Backstage Magazine Digital Issue: November 4, 2021 by Backstage

11.04.21

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The Directors Issue Top filmmakers offer career-making tips for succeeding behind the camera

Lin-Manuel Miranda,

the man behind “Hamilton” + “In the Heights,” enters his second act

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Contents

vol. 62, no. 31 | 11.04.21

Cover Story

Lin-Manuel Miranda’s Cover Story Next Trick Prospecting for Gold With “Tick, Tick...Boom!” the toast of Broadway adds “filmmaker” tothe his Your official guide to résumé. Why not? 2020 Oscar nominations page 16 12

The Green Room 4 The winners of the 2021

Sound StoriesRoom contest The Green

6 week’s audience roundup of who’s 6 This Broadway’s boom casting what starring whom

8 This week’s roundup of who’s 7 Lucy Hale on starring “Ragdoll”whom and casting what building chemistry on set

10 Annie Murphy reflects on “Schitt’s Creek” Advice

9 CRAFT Advice

Why not do both?

13 C RAFT 10 Survive IGOTCAST # and thrive Adalyn Zummo

13 # IGOTCAST 10 CAREER DISPATCH

Mark Beauchamp So you want to make an indie 14 SECRET AGENT MAN The power of intention Features

3 BACKSTAGE 5 WITH…

Features Don Lee

4 B ACKSTAGE 5 WITH... 8 MEET THE MAKER

David Alan Grier Julia Ducournau, “Titane” writer and director 12 MEET THE MAKER Cathy Yan, “Birds of Prey” 9 THE ESSENTIALISTS director Patricia Riggen, director

14 I NHE ESSENTIALISTS 11 T THE ROOM WITH

Jeremy Woodhead, Meredith Tucker hair and makeup designer 17 THE SECRET TO MAKING IT 15 Seven IN THEA-list ROOM WITH share directors Victoria Thomas insights their filmmaking

21 UR AN DREAM BALLOT 24 O ASK EXPERT

And the 2020 SHOULD Elaine Del ValleOscar on how to have to… slate gone your self-tape

32 ASK AN EXPERT

Casting Amy Russ on principal and work 18 background New York Tristate

19 California Casting

21 22 National/Regional New York Tristate 27 California Lin-Manuel Miranda photographed by Camila Falquez for Netflix on Sept. 25 in 28 National/Regional New York City. Hair and makeup by Asia Geiger. Cover designed by Ian Robinson. Cover illustration by John Jay Cabuay. Cover designed by Ian Robinson.

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11.04.21 BACKSTAGE

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BACKSTAGE, vol. 62, no. 31 (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...

Don Lee By Allie Volpe

Few actors can say their Hollywood debut was leading a Marvel film, but Don Lee is one of them. In “Eternals”— directed by Academy Award winner Chloé Zhao—Lee plays the superstrong Gilgamesh, one of the heroes tasked with protecting humans from the Deviants. A veteran of South Korean cinema, Lee appeared in 2016’s “Train to Busan” and 2017’s “The Outlaws.” Here, he reflects on the scale of “Eternals” and discusses his A-list costars.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: COURTESY DON LEE

What has playing Gilgamesh added to your acting skills? This character, Gilgamesh, was not an Asian character in the comics; but it was changed [for] the movie, which I’m very honored to represent as an Asian. During this film, I was doing not only action, but drama and comedy. It was a very new experience, being able to accomplish different dimensions. Chloé had seen my acting in my past films, and she made me [feel] very comfortable. For the action scenes, I do have a background of 30 years in boxing, and this one was actually a different experience, as I was fighting the Deviants. Gilgamesh, overall, is a very brave and powerful character with his onepunch strength, but he also stands up for what he believes, and that’s something that really stood out to me.

What was the most surprising aspect of working on “Eternals”? What was very surprising was that it was a different kind of scale. I was just astonished by the diverse cast. One of the most surprising things was that it was not on the green screen when we went to the island [where we shot]—it was the physical location that we went to. What was your first day on the “Eternals” set like? A month before [shooting began], when I went to the set, there was nothing prepared there. But then a month later, there was a whole forest with real trees. Every day with the cast was very memorable to me.

