myself now, because I would get discouraged.” BG: “You can’t rely on your agents and your managers; you have to continue [to have] that hunger. You have to continue, you have to keep reading stuff, you have to keep meeting people, you have to keep working and acting and figuring out ways to be creative because it calls more to you.”

Working on the series served as a Hollywood crash course for the pair. BG: “Of course when you’re acting every day, you get that sort

Want to hear more from Capri and Gray? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

Brett Gray and Sierra Capri on “On My Block” Backstage Live

On Their Block, On Their Terms

Sierra Capri and Brett Gray reflect on the final season of “On My Block” By Madison Mora

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.

TELEVISION

A Girl Boss Gig for Uma Thurman

COURTESY NETFLIX

MARGAUX QUAYLE CANNON

By Casey Mink

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“ON MY BLOCK” BREAKOUT stars Sierra Capri and Brett Gray are coworkers onscreen, but best friends at heart. Having just wrapped the fourth and final season of their hit Netflix series, the duo shared what they’ve valued most in their time working together, how their connection first began, and what advice they have for other upstart performers.

THURMAN HAS SIGNED ON TO PORtray Ariana Huffington in “Super Pumped,” an upcoming Showtime series which will depict the rise of ride-sharing company Uber. The project is intended to be an anthology, with the first season centering on Uber CEO and co-founder Travis Kalanick (played by Joseph Gordon-Levitt). Subsequent seasons will each focus on a different major business. As Huffington, who was an Uber board member, Thurman joins a cast that also includes Kyle Chandler and Elisabeth Shue.

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Meet the Maker

Pablo Larraín, “Spencer” writer and director Kristen Stewart in “Spencer”

PABLO LARRAÍN MAY BE CREating a whole new genre: the “fictional fable.” Sure, his films are connected by a dotted line to the traditional biopic, but don’t expect him to define the forthcoming “Spencer” or 2016’s Oscar-nominated “Jackie” as such. “I understand that we need to put things in boxes,” he says, but he’s more interested in the psychological truths of his heroes than biographical ones. “My personal starting point is to understand that you would never be able to capture anyone. It’s not possible, because that person is so unique and

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understand why such a particular cultural and pop icon was so interesting for so many people.” “Spencer,” led by a career-best Kristen Stewart, takes a stab at answering that question. Larraín reflects that the princess’s inherent mystery and the difference between her public and private personas are what has enraptured the world—both then and now. “I think Diana had an enormous amount of mystery, and the more I learned, the more questions I had,” he says. “Now, after I’ve made the movie, I’ve had more.” That kernel of truth led to Stewart’s casting as the late icon. As a fan of the star’s work in Olivier Assayas’ features “Clouds of Sils Maria” and “Personal Shopper,” Larraín says that “she obviously has the skills and the elegance and

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PABLO LARRAÍN

“I think Diana had an enormous amount of mystery, and the more I learned, the more questions I had. Now, after I’ve made the movie, I’ve had more.”

singular,” he says. “But what you can do is create an illusion that works on a more emotional level and an intellectual level. All you can do is try to capture the essence of that person through what you believe is humanly relevant.” His interest in Diana, Princess of Wales (born Diana Frances Spencer) began at a young age. From his childhood home in Chile, Larraín remembers his mother not just being interested in, but invested in, this distant woman’s fashions and hairstyles, the royal family’s dramas, and ultimately, Spencer’s tragic death. What fascinated the filmmaker was the question: Why? “I realized that my mom was just one among millions around the world,” he says. “The more I knew about Diana, the more I was interested [in trying] to

the beauty to play Diana; but most importantly, she has the mystery.” The inscrutability of his subject and the leading lady playing her served his interpretation of Spencer’s crumbling marriage and relationship with the Crown, “because that’s how each of us can see the version of Diana that you think you see.” “It’s hard to define,” he adds, “and the harder to define, the better it is.” Looking back at his time filming in Germany earlier this year, Larraín recalls that Stewart was “a force of nature,” “so confident,” and “so fearless” from beginning to end. “It not only speaks [to] the talent she has, but also [to] how much of a hard worker she is. She really studied and went through a very tough process.” As to the beguiling traits that first lured the filmmaker to the performer, Stewart’s mystery, even after the intimacy of a demanding shoot, remains intact. That, Larraín believes, is the mark of a true movie star and artist. “We get along well; we started a friendship. I love her, and it’s fantastic. But the process requires a camera and a lens; I wouldn’t be able to define her on a personal level,” he says. “What she does really well— and it’s why I keep thinking she’s like an old-school movie star—is when she’s in front of the camera, it just blows. That’s something that I [don’t see] in other actors, and I just don’t know how or why it happens…. I find that incredible, spiritual mystery that comes out after you film someone and create the illusion of, in this case, Diana, so beautiful.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE FRENCH DISPATCH”: COURTESY SEARCHLIGHT PICTURES

By Benjamin Lindsay

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THE ESSENTIALISTS

ADAM STOCKHAUSEN production designer

Wes Anderson’s films are, by and large, recognizable from a single frame. That’s, of course, due to the seven-time Oscar-nominated filmmaker’s distinct vision, but it’s also thanks to his work with trusted collaborators—among them Oscar-winning production designer ADAM STOCKHAUSEN. He and Anderson share an artistic shorthand. “The more we work together, the deeper the relationship gets and the faster the shorthand becomes. It really does help cut through the confusion. By no ill intent, when you first meet somebody,

Note From the CD

By Casey Mink

you don’t know them. There’s a lot of energy put into just trying to understand what the person wants and what they’re trying to say. That’s all gone, and we don’t have to waste any of that time. But it keeps developing, too.” Production design linked the four vignettes of “The French Dispatch.” “The interrelationship of the stories really came from the city [in the film]. And that’s where we started, because when we started working, Wes hadn’t even finished writing the [script]. So we dove right in and

were trying to define what the place was, this little town: What did it look like, and where were we going to shoot it? We were sketching, and that kind of ennui of the town started to take shape, and then the other stories just got built into that.”

Going In for the Kill

PABLO LARRAÍN

ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE FRENCH DISPATCH”: COURTESY SEARCHLIGHT PICTURES

By Marci Liroff

REBOOTS AND REINVENtions are all the rage these days, and the one I’m most excited for is “Dexter: New Blood.” Charting the life of serial killer Dexter Morgan (Michael C. Hall), the new limited series is set 10 years after the original wrapped. It’s led by showrunner and executive producer Clyde Phillips, who gave me a peek inside his creative and casting process. I’m curious—why bring “Dexter” back after all these years? Several reasons. Most importantly, Michael C. Hall was ready to reengage. There was also a general feeling that the series finale left a lot to be desired. We also not only want to bring back the faithful audience; enough time has passed that we feel we can attract a whole new audience that was too young when the first series aired. But mainly, it was Michael’s readiness and desire to revisit the series and the character.

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How do you approach making an audience root for a serial killer? In the case of “Dexter,” I think the reasons an audience embraces him [and] invites a serial killer into their homes every Sunday are: 1. It’s Michael C. Hall, and 2. The voiceover. Here’s this damaged, curious, uncertain, pained character so desperate to fit in—something a viewer can identify with. And Dexter’s voiceover speaks to his own vulnerabilities and innermost thoughts and questions. How did you expand the world of “Dexter”? We’ve moved it out of Miami. The show now takes place in the fictional small town of Iron Lake, New York. It’s cold, snowy, and feral. He’s got a new girlfriend who happens to be the chief of police. His son, Harrison, comes back, searching for the father who abandoned him and faked his own death. The storytelling is richer. The theme of the season is fathers

and sons. Dexter has been abstinent [from killing] for almost a decade, and he’s in such a small town that there are fewer candidates for his table. But this is “Dexter,” and people will still meet their untimely fates. What did the casting process entail, and what were you looking for in the actors who were playing new characters? We had several offer-only parts: Julia Jones, Clancy Brown. We also set out to have as diverse a cast as possible. “Dexter,” when in Miami, had a rather diverse cast already. We and our casting director Ross Meyerson just pushed harder to make the casting reflective of what the audience sees when they see themselves. In auditions, what does an actor need to do to get your attention? It comes down to a certain spark, intelligence, understanding of the material,

energy, engagement, [and] a willingness to take chances and take direction. Are you embracing Zoom auditions, or do you still like to be in the room? Do you have any suggestions for selftapes and virtual auditions? I’d prefer to be in the room, but [those opportunities] just don’t exist anymore. Plus, the way we were running and gunning on “Dexter,” we really didn’t have time to have formal sessions. As for self-tapes: Know your lines, don’t ad-lib, and have someone reading with you who has a bit of their own energy, even if they’re off-camera. It can really hurt an audition if the scene-mate is dry, droll, [or] too quiet.

Want more?

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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The Curse of the Forgotten Faces

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ready for bed, that feeling of being watched came over me, and when I turned around, there was a face right outside my window. It took me a moment to realize there couldn’t possibly be anyone out there. I live in a two-story townhouse, and there’s no balcony or ledge outside that window. Had someone climbed up on a ladder? Would an angry actor go that far? As I moved closer, the face didn’t move. The eyes didn’t blink. My tormentor was dead still. Then I realized it wasn’t a human being. It was a headshot! The actor in the picture was a handsome white guy with an edge who played mid- to late 20s. Just another generic face. I guess we might’ve crossed

John Rinaldi

By Jalen Michael When we say you can stay connected to the industry anywhere in the world, we mean it. Just ask JOHN RINALDI, an actor who hails from the Netherlands. Jump on new opportunities. “The creatives [of a recent project] found me through my profile on Backstage and sent me a casting invitation. I submitted and heard back within a few days that I’d been cast. After a year in lockdown, I was beyond excited to do something in person with other actors.” Don’t skimp on your profile. “Spend some time really filling out your profile. Include plenty of pictures and videos. Play with the search function until it pulls [up] just the projects that interest you. Then, save that search and let it run for you every day. The search is easy to use, and I like that it sends me matched projects daily.” Find your kin. “Before COVID-19, I connected with the Meisner community here in Amsterdam. We’ve stayed friendly outside of classes and often let each other know about projects.”