What was the audition process like? Five years ago, in Hollywood, [I was given] a lot of offers to be in a lot of films; but at that point, I was producing and acting in multiple movies [in South Korea]. It wasn’t the right time. But [then], Sarah Finn, the casting director for Marvel, reached out to me with this character of Gilgamesh. After hearing her and talking to Chloé and Nate [Moore, one of the producers] through a video call, I was honored to become a part of [“Eternals”]. And the timing was perfect for what was going on personally for me.

What performance should every actor see and why? Angelina Jolie playing the role of Thena in [“Eternals”] was very outstanding to me, in showing her humanism. Her acting in this role is something I would want everybody to be able to look at and experience.

“Always be prepared—physically, mentally, everything.”

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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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Second Place Nicholas Prufer won first runner-up for “Maia Prelude.” His fantastical narrative was inspired by the theme “Another new beginning.” It follows a mother’s journey to reunite with her daughter, who has been kidnapped by a corrupt spirit. Prufer, originally from Brazil, is an international creator and the founder of award-winning studio the Lunar Company. His most recent project, “Earth Eclipsed,” was selected for the 2021 Tribeca Festival. The cast and crew of “Maia Prelude” will receive $300 from Backstage, a one-year subscription, a SOVAS Advantage Package, and more. Audio

a round of applause for our winning submissions!

Your 2021 Sound Stories Winners Are… The lucky three were chosen from among hundreds of actors and creators By Backstage Staff

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but nothing changes much. Backstage staff members and five professionals from the entertainment industry served on the judging panel to determine who would walk away with the grand and runner-up prizes. The Sound Stories panel listened to 55 team submissions this year featuring hundreds of participating actors and creators. Judges picked one winner and two runners-up. Let’s have

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WILL FRANCIS/UNSPLASH

BACKSTAGE’S SECOND annual Sound Stories contest received outside-the-box storytelling submissions from hundreds of participants. Creators were tasked with developing immersive audio narratives featuring Backstage performers. Each project also followed a given theme, which this year included: 1. What comes next for us? 2. Another new beginning 3. Nothing ever stays the same,

First Place Theresa Coleman won first place with her project “Stigma,” about an argument between two siblings. The theme for the piece was “Nothing ever stays the same, but nothing changes much.” Based in Long Island, Coleman is a playwright, actor, and poet. She most recently wrote her own show, “Kiwi,” which will premiere in December. She also writes for the startup production company Silver Bonnet. Her work focuses on uniting the Black community. The cast and crew of “Stigma” will receive $10,000 in cash and prizes, including $1,000 from Backstage, a 2022 Tribeca Festival access pass, a SOVAS Gold Membership, and more.

Third Place Kevin Price (aka Kazuto) was the second runner-up for “June,” which is based on the theme “Nothing ever stays the same, but nothing changes much.” The story centers on an American private investigator who infiltrates Japan’s criminal underworld in search of a kidnapping victim. Kazuto is a creator who loves comics and games. He has experience in sound editing and manga writing. Kazuto’s team will receive $300 from Backstage, a oneyear subscription, a SOVAS Advantage Package, and more. Congratulations to the cast and crews of the three winning projects, and to all involved in Backstage’s Sound Stories contest. Here’s to highlighting creative storytelling, imaginative thinking, and audio-making!

C O M I N G T O T H A T’S V O I C E O V E R !™ C A R E E R E X P O

DENISE WOODS Voice Coach To The Hollywood Stars

B A C K S TA G E VA N G U A R D AWA R D H O N O R E E

NOV. 19-21 TIX: SOVAS.ORG © Society of Voice Arts and Sciences™

With

MAHERSHALA ALI Oscar® and Golden Globe-Winning Actor

PRESENTED BY

action-packed reimagining of the 1994 film “True Lies.” Original feature director Cameron will executive produce the pilot, which tells the story of a bored housewife who uncovers a life-altering secret: Her seemingly bland computer consultant husband is actually an international spy. She’s soon recruited to work alongside him, saving the world and their crumbling marriage. The pilot was written by Matt Nix and Anthony Hemingway. Veronica Collins Rooney Casting has already brought on several actors, including Ginger Gonzaga, Erica Hernandez, Omar Benson Miller, Mike O’Gorman, and Steve Howey. Production starts in early November in New Orleans.