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; RINALDI: SANDRA NISSEN PHOTOGRAPHY

I’M BEING WATCHED. I realize how that makes me sound, but I’m convinced an unseen force has been spying on me for the last few days. I told my therapist about this feeling, and he said it’s all in my imagination. I said that I needed a new therapist. So, who’s watching me? It could be a former client. Last week, we had a drop meeting. Agents do this twice a year, and the clients who get dropped never take it well. I wonder if one of those poor unrepresented souls has been following me around, hiding in the shadows, waiting for a chance at vengeance. Last night, I finally came faceto-face with the truth. As I was upstairs getting

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

paths at some point, but who knows? I meet hundreds of actors every year! Suddenly, the room grew darker. Why? The answer made my armpits damp. Every single window was covered with more headshots—different faces, all staring at me. Some of the pictures projected real energy, and others were lifeless. That’s actually a common problem with headshots, but I digress. I raced downstairs and found that the windows there were also covered. Had someone papered my entire home with old pictures? Or was the answer more supernatural? Not sure what to do, I bolted outside and dove into my car. The windshield was clear. But then I glanced down for a moment, and when I looked back up, there was another sea of faces staring in at me. How did this happen so quickly? The truth was obvious: These headshots were alive! I was trapped. There was no way out. But then I realized that hard copy headshots aren’t a thing anymore. Pictures are all digital now. I can’t even remember the last time I held an actual headshot in my hands. That meant these faded images were upset. They had stored up all that angry energy from being discarded, and now they wanted me to pay for their obsolescence. Knowing exactly what to do, I rolled out of the car, opened the photo app on my phone, and started flashing through all the client shots I had stored in there. Faced with the truth of change, the possessed headshots shuddered and dropped to the ground. The nightmare was over. Or was it? I glanced back at my house and tried to process what I was seeing. There were thousands of VHS cassettes and DVD cases everywhere. The demonic headshots had been replaced by possessed demo reels! So I prepared for battle. Happy Halloween!

culture +

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

Nina Gold and Martin Ware

The casting visionaries behind time-traveling horror film “Last Night in Soho” reveal all By Jack Smart

that’s the new world, which didn’t exist when we cast this! MW: Yeah, we did chemistry reads with Thomasin and Michael [Ajao, as Eloise’s friend John,] in real life, and that was pretty important to see those two getting into a vibe together.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; RINALDI: SANDRA NISSEN PHOTOGRAPHY

EACH CASTING JOB COMES WITH UNIQUE CHALLENGES, AND in the case of Edgar Wright’s buzzy horror flick “Last Night in Soho,” Nina Gold and Martin Ware found themselves in uncharted territory. The story, about a London fashion student who time-travels to the 1960s and inhabits a nightclub singer’s body, required two distinct yet similar actors whose looks felt specific to each time period. After Thomasin McKenzie as present-day Eloise and Anya Taylor-Joy as bygone-era Sandie fell into place, Gold and Martin understood that the same aesthetic was necessary to populate both Londons. The U.K.-based casting directors behind “Patrick Melrose,” “Annihilation,” “Chernobyl,” “The Power of the Dog,” and multiple “Star Wars” properties share insights into their casting process, plus their advice for actors. What went into casting “Last Night in Soho”? Where did the process begin? Nina Gold: I guess we started with Thomasin’s character and Anya’s character, as they have to kind of complement each other. You had to feel like they could sort of slide into each other somehow. Martin Ware: Yes, we had to try and cast those two parts alongside each

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other…but not look too similar, because it just becomes a bit [muddled]. It’s quite good that they’ve got some differences, but both their frame and size is fairly similar. Since one character is grounded in the present day and another is in the 1960s, did you search for actors whose looks fit into certain time

periods? NG: Yeah, there was definitely a feeling that there is—it’s quite hard to quantify— but a feeling of people looking right in a certain period or not…. You do hear yourself saying or thinking, not that infrequently, “Yeah, they’re really great. But do they feel a bit modern?” It’s a thought that crosses your mind quite frequently, isn’t it? MW: Yeah. And to a lesser extent, “People seem old-fashioned.” NG: For [McKenzie’s present-day character,] we just wanted her to look timeless somehow. She was sort of out of place in her own world, also. How important are chemistry reads for those kinds of character relationships? NG: Chemistry reads are pretty good, although, personally, I think we both find that they’re not that great on Zoom. But

How have your jobs changed in the last year and a half? Is the industry getting back to normal? NG: We’re getting more back to normal in England than they are in America, from the casting point of view. We’ve started to meet actors in the real world a lot more than we were. But much more now, you start with Zooms or self-tapes. In 2019, we would have started with meeting people, whereas now, you kind of take the first step with self-tapes or Zooms, which is good and bad, because it definitely allows you to see more people. But it also [makes the process] a little bit harder to adapt [to]. MW: Exactly, because they’re not in the room getting immediate feedback. They’ll send their video in, and they might be great actors, but they just slightly got the wrong end of the stick. And quite often, we ask people to tape again. But if that was in the room, you would have done that in five minutes rather than having to wait a couple of days for them to have time to do their retake. NG: There is definitely no substitute for actually meeting in person and feeling the real thing.

Want more?

Read the full interview at backstage.com/magazine

10.28.21 BACKSTAGE

Acting Fearlessly Tessa Thompson leans into what scares her, “as long as it’s a kind of fear that you can breathe into and give oxygen to” By C. Taylor Henderson | Photographed by Shayan Asgharnia STILL IN FULL GLAM FROM HER PHOTO shoot and soon making her way to an evening appointment in Los Angeles, Tessa Thompson has come a long way from hoarding copies of Backstage 16 years ago. She remembers circling potential auditions between waitressing shifts and eventually landing her first television role, a bootlegging lesbian on an episode of “Cold Case” in 2005.

“Backstage has been a huge part of my narrative, actually, so this is quite surreal,” she says on a sunny September afternoon, a glint in her eye and a smile on her face. Conversation with Thompson comes easily, like catching up with an old friend—if that friend were a headline-grabbing, award-winning actor. In the years since “Cold Case,” Thompson has starred in Justin Simien’s groundbreaking film “Dear White People” (which spawned four seasons of a spinoff series of the same name on Netflix), played opposite Michael B. Jordan in the “Creed” film series, smashed into the Marvel Cinematic Universe in “Thor: Ragnarok,” and earned her first Emmy nomination this year for Amazon Studios’ romantic drama “Sylvie’s Love.” Her next project is Rebecca Hall’s Oscar-buzzy “Passing,” a thought-provoking reflection on race, womanhood, family, and jealousy based on Nella Larsen’s gut-wrenching 1929 novella. The film will stream on Netflix starting Nov. 10. Considering all Thompson has accomplished, it’s surprising that she once didn’t think of acting as a viable career path. “I couldn’t see my place in Hollywood. I didn’t get the inner workings of the business, of the industry,” she reflects. “I don’t have any actors in my family. I didn’t really understand how people made a living out of it, but it was something that I always loved.”

She grew up in L.A. and was drawn to theater from a young age, but she always considered it more of a hobby. She thought she was going to be a lawyer and went to Santa Monica College to study cultural anthropology while waitressing and acting on the side. Her academic studies soon ended, but Thompson says performing scratches a similar itch. “Many of my interests intersected with storytelling and interrogating why we do the things that we do as humans,” she says. “[It] had to do with persuasion and how you create a narrative that people can get behind. When I look at all the things that I’ve been interested in, they, in some way, relate to some of the fundamental things that are required for what I do now.” Her first substantial role was Jackie Cook on Season 2 of “Veronica Mars,” the UPNturned-CW-turned-Hulu series that has become more beloved post–UPN cancellation than it was when it originally aired. “I think that was my third audition,” recalls Thompson. She says those first successes were directly related to the work she was doing on stages around Southern California. In 2002, she starred as Ariel in the Los Angeles Women’s Shakespeare Company’s production of “The Tempest” and as Juliet in the Theatre at Boston Court’s “Romeo and Juliet: Antebellum New Orleans, 1836.” She received an NAACP Theatre Award nomination for her performance in the latter. Casting directors and studio executives soon came knocking. “I can sort of trace all of the early things that happened in my career to [theater],” she says, adding, “There are tons of people around the country, around the world,

who are doing plays and things in their hometown—it’s just that their hometown is not Los Angeles, California.” One of Thompson’s favorite parts of acting is diving headfirst into the world of every character she plays, as she did on “Veronica Mars” and now in “Passing.” “I really love that period of preparation that has to do with reading and taking in, from so many different avenues, things that relate to the world that you’re in,” she says. “If it’s a period piece, like with ‘Sylvie’s Love,’ it’s really fascinating to read women’s magazines of the time. So much of what you think about yourself is in conversation with what people tell you about yourself. It was interesting to read a ton of publications and look at advertisements from that time and

It all starts from a very personal place. You either expand or diminish things that already exist in you. That’s the way that I like to think about character; there isn’t such a separation.

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“PASSING”: COURTESY NETFLIX

With André Holland in “Passing”

think about the woman that [Sylvie] wanted to be relative to the woman that people are telling her she ought to be. Sometimes it’s the emotional landscape of the piece, and investigating it, interrogating that. It all starts from a very personal place. You either expand or diminish things that already exist in you. That’s the way that I like to think about character; there isn’t such a separation.” Of her dozens of great roles to date, she’s perhaps fondest of playing Detroit in “Sorry to Bother You,” her “bonkers” 2018 film with LaKeith Stanfield. She says that writer-director Boots Riley “just gave me such a tremendous amount of freedom in terms of sculpting her and how she looked. That was a very fun one.” How does her approach translate to the fantasy playground of the MCU? Thompson relished the opportunity to play the asskicking Valkyrie, who also appears in “Avengers: Endgame” and next year’s “Thor: Love and Thunder.” “I was really fascinated by the demands of green screens, what that does to performance,” she says. “In a way, it’s pure imagination to have to create things that don’t exist, or to be acting opposite a tennis ball and imbuing it with a sense of the character that you’re supposed to be looking at.” World-building inside her own mind was part of the fun. “When I see performances in those big genre spaces that feel really grounded and human, I know that the actor has created that in spite of the confines of the piece—because sometimes they’re in a green room by themselves; the person they’re acting opposite has already shot their thing, and they haven’t even seen it. To create that kind of intimacy, I thought, would be a really interesting challenge.” That hunger drives Thompson’s search for new roles. She likes projects that scare her, “as long as it’s a kind of fear that you can breathe into and give oxygen to.” In “Passing,” Thompson’s Irene is a guarded woman who spends a day in segregated New York City on the white side of town. Irene, like Thompson, is biracial. In Larsen’s original story, her lighter skin tone and slightly more Eurocentric features allow her to “pass” as white in certain spaces, giving her a sense of privilege and safety that isn’t normally afforded to Black people. While running errands, Irene bumps into Clare (Ruth Negga), a friend from high school who has fully assimilated into society as a white woman. Even her husband, John (Alexander Skarsgård), doesn’t know she’s actually Black. Irene and Clare catch up, giggling about the con opportunity that their light-skinned privilege has opened up for them. Once Clare sees how happy Irene is living in Harlem with her Black husband and sons, she begins to throw caution to the wind and effectively opens the floodgates for an imminent tragedy. Thompson worried that the “intense interiority” of the characters’ thoughts wouldn’t