Burton is also on board, lending his voice to an omnipotent A.I. named Barclay. The series is created and executive produced by “Nancy Drew” team Josh Schwartz and Stephanie Savage. Sandi Logan is currently casting additional roles. Cameras start rolling in late January 2022 in Atlanta.

A New Nosy Neighbor

“Nancy Drew” spinoff “Tom Swift” gets an order on the CW 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!

“Tom Swift” The CW has given a series order to “Tom Swift,” a spinoff of

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“True Lies” CBS is going on a mission with James Cameron for its

FILM

Julia LouisDreyfus Teams Up With an Old Friend

Get cast!

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

By Casey Mink

FOLLOWING THEIR SUCCESSFUL OUTing on 2013’s “Enough Said,” Julia Louis-Dreyfus and filmmaker Nicole Holofcener are reuniting for a new feature. Holofcener will write and direct “Beth and Don,” a comedy centering on a novelist (Louis-Dreyfus) whose marriage begins to fall apart after she overhears her husband criticizing her work. No additional casting has been announced at this time; production is slated to begin in spring 2022 in New York City.

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MARGAUX QUAYLE CANNON

Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.

“Nancy Drew,” which is now in its third season. The titular Tom is a gay Black billionaire who becomes embroiled in the mysterious disappearance of his father; but a sinister Illuminati cabal tries to hide the truth. Tian Richards, who plays the role on “Nancy Drew,” is set to lead the series. LeVar

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

LUKE VARLEY/AMC

What’s Casting

“Coercion” Showtime’s dark new biographical project is inspired by the true story of Rebecca Bender, a sex trafficking survivor who went on to become a national advocate in the fight against the practice. Laura Rosenthal Casting has brought on Sydney Chandler, Lily Keene, Tyrone Brown, Margot Catherine Terry, Sydney Park, Akende Munalula, and Shacai O’Neal for prominent roles in the topical crime drama. Production will continue through the end of the year in Los Angeles and Las Vegas.

Lucy Hale on “Ragdoll”

always get what you’re looking for. That’s why our job is so fun, because the opportunities are endless. With every character I play, when you’re not given the answers, that’s where the fun begins. There [are] so many recipes to come up with something interesting for your character.”

Backstage Live

investigating a series of grisly murders in the U.K. The series comes from the producers behind “Killing Eve.” Hale joined us to offer tips on building a character and a lasting career in the performing arts.

Don’t Get Ready— Stay Ready

Lucy Hale says she’s been preparing her whole life for “Ragdoll” By Phoebe Yates

The following audience Q&A for our on-camera series Backstage Live was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming takeovers and to submit your questions. LUCY HALE IS BACK ON THE small screen. She started acting as a teen, making cameos on shows like “Wizards of Waverly Place” and “The O.C.” before landing her breakout

FILM

Kate Winslet’s Next Move

MARGAUX QUAYLE CANNON

LUKE VARLEY/AMC

By Casey Mink

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role as Aria Montgomery on “Pretty Little Liars.” Now, she’s starring on the upcoming AMC+ show “Ragdoll,” in which she plays DC Lake Edmunds, an American detective

FRESH OFF HER SECOND EMMY win (this time for “Mare of Easttown”), Winslet is gearing up for her next project—and she’ll be in very good company. “Lee,” a feature film in which Winslet will portray model-turned-WWII-photographer Lee Miller, will also star Marion Cotillard, Jude Law, and Josh O’Connor. Directed by Ellen Kuras from a script by Liz Hannah, the project will mark Winslet’s second time producing, following “Mare.” Production is expected to begin in late summer or early fall 2022 in London and Eastern Europe.

Developing on-set chemistry is Hale’s No. 1 tip for a successful filming experience. “What’s most important to me is the banter and dynamic with the people you’re working with. You so often do not get the time to know the people you’re working with before you’re shooting. It kind of worked in my favor for this, because Edmunds is new [to the force]. She’s the new kid on the block. She’s not really supposed to have any built-in history with anyone.”

For true crime junkie Hale, accepting the role of Lake was a no-brainer. “I’ve been preparing my whole life for this. I love true crime; I love the psychology behind why people snap or why people get revenge or why people are bad, or why people turn into monsters. The Ragdoll Killer has got some demons, but what’s really interesting is that [the detectives] all have their own baggage, too. So the show is a whodunit, but it’s also about the fundamental problems of the police force: sexism, racism, PTSD, mental health, mental illness. Each character has something going on in their life that’s led them to this point. I’m fascinated [by] how and why people choose to take on this job.”

Despite her nearly 20 years onscreen, Hale admits that she still needs to remind herself where she belongs. “Being a young actor, I was deeply insecure and never thought that I belonged where I was at. Impostor syndrome—I hear actors talk about it all the time. Like, am I supposed to be here? Are you sure you want to cast me? I will always feel that. I’ll always be like, ‘Nope, they’re recasting. I’m fired!’ But you are exactly where you are supposed to be. I love my career, I love the things I’ve done, but I just think of my little Lucy brain and all the things I used to worry about, and the biggest thing you can do as an actor, and also as a human being, is own your space. That’s the one thing you have. You have your power, and nobody can take that away from you.”

Certain elements of her character’s backstory were concealed from her. “You don’t always get the answers as an actor. You don’t

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

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Meet the Maker

Julia Ducournau, “Titane” writer and director Agathe Rousselle in “Titane”

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bodily autonomy, and how those things are capitalized on within its first 30 minutes. Given her fondness for gruesome theatricality, Ducournau admits she has questioned whether her creative instincts and sensibility will land with audiences. But she pushes through such second-guessing by thinking of the artists who inspire her most. “The ones that really triggered something in me and gave me some of their energy are artists that I [say] ‘walk in freedom,’ ” she says. “When I see their art, whether it’s a film or photography or whatever, I feel like, Oh,

“Somehow, I think I had to go through [writer’s block] in order to get to that level of ‘fuck you’-ness.”

so this is what it is to be free. It’s like reinventing a form, inventing a new language, trying to challenge yourself constantly, trying also to challenge the topic that you tackled that might not be very easy.” She cites the “aesthetic shocks” of filmmakers like David Cronenberg (“Crash”) and Pier Paolo Pasolini (“Salò, or the 120 Days of Sodom”), photographers like Robert Mapplethorpe, and writers like Edgar Allan Poe. “When I was a kid, all these artists made me stop and go: You can actually be free in that world. This is what freedom is,” she recalls. That also means, though, that as an auteur, “the only thing that can pull you down is yourself.” “Titane” came after a year of writer’s block following the success of “Raw.”

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CAROLE BETHUE

JULIA DUCOURNAU’S FILMS are not for the faint of heart. She made her feature debut with 2016’s acclaimed “Raw,” about a cannibal; but the filmmaker received even more praise this year for “Titane.” The body horror epic, about a serial killer who hides from the police after being impregnated by her car, won Cannes’ top prize, the Palme d’Or, this year. “That felt really good—I’m not going to lie to you,” Ducournau says. “It felt good because I never know to what extent I’m going to be understood.” The French filmmaker’s work relies heavily on symbolism and lurid escapades that make for a “very organic” and politically charged experience for viewers. “Titane,” for instance, tackles gender dynamics, queer identity,