“PASSING”: NETFLIX

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04.02.20 BACKSTAGE

translate from page to screen, but Hall and her actors tackled that head-on. “There are depths of feeling that she doesn’t express, that she tries to repress very earnestly until they don’t have release,” Thompson says of Irene. “That was a really tricky thing to prepare for, because it meant that I needed to try to track and understand all those thoughts.” One of the methods she used was to transport herself into Irene’s music. A piano piece called “The Homeless Wanderer” plays as a musical motif throughout the film, and Thompson had multiple versions of the song playing on a loop while she was on set, some sped up and some slowed down. The song helped her trace the character’s state of mind. “I don’t typically work with music as closely as I did on this one, but Rebecca really felt like that song and these sort of sounds were almost a character in the film. I liked having them around, even when the audience wouldn’t be hearing them.” The actor also credits Hall, who is making her directorial debut with the film, with giving the cast room to play. “I think we both left a healthy amount of space for both mystery and mischief,” she says. “What people might assume could be a very heavy, still, measured set was actually quite a free one.” While “Passing” is set nearly 100 years ago, it echoes conversations we’re still having today around Black people and discrimination, police brutality, and safety. “There’s always the negotiation, unfortunately, if you have children that are in a Black body—how you prepare them for those eventualities or possibilities,” Thompson reflects. “It didn’t feel like we were digging up something antiquated.” Taking oneself back in time, no matter the period, can easily unearth racial trauma for Black performers. Asked if it ever feels dangerous to situate herself in those eras, Thompson pauses, then poses the question: If a Black person had the option to travel back into the past, which time period would they go to? “My answer is none,” she says with a laugh. “For us, for folks of color, and specifically for Black Americans, [there is] no other time in American history would I volunteer to go to.” Thompson believes Irene feels “hemmed in”—not just by her race, but by her womanhood, her fears, her politics, and the reality that’s shaped her. “When she’s presented with Clare, who has a certain amount of freedom, no matter how sort of repulsive it is, Irene has political and rational reasons why she maintains a certain amount of judgment for how Clare is living. The truth is, she has a real longing, in some ways, to also live that way. And that way is just to be without shame, without guilt. I think shame and guilt are the things that disconnect us from the fullest expressions of ourselves.” “ ‘Passing’ is not really a film about race,” Thompson concludes. Instead, it’s “about the ways in which we pass for all things—the ways in which we pass inside of gender BACKSTAGE 10.28.21

expressions that don’t sit right on us; the way that we pass for happy inside of domesticity, which I think is Irene’s biggest problem; the way that we pass inside of our relationships; the way that we pass in terms of our sexuality.” Thompson wonders aloud how Irene’s own queerness is also “up for interpretation,” that “there are some folks who read Larsen’s novella and see it primarily as a queer piece of literature, and there are some people who will miss that entirely.” But “if you had plucked Irene out of the ’20s, would she be a fuller expression of whatever her queer self is? Maybe, potentially; I don’t know.” Therein lies the thrill of Thompson’s craft: Giving her art to the world ignites her imagination, plants the seeds for much-needed discourse, and hopefully, inspires cultural change—not just around colorism, but around what it means to laugh, connect, desire, cry, and be alive. If artists are the “custodians of culture,” as Thompson believes, her art can infinitely reverberate, far beyond anything we can ever hope to measure.

Let the Buzz Begin

Seven of this year’s film festival highlights that could become Oscar contenders By Matthew Jacobs THE LAST OSCAR CEREMONY OCCURRED LESS THAN SIX MONTHS ago, but it’s already time to anoint a fresh batch of frontrunners that will chase after trophies in early 2022. Since the Venice, Telluride, Toronto, London, and New York film festivals kick-started the season in September and October, the upcoming awards derby has become a bit clearer. Of the premieres in those lineups, a handful are almost guaranteed to factor into the Screen Actors Guild Awards, Film Independent Spirit Awards, and Academy Awards competitions.

“C’mon C’mon” (A24)

A lovely slice-of-life dramedy shot in black and white, “C’mon C’mon” follows a radio interviewer (Joaquin Phoenix) tasked with babysitting his precocious nephew (newcomer Woody Norman) while his sister (Gaby Hoffmann) tends to a personal crisis. Writer-director Mike Mills’ last two movies, “Beginners” and “20th Century Women,” received one Oscar nomination apiece: best supporting actor for the former and best original screenplay for the latter. Maybe Phoenix, who won two years ago for the much darker “Joker,” will lead the charge on this one, though it could very well receive a screenplay nod thanks to its soft humor and tear-jerking conclusion.

“Dune” (Warner Bros.)

This long-awaited adaptation of Frank Herbert’s futuristic space odyssey finally arrives following

multiple release postponements and Warner Bros.’ controversial decision to drop the movie on HBO Max the same day it hits theaters. As far as awards go, “Dune” has the pedigree to match its sweeping scale: director Denis Villeneuve, following up “Blade Runner 2049”; a lead performance from “it” boy Timothée Chalamet; an imposing score by legendary composer Hans Zimmer; and visual effects that are sure to yield nominations in the craft categories. Whether the film will be a hit at the box office when people can watch it at home remains to be seen. Low cinema turnout could dampen the buzz needed to push the sci-fi epic across the Oscars finish line—and to secure it a sequel.

“The French Dispatch” (Searchlight Pictures)

Since premiering at the Cannes

Film Festival in July, Wes Anderson’s newest romp has divided critics. The film is a heady, meticulous whirlwind set in and around an American newspaper office in a fictional French city. Three of his previous nine movies have received screenplay nods at the Oscars, so that’s probably the field in which “The French Dispatch” is likeliest to compete. But get a load of the cast: Bill Murray, Frances McDormand, Owen Wilson, Tilda Swinton, Timothée Chalamet, Henry Winkler, Jeffrey Wright, Benicio Del Toro— the list goes on.

Oscars, and Penélope Cruz’s first Oscar nomination came for Almodóvar’s excellent “Volver.” His latest, “Parallel Mothers,” marks his seventh collaboration with the actor, who plays a photographer who becomes unexpectedly pregnant at nearly 40, only for a strange mishap to throw her life into chaos. Cruz is a strong best actress contender, even though Spain has selected “The Good Boss” (a comedy starring Cruz’s husband, Javier Bardem) as its international feature film submission.

“The Lost Daughter” (Netflix)

(Netflix)

Maggie Gyllenhaal makes her feature film directorial debut with this adaptation of Elena Ferrante’s novel about a woman who finds herself obsessing over a family she observes on a beach vacation. Boasting a supreme cast that includes Olivia Colman, Jessie Buckley, Dakota Johnson, Paul Mescal, Ed Harris, and Peter Sarsgaard, “The Lost Daughter” is a haunting conversation-starter about how the past never truly passes us by.

“Parallel Mothers” (Sony Pictures Classics)

You never know how far Pedro Almodóvar’s movies will travel with the Academy. The beloved Spanish filmmaker has won two

“The Power of the Dog” Jane Campion’s tense adaptation of Thomas Savage’s 1967 novel has the look of a Western and the atmosphere of a menacing psychodrama. Benedict Cumberbatch plays a cruel rancher in 1920s Montana terrorizing his gentle brother (Jesse Plemons) and new sisterin-law (Kirsten Dunst). “The Power of the Dog” could yield a few Oscar firsts: Campion would be the first woman with two directing nods (the first was for “The Piano”), Dunst is an actor long overdue for a nomination, and Netflix could snag the best picture win that has so far eluded the streaming giant.

“The Tragedy of Macbeth” (A24/Apple)

COURTESY WARNER BROS. PICTURES AND AND LEGENDARY PICTURES

Zendaya and Timothée Chalamet in “Dune”

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For the first time in his 37-year career, Joel Coen has directed a movie without his brother, Ethan. The elder Coen has crafted an electric thriller, casting Denzel Washington in a powerhouse performance as the famous Shakespearean antihero who just can’t wait to be king. Frances McDormand is his partner in crime, and it’s about time she got the chance to play Lady Macbeth. “The Tragedy of Macbeth” could be a bit too weird and cerebral for the Oscars’ taste, but its haunting cinematography (by five-time nominee Bruno Delbonnel) and score (by twotime nominee Carter Burwell) could be enough to make it a viable contender.

10.28.21 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays TheaterWorksUSA 2021-22 Season

• Seeking video submissions from Equity

actors for the TheaterWorksUSA 202122 Season Tour. Musicals include “A Christmas Carol” (David Armstrong, Dick Gallagher, Mark W, creators); “Dog Man: The Musical” (Kevin Del Aguila and Brad Alexander, writers); “Pete the Cat” (Sarah Hammond and Will Aronson, writers); “The Pout-Pout Fish” (Matt Acheson, Christopher Anselmo, Jared Corak, Fergus Walsh, writers); and “Rosie Revere, Engineer & Friends” (Lauren Gunderson, Kait Kerrigan, and Bree Lowdermilk, writers). Plays include “Charlotte’s Web” (Joseph Robinette, writer); and “Warriors Don’t Cry” (Donnetta Lavinias Grays, writer; Donnetta Lavinia Grays and Tamilla Woodard, co-conceived by). New works include a TBA show (Potential workshop of a new musical based on a popular children’s book TBA.). Note: Most roles require singing in tight harmony. • Company: Theatreworks USA. Staff:

Jillian Carucci, assoc. artistic dir.-casting dir. • All touring productions tour various

dates throughout the year. Contract length varies depending on the show. Shows only touring in the fall generally start rehearsing in late September and run until mid-December, and shows touring only in the spring start rehearsing in late December/early January and run until as late as mid-June. • Seeking—Equity Actors: 18+. • Seeking submissions from NY. • Singers: Prepare a short contemporary

Musical Theatre or pop song that showcases range or the material provided: https://www.dropbox.com/ sh/2gdzjgw3tgkesnk/AADAjNZZDVLMbfGcwaHYvfsa?dl=0. NonSingers: Prepare a contemporary comedic monologue. Send audition video via YouTube or Vimeo link with pic/resume to castingteam@twusa.org. Submissions deadline is Oct. 28. Callbacks will be electronic. • Equity’s contracts prohibit discrimina-

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SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

Casting picks of the week BY LISA HAMIL

stage

• Pays $505/wk. Equity TYA Contract.