“I froze because of the [outsized] expectations that were on my second film, but also [because of] my own expectations,” Ducournau says. “I was afraid that I was not going to be able to put as much energy in as I did for [‘Raw’]. [It] made me freeze like crazy [and] was very painful. I thought that I would not be able to produce anything radical.” In many ways, her vision for “Titane,” violence and all, stemmed from that fear. “Somehow, I think I had to go through that in order to get to that level of ‘fuck you’-ness. You know, you’re going to have to get this out. Whether people like your film or not is not even an issue right now,” she says. “You just have to write it.” Once it was on the page, it was also imperative for Ducournau to find like-minded collaborators and performers who were game for all of the craziness she was going to throw their way. Fortunately, for “Titane,” she had that and more in her lead actors Agathe Rousselle and Vincent Lindon. Shooting between two COVID19 shutdowns and amid many restrictions also produced “a very close-knit crew, a very focused crew, and a very vital energy” that was “perfect for the film.” With all that in mind, Ducournau has one final bit of filmmaking advice. “I could write a book, [but] I think that as much as you have to always be open to the dialogue with your crew and with the people collaborating with you, you still have to never make any compromises as far as your vision is concerned,” she says. “That’s good advice.”

CRAFT: FRAME STOCK FOOTAGE/SHUTTERSTOCK.COM; “DOPESICK”: GENE PAGE/HULU

By Benjamin Lindsay

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THE ESSENTIALISTS

PATRICIA RIGGEN director

Only one Latina director has ever had a film make it into the box office top 100: PATRICIA RIGGEN, an industry veteran who’s fed up with the exclusion of both women and people of color from the director’s chair. Female directors aren’t given room to learn. “That’s something I’ve lived through my entire career: I’ve been able to get hired, [but] I’ve never been able to be trusted [immediately]. We start with mistrust as female directors. Then we gain it; we prove ourselves over the process. And then, maybe, at the end they actually respect you. Maybe they even

By Casey Mink admire you. But we never start there. We live under a microscope, and white male directors live under a beautiful umbrella that protects them from the sun. The ability to make mistakes and be human is only granted if you are a white male.” The journey is tough for women and BIPOC filmmakers. Do it anyway. “One of the biggest problems we have always had is believing in ourselves, because that’s what we were educated to think. We deserve to be there. The time is now to enter all those

areas, particularly the directing arena. That benefits everybody. More women in leadership roles creates more jobs for women everywhere. And people of color, too: If we have one person of color [in a leadership role], suddenly there are many more who get an opportunity.”

Craft

Why Not Do Both?

CAROLE BETHUE

CRAFT: FRAME STOCK FOOTAGE/SHUTTERSTOCK.COM; “DOPESICK”: GENE PAGE/HULU

By Javier Alcina

DIRECTING AND ACTING ARE both demanding full-time jobs. So why would anyone in their right mind attempt both at the same time for the same show? Is it a matter of ego, or a need to control every aspect of a performance? In my case, I don’t think it was either. What I’ve learned about myself over the years is that I don’t need to be watched; I’m utterly fascinated by the quality of an entire piece—the writing, directing, acting, and teaching that goes into a single project. I also firmly believe that a director doesn’t need to—and shouldn’t—have all the ideas or be a tyrant. Theater, in particular, is a collaborative art, and it’s vital that all the people involved work in unison toward a common goal. The lack of one of those pieces is what led me to both act in and direct a production of Stephen Mallatratt’s

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“The Woman in Black.” The Shanghai Repertory Theater hired me to direct the production, which consisted of only three actors playing three roles. Rehearsals were set to take four weeks for a thoroughly technical show. But two weeks in, it became clear that one of the actors was not interested in memorizing his lines in time for the first curtain. During rehearsal one day, one of the other actors said, “It may work, but it won’t be great.” That was enough for me to ask what they thought of me stepping in to replace the negligent actor. Their relief was immediate. And so I was left with the unsavory task of firing an actor I had cast and whom I was now going to replace. I spent two strenuous weeks memorizing the entire show while also continuing my

directing duties. In the end, we were fortunate, and the show was a success. Firing and replacing the original actor was the right move. That said, I learned a few valuable lessons in the process. It is completely possible to both act and direct, but to save yourself a lot of stress and sleepless nights, preparation is key. You must set an example for the rest of the cast and crew. They won’t trust or respect you otherwise. Set the bar for yourself above where you hold others. Study the piece. Know every single aspect so you can better guide those working under you. Prep across all departments; you will be required to constantly make decisions on everything. Be open to suggestions—no one knows whom the muses will favor. Be a good listener, especially when wearing your acting hat. While listening is also an asset for good directors, they