Note: All actors must be available to audition, rehearse, and travel from NYC. Some tours will be traveling to Canada, so actors must be able to travel outside of the United States. Some contracts would include an Artist Activity.

‘The 39 Steps’ Steal some secrets in Souderton, PA for this Equity production

‘Safe Haven’ Save yourself in this series for Walt Disney Television Studios

Musicals ‘Space Dogs’

musical

• Seeking video submissions from Equity

actors for understudy roles in “Space Dogs.” Stage Manager and Assistant Stage Manager positions are filled. All employees of MCC Theater must be fully vaccinated against COVID-19. Proof of Vaccination will be required. Synopsis: “Space Dogs” tells the heartbreaking, mind- blowing true story of Laika and the Chief Designer — a stray dog and the top secret Russian scientist who sent her to space during the Cold War. Written and performed by actormusicians Van Hughes and Nick Blaemire, it is a sweeping, kaleidoscopic tale of invention, betrayal, international political intrigue, and the immortal friendship that exists between man and dog, as they journey together to the stars.

‘Space Dogs’ Boldly go where no dog has gone before in NYC

film

‘Spirit Halloween’ Shop ’til you drop in this Rome, GA Halloween pop-up feature

‘Evil Lives Here: Shadows Of Death’ Time to move in this true-crime series shooting in NJ

• Company: MCC Theater. Staff: Robert

LuPone, Bernard Telsey, William Cantler, artistic dirs.; Blake West, exec. dir.; Beth Dembrow, general mgr.; Ayana Parker Morrison, mgr. of artistic prod.; Van Hughes and Nick Blaemire, writers; Ellie Heyman, dir.; Geoff Josselson (The Telsey Office), casting dir.

Nick Blaemire and Van Hughes; tenor to Bb. • Seeking submissions from NY. • For consideration, follow preparation

instructions and submit to spacedogsEPA@gmail.com with the subject line “Space Dogs EPAs -Full Name.” Submissions deadline is Oct. 29.

• Rehearsals begin on or about Dec. 6;

runs Jan. 8, 2022-Mar. 13 at the MCC Theater in NYC.

• Preparation Instructions: Submit a

video of yourself singing a short rock or rock musical theatre song of your own choosing that shows off your vocal range and personality, accompanying yourself on either the guitar or piano. If you are using an iPhone to video record, please be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, please slate your name and height. Title your video:

• Seeking—Space Dogs Understudy: 18+,

any gender, race/ethnicity and age; authentic human beings who also happen to be strong rock musicians on piano and guitar, with an ear for vocal harmonies, a sense of humor, and the ability to play multiple roles, such as direct-address storyteller, Russian scientist, American leader and dog puppeteer. To understudy writer/performers

“Full Name - Space Dogs EPA” Send the video link in a streaming format (Vimeo, YouTube, Google Drive, Dropbox, etc.) to the following email address. Do not attach full video files or send download links (i.e., WeTransfer, YouSendIt, etc). Include your headshot and resume either within the link (if using GoogleDrive or Dropbox, etc.) or attached to the email (being mindful of file size).Indicate Union status and role you are most interested in the body of the email. • Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $689/wk. Equity Off Broadway

Contract.

‘Who’s Holiday!’

• Seeking video submissions from a

comedic Equity actress for a role in “Who’s Holiday!” Actors of all ethnicities are encouraged to submit. Connecticut and Westchester talent encouraged to submit. Company states: “Music Theatre of Connecticut, currently beginning its 35th season, is located in a beautiful theatre center in Norwalk, CT. The company has won numerous “Best” awards both BroadwayWorld and Connecticut Critics’ Circle Awards, including the prestigious Killen Award for Outstanding Contribution to Professional Theatre, joining Long Wharf, Hartford Stage and the Westport Playhouse.” Synopsis: “Who’s Holiday!” is a wildly funny and heartfelt adults-only comedy that tells the story of Cindy Lou Who as she recalls that Christmas Eve she first met the Grinch and the twisted turn of events her life has now taken. • Company: Music Theatre of

Connecticut. Staff: Matthew Lonbardo, writer; Kevin Connors, dir.; Jim Schilling, MTC managing dir.; Alex Mongillo, admin. mgr. • Rehearses in person Nov. 27-Dec. 9;

runs Dec. 10-19 (weekends only) at the Music Theatre of Connecticut. Note: MTC meets and exceeds all safety requirements and is in full compliance with all Equity and State of Connecticut guidelines. All actors must be fully vaxed with proof of vaccination. • Seeking—Cindy Lou Who: female, 18+,

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New York Tristate casting

mate. However, Jack had a dark side that Shannon and Jack’s family didn’t know about and ultimately led to Jacks conviction.

to play 45, unlike the bright-eyes character of her youth, she is no longer an innocent. Having been dealt a tough hand in the game of life, she desperately attempts to remain cheery in all situations. Despite her style-challenged attire and now poorly permed bleached-blond hair, there still is a glimmer of hope in her beaten down spirit.

• Company: Red Marble Media. Staff:

Sabine Jeanty, casting dir.

• Shoot dates are Nov. 9-11 in New Jersey. • Seeking—Jack: male, 18-25, White /

European Descent, the life of the party, the charismatic good ol’ boy who can put people at ease. He’s got a great smile and likes to joke around. Those close to him say he’s sweet and endearing…but he has a dark side that his loved ones don’t know about and still find it hard to believe he committed the crimes he’s charged with; LEADPhysical Description: Small in stature (under 5’9”), athletic build, short/medium length brown hair, must be clean shaven or willing to shave. Pays $210/12. Note: Episode has implied violence. Must be fully vaccinated. Shannon: female, 18-23, White / European Descent, bubbly, fun, and has a knockout smile. She fell madly in love when she started dating Jack and firmly believed in his innocence when he was arrested. But when push came to shove, she saw the writing on the wall of a bad situation; LEAD. Physical Description: Long/dirty curly blonde hair, average/tall build. Pays $210/12. Warning: This episode has implied violence. Note: Must be fully vaccinated. Cameron: female, 25-30, White / European Descent, a Southern Spitfire! She was fiercely independent and admired by her siblings. She could make anyone laugh! A surprise pregnancy softened her edge and she focused everything on her son, her family and a newly rekindled relationship with God – doing it all Cameron’s way. LEAD.Physical Description: Strawberry blonde/light brown (wavy to curly) shoulder length hair, petite build. Pays $210/12. Warning: This episode has implied violence. Note: Must be fully vaccinated. Stan: male, 35-40, White / European Descent, a very mild-mannered, observant detective. He listens patiently and goes on a hunch. He actually never aimed to be a cop, just fell into it and discovered that he was an excellent detective. LEADPhysical Description: Brown hair, medium/average build, must be clean shaven or willing to shave. Pays $210/12. Warning: This episode has implied violence. Note: Must be fully vaccinated. Jacob: male, 18-22, White / European Descent, a bit of a mystery. He’s a dutiful son, admiring baby brother. He’s got a deep southern respect for tradition, but he’s resolute in his brother’s innocence and feels slighted by the world for the injustice his family has endured. LEAD. Physical Description: Shorter stocky build, buzzed brown hair (or willing to buzz hair), must be clean shaven or willing to shave. Pays $210/day. Warning: This episode has implied violence. Note: Must be fully vaccinated. Jim: male, 20-30, White / European Descent, tall, a bit nerdy – and very smart. He’s a computer programmer and workaholic. He’s always looked up to his big sister Cameron and has fond memories of her caring for him and his brothers. His sister’s death left him numb for decades.

• Seeking submissions from CT. • For consideration, prepare a mono-

logue in the style of the show. A side from the show is also available at www. musictheatreofct.com/auditions. Slate your name and the name of your audition piece. Also include picture & resume attached to email. Submit videos in mp4 or dropbox/google link formats to admin@musictheatreofct.com and auditions@musictheatreofct.com. Submissions deadline is Oct. 29.

• Equity’s contracts prohibit discrimina-

Student Films ‘Funny Bone,’ Comedy/ Thriller Film

• Casting lead roles in a comedy/thriller

about a comedian (Kal) returning to the stage after a 7-year hiatus. Things don’t go as planned when Kal gets into a brawl with another, younger comedian (Craig) who antagonizes him about his set, pushing Kal to the edge. • Company: NYU Tisch Production. Staff:

Aliza Jaw, student.

• Rehearsals begin Nov. 5; two-day shoot

during the last week of Nov. 25-Dec. 1. Exact dates TBD. Vax required. • Seeking—Kal Karri: male, 30-50, all

ethnicities, Recently divorced, Kal Karri is a comedian who is returning to the stage after a 7 year hiatus. Moxie: female, 40-60, all ethnicities, Moxie is a former friend of Kal and owner of the comedy club. Craig: male, 20-35, all ethnicities, Craig is a witty, up-andcoming comedian who is also the bane of Kal’s existence. • Seeking submissions from NY. • Send submissions to aj2776@nyu.edu. • Note availability and try to include reel

with submission.

• Non-paying role. Meals provided.

Scripted TV & Video ‘Evil Lives Here: Shadows of Death’ Ep. 201 • Casting Ep. 201 of “Evil Lives Here:

Shadows of Death.” Synopsis: Jack was a very charismatic and charming guy. Shannon thought Jack was her soulbackstage.com

10.28.21 BACKSTAGE

LEAD. Physical Description: short/ medium dirty blonde hair, tall lanky build, must be clean shaven or willing to shave. Pays $210/day. Warning: This episode has implied violence. Note: Must be fully vaccinated. • Seeking submissions from NY and NJ. • Send submissions to tinarmmcasting@

gmail.com.

• Pay provided.

with long & dense materials (5x 10-min. scripts). • Seeking submissions from NY. • Send submissions to talent@

paladinocasting.com.

• Usage is for a password protected

educational film series (5x 8-10 min episode); to be used only by the local hospital public schools in MA; No Conflicts/Exclusivity. OCP Rate: $650/10 hrs. (inclusive of 10-hr. session, usage and agency fee).

Demo & Instructional Videos

Multimedia

Neurobiology of Addiction Educational Series

Crockpot product, lifestyle photography & video shoot.

Crockpot Video

• Casting actors for a brand new

• Casting an educational series targeting

middle school & high schoolers.

• Note: A negative Covid Testing result

days TBC, in NYC.

• Seeking—Male Model for Crockpot

• Company: Paladino Casting. • Shoots Oct. 28 or Nov. 4 in the NYC

area.

Spanish) Host: male, 15-22, all ethnicities, fun, relatable & confident; reading & speaking fluent Spanish VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

Michelle Kornelli, prod.

• Works between Nov. 8-11, exact shoot

(within 2 days to shoot) is required for this project. Vaccination preferred.

• Seeking—Bilingual (English & Fluent

• Company: Newell Brands. Staff:

Photo & Video Shoot: male, 22-30, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, modeling use of crockpot product with food for web use. • Seeking submissions from NY. • Send submissions to michelle.kornelli@

newellco.com.

• Pays $700/day non union, no agent.

Marci Liroff C A S T I N G

D I R E C T O R

Private Coaching

Your audition should not feel like a visit to the doctor! After working for over thirty years as a Casting Director with some of the best directors and producers in our business, I have gained an extensive knowledge of what it takes to get the job. For the last several years, in addition to my ongoing casting work, I have been coaching actors to help them prepare for upcoming auditions and projects. In an intimate one-on-one setting, I map out each actor’s personal path for success. It is your time to show us what you’ve got. I will help you feel more in your body than you’ve ever felt before. Available in Los Angeles or worldwide thru Skype or Facetime.

For more information please visit http://marciliroff.com

casting California

Southern California •

Student Films ‘Heart of Gold’

• Casting “Heart of Gold,” a 10 minute,

pilot episode.

• Company: Chapman University. Staff:

R. Blanchard, coord.

• Table reads over zoom until January;

shoots Jan. 28-30 in southern California.

• Seeking—Benji Williams: male, 18-24,

all ethnicities, high school passing male, young looking, nerdy, lanky. Looks like the world could blow him over with one puff. Admires his grandfather. Wants more out of life, but lacks the confidence to do so. Nanpa Bob Williams: male, 65-80, all ethnicities, outgoing, eccentric, quirky, grandpa who loves his grandson and family very much. Treasure hunting is his passion and it gives him the greatest joy being able to share it with Benji. Rose Williams: female, 30-50, all ethnicities, Benji’s mom and Bob’s daughter. Single mom. Has gone through a lot of trauma and has walls up because of it. Very Professional and stern. Nurse. All work, no play. Resents her father for his treasure hunting hobby because it took him away from her. Harvey Pendleton: male, 18-24, all ethnicities, high school passing male, Benji’s best friend. Outgoing, eccentric, brave, and the clown in every setting. Everything Benji is not. Fluent in sarcasm. Overflowing in confidence for no reason at all. Jaxson Jones: male, 18-24, all ethnicities, high school passing male, young looking, bully, arrogant, athletic, preppy. “Stuck in high school” mentality. Benji and Harvey’s arch nemesis. Billy and Gilly: male, 18-24, all ethnicities, high school passing male, young looking, Jaxson’s little sidekicks. No brain cells and don’t think for themselves. Only good for insults and egging on Jaxson. No dialogue, just presence. (Twins welcome). • Seeking submissions from CA. • Send submissions to rblanchard@chap-

man.edu.

• For consideration, submit your resume,

headshot, reel, and role applying to Raquel Blanchard. Submissions deadline is Nov. 1.

• Meals provided and gas compensation

will be provided.

• Seeking—Manda the Fisherman: male,

• Commitment is for one online meeting

next week, plus a brief pre-party rehearsal and the performance, which will last approximately 2 hours. Pays $225. Transportation will be provided from the Oakland area for East Bay actors.

National/ Regional

pictures, reel, and resume.

• Pays $100/day (Nonunion); $125/day

(SAG). Meals, copy, credit, and parking fully covered.

Local Commercials

Plays

2021 Living Spaces Holiday Campaign Commercial Shoot

• Seeking video submissions from Equity

‘The 39 Steps’

actors for roles in “The 39 Steps.”

• Casting the 2021 Living Spaces Holiday

• Company: Montgomery Theater. Staff:

Campaign commercial shoot.

Patrick Barlow, writer (adapted from a John Buchan novel); Damon Bonetti, dir.; Tom Quinn, artistic dir.

• Company: Living Spaces. Staff:

Jonathan Munsayac, sr. prod. mgr.

• Shoots Nov. 4 at Living Spaces Studio,

• “Live” production schedule: Rehearses

14501 Artesia Blvd, in La Mirada, CA 90638.

Jan. 4-26, 2022 (Tues.-Fri., 11 a.m.-5 p.m., Sun. 4-10 p.m.); runs Jan. 27-Feb. 20 (Thurs.-Fri., 7:30 p.m., Sat. 7 p.m., and Sun. 3 p.m.; two Thurs. matinees: Feb. 3 and Feb. 10 @ 3 p.m.) in Souderton, PA.

• Seeking—Lead Mother: female, 35-45,

all ethnicities. Lead Father: male, 35-45, all ethnicities. Son: 5-10, all ethnicities. Daughter: 5-10, all ethnicities. Grandmother: female, 55-65, all ethnicities. Grandfather: male, 55-65, all ethnicities.

• Seeking—Richard Hannay: 30-45,

• Seeking submissions from CA. • Send submissions to jonathan.mun-

sayac@livingspaces.com.

• Rate: $400/day only for the time to

record the Likeness during the production shoot. Payment shall only be due if Living Spaces schedules the production shoot and the undersigned participates in the production shoot for the full duration of such shoot. • Digital Photography- Perpetual; :30 sec

Broadcast TV- Perpetual; Markets for Broadcast TV: Phoenix, San Francisco, Los Angeles, San Diego, Las Vegas, Austin, San Antonio, Dallas; :15 Digital Web Video- Perpetual.

Film. Staff: Elya Randrianaivo, dir.; Colette Robicheaux, prod.

Gabriel Grilli, project dir.

BACKSTAGE 10.28.21

to play Carey Bublé, a lounge singer (no singing required), and Mayor Jordan Jefferson. All performers and event attendees are required to be fully vaccinated for Covid. Local hires only.

• For consideration, include headshot/

Festivals & Events

• Shoots Oct. 29-31 in L.A., CA.

• Seeking submissions from NY and CA. • Apply on Backstage.com • Specifically seeking skilled improvisers

gmail.com.

Synopsis: After losing all his properties and assets, Asian-American businessman, Yan, spends his first homeless night at the beach where he meets an undocumented fisherman. They help each other and end up reevaluating their life’s priorities. • Company: LMU SFTV Graduate MFA

nicities, SF Bay area actors who have been vaccinated only. Mayor Jordan Jefferson: 30-60, all ethnicities, SF Bay area actors who have been vaccinated only.

• Seeking submissions from CA. • Send submissions to crobicheaux2@

‘There’ An Urban Tale

• Casting “There,” a student film.

• Seeking—Carey Bublé: 18-45, all eth-

25-50, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, South Asian / Indian, Southeast Asian / Pacific Islander, A fisherman from a distant foreign country. Preferably African or Islander, must be able to do a believable foreign accent. The fisherman is physically fit and strong, able to survive and support himself in nature; comfortable living in a palm hut at the beach; he incarnates simplicity, hospitality, generosity; he is married with four children; quiet and mature; his immigration journey turned sour, and now he needs to figure out how to reunite with his family.

• Seeking actors to play characters in a

1920’s themed murder mystery party hosted by Tyler’s Mystery Tours.

• Company: Tyler’s Mystery Tours. Staff: • Runs Oct. 30 a 6:00 p.m. in Redwood

City, CA.

attractive leading man (mid 30’s to mid’40’s) who leads a boring life until trouble is dropped in his lap. Annabella Schmidt/Pamela/Margaret: 25-35, attractive leading female/non-binary (mid 20’s to mid 30’s) who has a thick accent and claims to be a spy. Excellent physical ability and action. Clown/Man 1: 18-59, male/female/non-binary. Multiple character roles. Intense physical comedy. Clown/Man 2: 18-59, male/ female/non-binary. Multiple character roles. Intense physical comedy. • Seeking submissions from PA. • For consideration, email Artistic

Director Tom Quinn with your resume and video audition submission to tq@ montgomerytheater.org. Video content should be a brief comic monologue (using a classic British dialect anywhere from posh London to rural Scotland) performed by submitting actor. Submissions deadline is Nov. 1. • For questions, call at (215) 206-8452. • Equity’s contracts prohibit

ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $404/wk. Equity SPT Tier 4

Contract, pending.

‘The Odd Couple’

• Seeking video submissions from Equity

actors for roles in “The Odd Couple.” WaterTower Theatre is dedicated to diversity and inclusion as a core value, and as such we strongly encourage stage managers of all ethnicities, abilities, genders, and ages to submit. Local stage managers encouraged to submit. Must be willing to follow strict safety standards and agree to COVID testing which will be paid for by WTT. This production is approved under Actors’ Equity Fully Vaccinated Safety Standards. • Company: WaterTower Theatre. Staff:

Shane Peterman, prod. artistic dir.; Elizabeth Kensek, assoc. prod.; Ashley Puckett Gonzales, dir. • Rehearses Mar. 7-29, 2022 (typically

Monday is the observed Equity day off); runs Mar. 30-Apr. 10 (Shows: Wednesday-Sunday) in Addison, TX. Note: This production will be presented with very limited audience on The Terry Martin Main Stage. • Seeking—Felix Unger: male, 35-50,

male identifying; divorced, fastidious, high strung, and particular. Oscar Madison: male, 35-50, male identifying divorced, sloppy, lackadaisical, fun-loving, and relaxed. Murray: male, 35-55, male identifying; an easy-going policeman; a peacekeeper. Speed: 35-55, gruff and sarcastic; tends to pick on Vinnie. Roy: male, 40-55, male identifying; dry wit, Oscar’s accountant, concerned with Oscar’s poor money-management skills. Vinnie: male, 45-65, male identifying; mildmannered, avoids conflict. Cecily and Gwendolyn Pigeon: female, 30-45, female identifying; English (RP accepted, Northern Dialect adored); giggly, kind-hearted; fun-loving and a bit scattered.