must ultimately be selective when deciding what should and shouldn’t stay. There can be many ideas, but not many voices. A company needs a leader, someone who has a strong sense of direction so there is no fear of crashing against the rocks. Lastly, be humble but confident. If your team sees you flailing, it’s likely they’ll start panicking right along with you. My mentor, Vasili Skoric, once told me that directors are like generals: They inspire others to go forward. They never retreat. At most, they simply turn 180 degrees and carry on in the opposite direction. Javier Alcina is an actor, director, and Backstage Expert.

Want more?

All our Backstage Experts can be found at backstage.com/magazine

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So You Want to Make an Indie By Jonah Feingold

The following Career Dispatch was written by Jonah Feingold, who directed, wrote, and produced the IFC feature “Dating & New York.”

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Adalyn Zummo By Jalen Michael

Age is nothing but a number, especially when it comes to booking gigs. Just ask actor ADALYN ZUMMO. Here (with her mom’s help!), she tells us how she does it. We’re living through a new age of auditioning. “I have auditioned for projects in three different ways: I’ve had a Zoom audition where I was interviewed and performed a side from a script, I’ve booked gigs solely based on my submission portfolio, and I have been asked to submit a video audition. I love making videos, but I also really enjoy meeting people online.” Know your limits. “We have been able to find a lot of local work by knowing our availability and only applying to projects that we know we can commit to if given the role.” Keep stacking those relationship building blocks. “I always thank the directors and crew once we wrap, and I follow up with a thank-you message. When communicating via email, I always put the project name and my name in the subject and attach a headshot.”

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; ZUMMO: REMINGTON JAY

HERE IS MY BRIEF AND PRACtical guide to making an indie rom-com—specifically, filming in New York City over 15 days, then doing postproduction during a pandemic, then playing at the Tribeca Film Festival and getting acquired by IFC: ● The two most effective pieces of film advice I’ve ever gotten: Tell people you’re making a movie, and pick a start date. People will hear you’re making a film and try to help. This is key; they might have

a location they can offer for free—or they may have gone to college with Michael B. Jordan. ● That script you randomly wrote in 2017 is going to help you out. Everything you write and create and every person you meet could end up being integral to the completion of your first feature film. ● Find producers who will support you and elevate you. You won’t always agree with them, and this is good. ● If you’re shooting with funny people, use two cameras so you don’t miss any amazing improv moments. ● Don’t spend a single day in a single location for a single scene. ● Buy extra hand warmers.

#IGOTCAST.

RAQUEL APARICIO

Career Dispatch

● Find an amazing director of photography. Making the movie felt real the second I started working with our amazing DP Maria Rusche. That’s when everything clicked. In short, hire her. ● If a scene isn’t working, don’t be afraid to stop and figure out how to make it work. You are surrounded by smarter and more talented filmmakers who are there to help. ● While you should always keep an open mind and seek consensus on set, don’t forget that the director goes down with the ship. Trust your gut above all. ● You and your editor should have similar taste and a sense of humor and generally get along. It’s an important role— part therapist, part creative mastermind—and the quicker you can learn to communicate openly with them, the better your process will be. ● Your editor is probably right about cutting that scene that you want to keep because of how hard it was to shoot. ● Learn what your editor likes for lunch and snacks. ● The score, to me, is just as much a part of the film’s DNA as the actors you cast. Even on an indie budget, I would encourage you to seek talented composers who are looking to work in the feature world. The same goes for motion graphics and visual effects. ● OK, you’ve made your movie! You’ve tested it with friends, family, exes, and strangers, and you feel good about it! Now it’s time to figure out how to get it out into the world. I was advised to submit to festivals and release it on VOD; that was how we did it. ● It will take a long time to hear back from a festival, but it’s worth the wait. I say this after having multiple breakdowns during the waiting process. ● Things, generally speaking, will work out. ● [Jeff Goldblum voice] Indie movies will always find a way.