• Seeking submissions from TX. • For consideration, submit your material

information, headshot, resume & link to your audition for the Creative Team to review: https://airtable.com/ shrZ2qGNKCgQ3Y7M8 Submissions deadline is Nov. 8. • Preparation Instructions: Visit the fol-

lowing dropbox folder where you can access the side for the role(s) you are interested in. https://www.dropbox. com/sh/mw3k9hogs9nmhqw/ AADwjZKL4DdnVEhVHckIlvcwa?dl=0 If you do not have access to a reader you may do a monologue in the style of the show or from another character such as Felix or Oscar. Film your audition safely from your home. Post your audition video to youtube/vimeo/dropbox. All video submissions will be viewed in full by the team. • In Person Callbacks will be scheduled

per Equity Safety Guidance on Nov. 14.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, backstage.com

National/Regional casting

Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $523/wk. Equity SPT 6 Contract.

Utah Shakespeare Festival 2022 Season

• Seeking video submissions from Equity

actors for Utah Shakespeare Festival’s 2022 Season. Season includes “All’s Well That Ends Well” (Melinda Pfundstein, dir. Runs May 10-Sept. 8, 2022); “King Lear” (Vincent Cardinal, dir. Runs May 9-Sept. 10, 2022); “Sweeney Todd” (Brad Carroll, dir.; Jeremy Mann, music dir. Runs May 9-Sept. 9, 2022); “The Sound of Music” (Keenon Hooks, dir.-choreo.; Alan Patrick Kenny, music dir. Runs May 10-Oct. 8, 2022); “Trouble in Mind” (Melissa Maxwell, dir. Runs May 9-Sept. 9, 2022); “Clue” (Hunter Foster, dir. May 9-Oct. 8, 2022); “The Tempest” (Cameron Knight, dir. Runs June 7-Oct. 8, 2022) and “Thurgood” (Delicia Turner Sonnenberg, dir. Contract dates Aug. 25-Oct. 8, 2021). • Company: Utah Shakespeare Festival.

Staff: Brian Vaughn, artistic dir.; Derek Livingston and Tanya J. Searle, artistic associates.

• Rehearses and performs in Cedar City,

UT.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from UT. • For consideration, use this link https://

airtable.com/shr3jvUtl4iKvGinO to complete the application form and to upload your video link (YouTube or Vimeo are preferred), your headshot, and your resume. Ensure that your union or non-union status is clearly designated within the context of your resumé. Do not send a cover letter or any supplemental materials, such as additional photos or reels. Submissions deadline is Nov. 15, 2021. See additional materials for self-tape instructions. • Note: Individuals will be contacted

directly via email regarding callbacks, which will also be held via video submission. There are understudy roles available. • For questions, email casting@bard.org.

For more info, visit www.bard.org.

• Equity’s contracts prohibit discrimina-

10 or Oct. 8) or $739/wk. (LORT D; June 7-Oct. 8). Equity Special Agreement LORT B & D Contracts.

‘What to Send up When it All Goes Down’ • Seeking video submissions from Equity

actors for roles in “What to Send up When it All Goes Down.” Congo Square seeks to collaborate with multihyphenated artists. Experience in movement, musical ability (singing or playing instruments) is a plus but not necessary. The goal of this production is backstage.com

to mourn, heal & celebrate the many lives stolen from us by the injustice of racialized violence. It’s going down. Come send it up with us..

• Pays $206/day. SAG-AFTRA ULB Film

Staff: Ericka Ratcliff & Daniel Bryant, co.dirs.

Halloween.” Storyline: When a pop-up Halloween Store opens in a deserted strip mall, three middle school friends, Jake, Carson and Bo decide to spend Halloween night locked inside. But when an evil spirit targets the kids, along with Carson’s older sister Kate -the object of Jake’s longtime crush -they are stalked by horrible animatronic creatures come to life, turning their night of fun into a wacky night of survival that leverages their combined ingenuity and tests their friendship to the max. Unless they can defeat the spirit trapped inside before midnight, it will possess one of them for all eternity...

Agreement.

‘Spirit Halloween,’ Leads

• Company: Congo Square Theatre Co.

• Casting four leads in “Spirit

• Rehearses Feb. 28-Mar. 20 (daytime);

tech/previews run Mar. 22-30; runs Mar. 31-May 8 in Chicago, IL. • Seeking—Equity Actors: 18+, two

understudies will be cast. The ensemble plays multiple roles. Casting tracks 1-7. • Seeking submissions from IL. • For consideration, prepare one scene &

monologue of your choice to submit from the sides at https://docs.google. com/document/d/1yhJ-mBPcV93QCSGundrcJhbcbM1l9dL4Jdo9bHQHYQ/ edit?usp=sharing . If a reader is not accessible to you, you may choose to only do a monologue. Submit your audition at via https:// congosquaretheatre.wufoo.com/forms/ what-to-send-up-audition-submission/ Submissions deadline is Nov. 3.

• Company: Hideout Pictures. Staff:

Shannon Houchins, Michael Hagerty, prods.; David Poag, dir.; Billie Bates, writer; Barbara Stordahl, Angela A. Terry, casting dirs.; Jason Crow, casting assoc.

• Equity’s contracts prohibit

discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

• Rehearsals tentatively begin Nov. 7 (one

week prior to shoot) for Jake, Carson, and Bo; tentatively shoots Nov. 14 (approx. 20 shoot days) in Rome, GA (near Atlanta). COVID-19 Note: Production will comply with applicable health and safety laws and regulations relating to the COVID-19 pandemic. Actors will be required to comply with Production’s then-applicable COVID-19 protocols, including any advance testing and negative test result requirements. Employment will be contingent upon receiving a negative pre-employment test result. Current protocols require testing approximately three days prior to the start of services. In addition, Production is requiring all actors who work in Zone A to be fully vaccinated as a condition of employment, subject to applicable laws and guild requirements, including reasonable accommodations as required by law. All protocols, including timing and frequency of any required testing, are subject to change.

• Pays $330/wk. Equity CAT (Tier II)

Contract.

Feature Films ‘Penitentia,’ Shelly

• Casting the role of Shelly in

“Penitentia.” Synopsis: Alejandro ‘Ale’ Villacano is a young associate lawyer who has landed a job at the prestigious law firm, Keefe Briar. He is an unlikely pick for the firm. Even though he was top of his class, he is a former convict and an acquitted felon. Intent on forgetting his past and forging a new identity, Ale dedicates himself to being the top associate at the firm. Thus, he is reluctant to help an old friend. Only at the prodding of his mentor does Ale take the pro bono case. For him, it’s filing a few grievances against a local prison and then back to his new life. But for his client, it’s a matter of life and death. No matter how much Ale tries to resist, the pull to do the right thing, to fight the good fight is too strong. Ensnared now in a case of corruption, power and abuse, Ale must decide what kind of lawyer he is really meant to be.

• Seeking—Jake: male, 12, all ethnicities,

absolutely all ethnicities; intelligent, emotional, and overthinks everything. Lives for Halloween, monster movies, ghost stories, etc. Jake’s primary hang up is accepting the recent death of his father. He is a Halloween junky and a lot of those traditions are tied directly to memories with his dad, which is why he doesn’t want to give them up. Jake seems to be stuck in the past, unable to accept his new stepfather and stepsister, even though they are trying their best to bond with him as a family. Jake’s upset when his two best friends Carson and Bo tell him that they are too old to join him in trick-or-treating this year. However, the guys agree to spend Halloween night with him in a spooky Halloween pop-up store. But when the trio are stuck in the store, along with Kate—Carson’s older sister and Jake’s secret crush, they soon learn that spirits do exist, as they are stalked by an uneasy trapped spirit who needs to possess one of them by midnight in order to be free. When Kate falls prey

• Company: Mercury Films. Staff: Chris

Lawing, writer-dir.; Natasha CoppolaShalom, casting dir.

• Shoots in January in St. Louis, MO and

Wichita, KS.

• Seeking—Shelly: female, 40-49, White

/ European Descent, private investigator/process server former police officer; short and stocky with big glasses and a mullet. • Seeking submissions nationwide. • Apply on Backstage.com

to the spirit, Jake must conquer his greatest fear in order to rescue her from a grim fate -- but time is running out and the odds are not in his favor... LEAD. Note: This role will be needed for one week of rehearsals (Tent. Nov. 7) prior to start of shoot. Kate: female, 15-29, all ethnicities, 18+ TPY and 15-17 year olds who can work as legal adults (note this in the submission).clients can work as legal adults). Absolutely all enthnicities; lively, confident, attractive and athletic, but also pragmatic and tough, she’s the older sister of Carson, Jake’s best friend. Jake has had a crush on her for quite some time, but she is older and way out of his league. When Kate is told to bring Carson’s phone to him, she tracks her brother and his friends to the spooky old Halloween pop-up store, where horror awaits. Trapped inside with Jake and the others, she proves courageous and resourceful. Her gymnast abilities definitely come in handy (general athleticism is a plus). However, when the angry spirit possesses her body, she turns into an all-powerful sorceress on a rampage. It is only Jake who can save her -if only he can conquer his greatest fear before the clock runs out…LEAD. Carson: male, 13, all ethnicities, absolutely all ethnicities; he scrappy one, slightly edgier and ready to grow up and be a “man.” He has a chip on his shoulder and a need to be seen as tough. Comes from a more blue-collar family, and his Dad’s not in the picture. Carson and Kate are at odds because they are brother and sister, but the fact that they have both been through some family hardship together strengthens their bond later in the story. Carson, Jake, and Bo have grown up together as close friends, but he’s the first one to understand that people change, as they get older. Much to Jake’s dismay, Carson thinks he’s too old to go trickor-treating this year. However, he does agree to join Jake and their other friend Bo in spending Halloween night in a creepy Halloween pop-up store. Once trapped inside, the three boys realize that they are being stalked by some very spooky entities -- and that unless they can figure out how to defeat their tormentors by midnight, one of them will be possessed forever by the uneasy spirit who needs a “sacrifice” in order to be free…LEAD (1) Note: This role will be needed for one week of rehearsals (Tent. Nov. 7) prior to start of shoot. Bo: male, 12, all ethnicities, absolutely all ethnicities; the innocent. A lovable nerd and science freak with a photographic memory, he prefers to keep the peace amongst his friends. Tells corny jokes. Through the course of this film he is forced to take charge and get off the sidelines to survive. He is braver than he realizes and has great protective instincts. A sweet guy, he doesn’t want to hurt Jake’s feelings, but he’s really not into trick-or-treating anymore. He’s also not into spending the night in the creepy pop-up store, but under pressure from the guys, he reluctantly agrees. Bo soon regrets that decision, as the three friends are trapped in the store and stalked by terrifying animatronic creatures come to life. However,

10.28.21 BACKSTAGE

casting National/Regional during the course of this ordeal, Bo finds a backbone he never knew he had, and battles the supernatural creatures with newfound courage…LEAD. Note: This role will be needed for one week of rehearsals (Tent. Nov. 7) prior to start of shoot. • Seeking submissions nationwide. • For consideration, submit pictures,

resumes, and reels to spirithalloweencasting@gmail.com . Submissions deadline is Nov. 1.

• We are committed to diverse, inclusive

casting. For every role, please submit qualified performers, without regard to disability, race and ethnicity, age, color, national origin, or any other basis prohibited by law unless otherwise specifically indicated.

• The persons and events depicted in this

casting breakdown are fictitious. Any similarity to actual persons or events is unintentional.

Reality TV & Documentary

Dancers should feel raw and edgy while demonstrating incredible technique and style. This show will be highly interactive, so talent should feel comfortable performing in a controlled, but immersive atmosphere. Non AEA Only.

Gender Pronoun Conversation

• Seeking submissions from NY, CA, IL, FL

and TX.

• Seeking individuals to participate in a

discussion about gender pronouns/preferred pronouns, and bring awareness to the importance of this topic. The aim is to educate an audience who may not understand.

• To be considered for a self-tape

request, email a headshot and resume along with singing and/or dancing reels to CDSLVcasting@gmail.com.

• Self-tape initial auditions with self-tape

and virtual callbacks.

• Shoots in Los Angeles, CA. • Seeking—Guest: all genders, 18+, Do

• Performance salary: $1280/wk. for

you want to share your story? Do you have a family member or friend who doesn’t understand? Apply today!

dancers; $1890/wk. for singers. Performers must be willing to relocate to Las Vegas for the contract but will be offered a transitional housing option for the first 2 weeks of rehearsal.

• Seeking submissions nationwide. • Send submissions to amy.zinicola@cbs.

com.

• Cirque Du Soleil in partnership with

W/S Casting is committed to creating an atmosphere that engages and promotes diversity and inclusion in all areas. We strongly encourage performers of all ethnicities, races, gender identities, ages, body types and abilities to submit for this project. We are actively seeking a cast which is inclusive and strive to promote a process and production that expresses the multidimensional society in which we live.

• No pay.

• SAG AFTRA Low Budget Agreement.

Scripted TV & Video ‘Safe Haven’

• Casting “Safe Haven,” a series for a Walt

Disney Television Studios. It’s a story about a family who adopts a little person born overseas and explores, with sensitivity and different perspectives, the confusion and mystery surrounding her age and upbringing as a result of the family’s own misconceptions of the little person community. The project grapples with ideas of perspective, secrecy, trauma, ambition, and psychological tension surrounding a woman with the universal need for unconditional love. • Production states: “Producer is

committed to diverse, inclusive casting. Submissions for non-descript roles will be accepted for all performers, regardless of age, sex, ethnicity, disability, race, color, national origin, sexual orientation or gender identity or any other basis protected by law, subject to legitimate casting objectives.” • Company: Aufiero Horn Casting. Staff:

Amber Horn, casting dir.; Danielle Aufiero, casting dir.; Steven Tylor O’Connor, casting associate.

• Shoot dates TBD in 2022 in the USA. • Seeking—Alana (Little Person-Dwarf):

female, 10-22, all ethnicities, character portrayed is a little person / person with dwarfism; will be playing a wide range of ages from 10-22. Must be able to speak American English. The character will be in scenes all throughout their life and we are committed to casting an amazing actor with lived experience as a little person / person with dwarfism for the role. She’s both cheery and endearing but can shift to anger and violence when she feels threatened. • Seeking submissions worldwide. • Apply on Backstage.com. • Casting little people-people with

dwarfism.

• A series regular role. Compensation

would be negotiated with business affairs. Approximately a five figure per episode fee.

BACKSTAGE 10.28.21

Cabaret & Variety Cirque du Soleil, Las Vegas, Dancers & Singers • Casting non-Equity performers for a

• Strict Covid protocols and guidelines

Cirque du Soleil show in Las Vegas. Producers state: “This 75-minute variety show will be a ground-breaking live entertainment spectacle like no other. A breath-taking and heart-stopping production including never-beforeseen circus acts, hilarious comedians, a live band, and a featured ensemble of singers and dancers, all infused into a melting pot of art, fashion, music, and culture.

will be followed for audition/ rehearsal process and production. The works entertainment is promoting a fully vaccinated environment for the cast, crew and creative team.

Theme Parks & Attractions

• Company: Cirque du Soleil. Staff: Neil

Dorward, dir.; Wójcik/Seay Casting.

‘The Polar Express Train Ride’

• Rehearsals begin January 2022 in Las

Vegas; opens March 2022. 1-year contract.

• Seeking a stage manager and a cus-

tomer experience agent for “The Polar Express™ Train Ride”. Company states: “The Polar Express™ Train Ride” is a magical re-creation of the classic children’s story led by a cast of talented actors on board a real train. Have your golden tickets ready for the Conductor! Passengers are served hot chocolate and a treat by dancing chefs, enjoy a reading of the classic book by Chris Van Allsburg, and receive the First Gift of Christmas after Santa boards the train to greet families. Performers engage passengers in caroling and fun holiday activities on the heartwarming trip back to the station. We strive to make every day a magical experience not just for our patrons but for our employees as well. So, what are you waiting for? Welcome aboard!”

• Seeking—Singers: all genders, 18-45,

all ethnicities, (All Gender Identities/All Ethnicities) The Creative team is seeking the most charismatic and versatile singers to be part of the featured ensemble. Lead singers who are comfortable with various styles including one or more of the following: Pop, R&B, Soul, Rock, Jazz, Rap & choral. Must be confident movers. Any dance, acrobatic or specialty skills (including instruments) are a plus as we look to showcase features within our all-star ensemble cast. Especially seeking unique, authentic singers with surprising style and pop sensibility. Talent should feel modern, forward and cool. This show will be highly interactive, so talent should feel comfortable performing in a controlled, but immersive atmosphere. Non AEA Only. Dancers: all genders, 18-35, all ethnicities, (All Gender Identities/All Ethnicities) The Creative team is seeking the most athletic, well-rounded, and versatile dancers to be part of the featured ensemble. We are looking for stand out personalities skilled in commercial, hip hop and contemporary dance. Any acrobatic or specialty skills are a plus including Tap and B-Boy as we look to showcase features within our all-star ensemble cast.

• Company: Rail Events Productions.

Staff: Kelly Schultz, HR mngr.

• Positions begin in the following cities:

Nov. 3 in Whippany, NJ; Nov. 23 in Chicago, IL; Dec. 10 in Perris, CA; Nov. 12 in Oklahoma City, OK; and Dec. 10 in Miami, FL. • Seeking—Customer Experience

Agent: 18+, division/department: rail events productions/front of housereports to: front of house & business managertype of position: non-exempt/hourlyemployee

classification: seasonaljob summary: the customer experience agent position will be working with the front of house & business managers, catering lead, and box office lead to act as an overall customer service representative assisting with the execution of the ticketing and hot chocolate catering duties associated with the event. agent is responsible for setting the first impression of the event, so efficiency and friendliness are required.essential duties and responsibilities:- welcoming customers as they approach the ticketing area and assist with any service needsconfirm reservationsacting as the point of reference for guests who need assistance or information- work with the reservation system- assist in the pouring and delivering of the hot chocolate to the train for each departure- assist in customer parkingworks with the entire event team to maintain a positive, enjoyable, and rewarding environment for all staff and passenger- assist in general care of ticketing area and catering areas, including keeping a clean and orderly space- other duties as assignededucation, skill & work experience requirements- front desk, reservation, customer service experience preferred- strong leadership and communication skillsexcellent customer service skillsbasic computer skills- possess a well-spoken manner in personal communicationswork environmentable to work in cold, snowy or otherwise inclement winter weatherability to work weekends and evenings- ability to lift 20-pound objects- varied schedule requiring evenings, weekends and overtimemajority of time spent on feet. Stage Manager: 18+, division/department: rail events productions/front of housereports to: front of house & business managertype of position: non-exempt/hourlyemployee classification: seasonaljob summary: the customer experience agent position will be working with the front of house & business managers, catering lead, and box office lead to act as an overall customer service representative assisting with the execution of the ticketing and hot chocolate catering duties associated with the event. agent is responsible for setting the first impression of the event, so efficiency and friendliness are required.essential duties and responsibilities: welcoming customers as they approach the ticketing area and assist with any service needsconfirm reservationsacting as the point of reference for guests who need assistance or information- work with the reservation system- assist in the pouring and delivering of the hot chocolate to the train for each departure- assist in customer parkingworks with the entire event team to maintain a positive, enjoyable, and rewarding environment for all staff and passenger- assist in general care of ticketing area and catering areas, including keeping a clean and orderly backstage.com

National/Regional casting

space- other duties as assignededucation, skill & work experience requirements- front desk, reservation, customer service experience preferred- strong leadership and communication skillsexcellent customer service skillsbasic computer skills- possess a well-spoken manner in personal communicationswork environmentable to work in cold, snowy or otherwise inclement winter weatherability to work weekends and evenings- ability to lift 20-pound objects- varied schedule requiring evenings, weekends and overtimemajority of time spent on feet.

Animation & Video Games (Voiceover)

and NY.

• Seeking—Bing: male, 6-10, 6-10 years

• Seeking submissions from IL, CA, FL

• Send submissions to kschultz@ameri-

canheritagerailways.com.

• All applications must be submitted

through our online recruiting platform. Click the following link and select the desired job in your location. https:// recruiting.paylocity.com/recruiting/ jobs/All/46c1989d-bde2-4b48-a8e3 d70d0617360c/ Rail-Events-Productions-Inc. • Pays $17-21/hr.