culture +

Spotlighting the people and projects you need to know

In the Room With

Meredith Tucker

The CD behind contemporary hits like “The White Lotus” is also adept at period pieces like “Godfather of Harlem” By Elyse Roth

season, we’ll have the Malcolm X assassination. That is very weighty, important stuff, historically. I was a history major in college, so having to do historical research about what was going on—I love it. These are very significant characters. The mob stuff has been explored before. I think this is a very interesting way to take a bisection of this—the criminal, the political, the cultural. It’s the beginning of what turned into a very explosive time.

ILLUSTRATION: SPENCER ALEXANDER; ZUMMO: REMINGTON JAY

RAQUEL APARICIO

WHEN SHE’S NOT CASTING HAWAIIAN LOCALS ON “THE WHITE Lotus,” Meredith Tucker runs the gamut of casting New York productions. From prestige period series to contemporary Netflix films, she’s pretty much done it all. Her latest project, Epix’s “Godfather of Harlem” (she took over casting duties from Victoria Thomas), is a mix of genres. It’s a period piece set in the 1960s, it’s a mob story, and it’s about real-life historical figure Ellsworth “Bumpy” Johnson. All of these factors presented an interesting casting challenge. How does a project’s period factor into casting? There are some people who feel contemporary and just don’t fit in. As great an actor as they might be, it doesn’t work. And then there are some actors who just have such a nice, old-fashioned feel that they slide into the period stuff and even seem a little odd in contemporary stuff. On “Boardwalk Empire,” [which was set in the 1920s, we were looking for women who] were

backstage.com

a little heavier and they hadn’t done a lot of stuff to their face. We always encourage people not to go full-out when they come in to audition or when self-taping, in terms of costuming themselves. But a little bit of a hint of a period costume really helps. How has your process changed now that casting is mostly done remotely? People are primarily self-taping. Under

normal circumstances, [in person], you can say, “Hey, can you do it again? Just make this little adjustment.” Now it’s like, “Do they mind retaping?” It’s more of a process. There are positives and negatives to both of them. I’ve always liked reading the actors and giving a direction; that was my favorite part. I think a lot of the actors prefer to be in the room with the casting people, from what I hear. But I think some people probably prefer to do seven takes and send the three they like best. What makes casting “Godfather of Harlem” different for you? I think the weight of the historical stuff is much more important. You have the Kennedy assassination. Next

What advice would you give actors working today? A lot of people obviously hadn’t worked for months this time last year. If you normally wouldn’t do a one-line part, hey, it might be worth doing just to get your toe back in the water. If you don’t connect to the role, obviously don’t do it; but it might be a time just to get the juices flowing again, so to speak, and to take work that you might not want to [do]. I hope people don’t lose the DIY aspect of some of the stuff that’s come out during this time, because some of it has been really tremendously good. I think doing it in person is going to be better, but I think people who’ve been developing stuff on their own—they shouldn’t lose that just because we’re out in the world again.

Want more?

Read the full interview at backstage.com/magazine

11.04.21 BACKSTAGE

Lin-Manuel Miranda’s Next Trick

With “Tick, Tick...Boom!” the toast of Broadway adds “filmmaker” to his résumé. Why not? By Casey Mink - Photographed by Camila Falquez for Netflix

EVERYONE KNOWS THAT TO BE SUCCESSful you should study the greats. Lin-Manuel Miranda thinks that to be successful you have to study the crap, too. “I can’t tell you how many times I’ve gone to see a bad musical. You want to check out, but that’s exactly when you can’t,” Miranda insists. “The thing you have to do is not turn off your critical faculties when something banal is happening. That’s when you go, ‘What is fucking this up for me?’ And you will learn. You can be just as inspired by what not to do.”