Cruise Lines Royal Caribbean, Dancers & Dancer Who Sing • Seeking strong dancers and dancers

who sing for various productions aboard Royal Caribbean Cruise Lines. • Company: Royal Caribbean

Productions. Staff: Casting Team: JP Christensen, Greg Brown, Katelyn Stojanovic, Ryan Walsh, and Greg Graham ; Global Auditions: Nikki Branning. • Must be available and willing to travel

internationally aboard ships. Contract dates offered throughout the year.

• Seeking—Dancers: all genders, 18-40,

all ethnicities, strong, professional, seasoned, and versatile dancers 18+ with styles that include Contemporary, Jazz, Theater Dance, Showgirl and Hip Hop. Performers of any ethnicity are encouraged to apply. Dancers Who Sing: all genders, 18-40, trained male-identifying and female-identifying dancers who sing for feature in our Signature Production Shows. Dancer/Singers must have extensive technical dance background, along with strong vocal abilities with particular emphasis in pop/rock and contemporary Musical Theatre styles. Performers of any ethnicity are encouraged to apply. • Seeking submissions from CA, NV and

ON.

• Visit website at www.

RoyalCaribbeanProductions.com for more details.

• Dancer Contract Salary: $3200/month

minimum . Assignment Completion Payment: $200/month (payable upon completion of the contract term). • Dancer/Vocalist Contract Salary:

$4000/month minimum. Assignment Completion Payment: $525/month (payable upon completion of the contract term). backstage.com

Rehearsal Mar. 22, 2022; First in-person rehearsal Mar. 29; runs Apr. 19-May 15, 2022.).

• Company: Arkansas Repertory Theatre.

Staff: Will Trice, exec. artistic dir., Arkansas Repertory Theatre; Felicia Dinwiddie, company manager, Arkansas Repertory Theatre.

Animated Kids TV Show (Nationwide Search)

• Season runs in Little Rock, AR. Note:

Everyone working on this show will be required to show proof of Covid-19 vaccination status prior to rehearsals.

• Seeking child actors nationwide for an

animated kids TV show that will air on Cartoon Network and HBO Max.

• Company: Warner Media Kids & Family.

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

Staff: Bess Fifer, casting dir. CSA; Aaron Schoonover, casting assoc.; Michele Band, dir.

Zach Kuhl, dir. of prod., at zkuhl@ therep.org or mail to Arkansas Repertory Theatre, 601 Main Street, Little Rock, AR 72201. Submissions deadline is Nov. 5.

• Production begins fall 2021-late 2022 in

NYC.

old; must have high pitched voice and adorable natural giggle. Bing is a loveable authentic pre-school boy. He’s curious, energetic and passionate and he lives very much in the present moment. Because he’s so young, each moment often brings Bing new experiences for the very first time. With each bump, spillage, or temporary disappointment, we are all able to appreciate and to celebrate the realities of preschool life with Bing.Appears in 26 of 26 episodes. Pays $2000 plus 10% agent fee per episode. $300/hr. for pick up session plus 10%. Note: Do not resubmit if you have already taped. Sula: female, 6-8, 6-8 years old; has a genuinely cute and infectious giggle with a higher pitch tone of voice. Very girly and sweet sounding. Sula loves Bing (and Bing loves Sula!). Sula loves spending time with Bing and she is often a joyful and positive influence on how they play together. She is verbally quick and has a surprisingly developed vocabulary and a weakness for anything ‘sparkly’. Sula also has a strong character and can get quite firm and ‘stamp-y’ if she doesn’t agree with Bing. Sula also has a worldclass giggle and a rather diplomatic way of seeing the positive in most situations. Appears in 20 of 26 episodes. Pays $1500/episode plus $300/hr. for pickup session plus 10%. Do not resubmit if you have already taped.

• Pays $667/wk. (LOA ref LORT D) effec-

tive February 14, 2022. Equity LOA Agreement.

‘I Love You, You’re Perfect, Now Change,’ Stage Manager • Seeking Equity stage managers for “I

Love You, You’re Perfect, Now Change.” • Company: Riverside Theatre Inc. Staff:

Joe DiPietro, book-lyrics; Jimmy Roberts, music; Allen D. Cornell, artistic dir.; Kyle Atkins, dir.-assoc. prod.; Jason Wetzel, music dir.; Wojcik/Seay Casting, casting. • Rehearsals begin Dec. 30, 2021; runs

Jan. 18-Feb. 6, 2022 in Vero Beach, FL. • Seeking—Stage Manager: 18+. • Seeking submissions from FL. • For consideration, email resume to

kylea@riversidetheatre.com ATTN: Kyle Atkins or mail to Kyle Atkins, Associate Producer, 3250 Riverside Park Drive, Vero Beach, FL 32963. Submissions deadline is Oct. 29. • Pays $911/wk. Equity LORT D Contract

(Waxlax Stage).

‘In the Upper Room,’ Stage Manager

• Seeking Equity stage managers for “In

the Upper Room.” Synopsis: A new play about family, secrets and the power of the stories we grow up hearing. Meet the Berrys, a multi-generational Black family living under one roof in the 1970s. Their lives orbit around Rose, a strong-willed matriarch whose superstitions and secrets drive her relatives nuts. Fed up, the aunties, in-laws and granddaughters of the household make their own plans to break away so they can finally live in peace. But by standing their ground, they may lose what has held them together all along. Loyalty, spirituality and colorism are all at play in this dramatic dark comedy, based on the real family history of playwright and novelist Beaufield Berry.

• Seeking submissions nationwide. • Send submissions to schoonovercast-

ing@gmail.com. • Pay provided.

Stage Staff & Tech Arkansas Repertory Theatre 2022 Season, Stage Manager • Seeking Equity stage managers for

Arkansas Repertory Theatre’s 2022 Season. Season includes: “Designing Women” (Harry Thomason, dir. Amy Herzberg, assoc dir. First Digital Rehearsal Dec. 28; first In-person rehearsal Jan. 4, 2022; runs Jan. 18-Feb. 6, 2022), “School Girls; Or the African Mean Girls Play” (Shá Cage, dir. First Digital Rehearsal Feb. 8, 2022; First In-person rehearsal Feb. 15; runs Mar. 1-20, 2022), and “Into The Woods” (Addie Gorlin-Han, dir. First Digital

• Company: Denver Center for the

Performing Arts. Staff: Gregg T. Daniel, dir.; Michael Morales, prod. stage mgr. • Prep begins Dec. 28, 2021; rehearsals

begin Jan. 11, 2022; runs Jan. 14-Mar. 6 in Denver, CO. Note: The Denver Center for the Performing Arts has implemented a COVID-19 requirement, all employees must be vaccinated and present proof of their vaccination. • Seeking—Stage Manager: 18+, all

ethnicities.

• Seeking submissions from CO. • For consideration, send resume to

Michael Morales, production stage manager at mmorales@dcpa.org or mail to Denver Center for the Performing Arts, Attn: Casting 1101 13th St., Denver, CO 80204. Submissions deadline is Dec. 3. • The Equity Stage Manager is a

member of the DCPA-Theatre Company’s Stage Management team and works closely with the Production Stage Manager to execute all stage managerial duties for individual productions with DCPA Theatre Company, Education, and Off-Center. The Stage Manager will work closely with producers, directors, designers, technicians, and actors on assigned productions and is fundamental in relaying information to Theatre Company’s Artistic and Production leadership, teams and shops. • In order to provide high quality,

culturally competent care to our patrons, students, guests and team members, it is of highest importance that our hiring practices reflect our values by offering an environment that celebrates diversity and embraces inclusion. All of our team members – regardless of race, ethnicity, sexual orientation, gender identity, age, language, abilities/ disabilities, socioeconomic status, geographic region, or other defining characteristics – should feel welcome and valued. • Equity’s contracts prohibit

Rep Contract.

Utah Shakespeare Festival 2022 Season, Stage Manager • Seeking Equity stage managers for

Utah Shakespeare Festival’s 2022 Season. Season includes “All’s Well That Ends Well” (Runs May 10-Sept. 8, 2022); “King Lear” (Runs May 9-Sept. 10, 2022); “Sweeney Todd” (Runs May 9-Sept. 9, 2022); “The Sound of Music” (Runs May 10-Oct. 8, 2022); “Trouble in Mind” (Runs May 9-Sept. 9, 2022); “Clue” (May 9-Oct. 8, 2022); “The Tempest” (Runs June 7-Oct. 8, 2022) and “Thurgood” (Contract dates Aug. 25-Oct. 8, 2021). • Company: Utah Shakespeare Festival.

Staff: Brian Vaughn, artistic dir.; Derek Livingston and Tanya J. Searle, artistic associates. • Rehearses and performs in Cedar City,

UT.

• Seeking—Stage Manager: 18+. • Seeking submissions from UT. • For consideration, submit resumes and

cover letters to bard.org/employment. Submissions deadline is Dec. 15.

• For more info, visit www.bard.org. • Pays $1,202/wk. (LORT B through Sept.

10 or Oct. 8) or $911/wk. (LORT D; June 7-Oct. 8). Equity Special Agreement LORT B & D Contracts.

10.28.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert

When we’re limited to a self-tape, there isn’t as much information to go off of because we aren’t live in a room with you. We can’t talk to you, and we can’t take you in, head-to-toe. We have to make our judgment purely based on what we’re getting on-camera—so I want to have as much information as possible, including physical information. I want to be able to get a sense of the full package, because when we’re hiring you, we’re hiring all of you. Adjust your framing to be from the waist or chest up to give us an idea of your proportions and size. Even if, in your character choice, you say, “My character would wear this hoodie because they like to be modest,” strip some of that away for the tape. Choose a costume for your character that still allows us to get the information we need. When the frame is tight, all I have is your face. But I want to know what you look like and how you live in your body. Sometimes, our technical concerns start to bleed into the creative ones. When we’re only living and playing in a tiny world, we get so zoomed in that we don’t learn much about you, your abilities, or your range. Recognize that, with a self-tape, a casting director’s information is limited, so give them a little gift: Let them know what you can do as an actor, even within the parameters of the scene you’ve been given. I don’t get to say hello or chitchat with you. You might be handed a flat scene by a casting director, but even then you can make choices—how you set up your self-tape, what you wear— that give us a three-dimensional picture of who you are as a performer, not just a tight, condensed version. *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 10.28.21

backstage.com

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

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

How can an actor make a CD’s job easier when it comes to self-tapes?

THE ART & BUSINESS OF VOICE ACTING

NOV. 19-21 TIX: SOVAS.ORG Disponible en Español

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Backstage Magazine Digital Edition: September 28, 2021

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