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It isn’t surprising that Miranda’s creative advice is counterintuitive. This is the guy who created one of the most successful pieces of art in history on the premise of “the Founding Fathers, but rapping.” That would be “Hamilton” (maybe you’ve heard of it?), which earned 11 Tony Awards, as well as a Pulitzer Prize and a MacArthur “Genius Grant” for Miranda. It also made him one of the most esteemed names in theater, entertainment, and contemporary culture at large. Speaking on a recent Saturday evening, Miranda does not cite any particular accolade

or, say, the chance to perform for President Obama as the show’s greatest impact on his life. Instead, he says, “I used the opportunities that ‘Hamilton’ afforded me to say yes to gigs that basically became the film school I couldn’t afford to do when I was actually in college.” He had wanted to study both theater and film at Wesleyan University, but he stuck with the former out of practicality. “You have to pay for your own senior film, but the theater department gives you the $60 to put on your show,” he quips. The decision worked 11.04.21 BACKSTAGE

named Jonathan who is frustrated with his slow-moving musical theater career but buoyed by his bohemian community in 1990 Lower Manhattan. It has never played on Broadway, but has run Off-Broadway and regionally. It also received an Encores! production in 2014, which Miranda starred in. Miranda’s ties to the piece go back much further than that, though. “I saw Raúl Esparza in the original production at the Jane Street Theatre in 2001. I was a senior in college, and it was like, ‘Here’s what your 20s are going to look like, dude. Everyone’s going to grow up around you and get real jobs. Do you want to join them or not?’ ” he says. “And I didn’t. It was clarifying and purifying. It was a statement of intent.” If cosmic inevitability exists, it would explain why the piece is now the source material for Miranda’s directorial debut. Even though the opportunity was his dream come true, the adaptation—which Netflix will release Nov. 12—posed two distinct, equally daunting tasks: “How do you make ‘Tick, Tick...Boom!’ into a movie? Full stop. But then there’s also: How do you make your first movie?”

Andrew Garfield, who plays Jonathan in the film, was a newcomer in his own right, having never done a musical before. “We both didn’t know what we didn’t know, and we met in the middle on that,” Miranda says. Addressing that lack of experience meant, first, hiring people “who knew what I didn’t,” Miranda adds. Then it was a lot of learning on the job, helped in large part by recalling which of his past experiences with directors had worked well for him. “I’ve been an actor on a set,” he says, “and I’ve known what I need. Honestly, a lot of a director’s job is just [giving] the wider context for why you’re asking for what you’re asking for. It’s really: ‘I’m here to show you the guardrails. You know the answers; you know the truth of where you have to go.’ ” His work as an actor, which includes a substantial role on HBO’s “His Dark Materials,” also gave Miranda a leg up when it came to communicating with his performers. “I learned so much about process and what every single person needed, and finding that private language,” he says. “It really challenged me to have the exact right vocabulary they needed to get their job done.”

“TICK, TICK…BOOM!”: MACALL POLAY/NETFLIX

Andrew Garfield, Miranda, and crew on location filming “Tick, Tick…Boom!”

BACKSTAGE 11.04.21

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FIRSTNAME/LASTNAME

out fine; he won his first best musical Tony Award in 2008, for “In the Heights,” before he’d turned 30. When he left the cast of “Hamilton” in 2016—he’d been starring in the title role—previously closed doors flung open. “So I worked with Rob Marshall on ‘Mary Poppins,’ and I worked with Tommy [Kail] on ‘Fosse/Verdon,’ and I worked with Jon Chu and Quiara [Alegría Hudes] on the screen adaptation of ‘Heights,’ ” he says. “I just wanted to get myself on sets with people who knew how to do this specific thing: not just direct, but direct musicals on film.” Miranda remained rather one-track, because in the back of his mind was always his holy grail: a film adaptation of the musical “Tick, Tick...Boom!” When a producer called with the rights to the project, “I just said, ‘I know how to do it; I’ve daydreamed about it. And if they only ever let me make one, it should be this one,’ ” Miranda remembers. The musical was written by Jonathan Larson, the late composer of Broadway blockbuster “Rent.” The autobiographical piece depicts an almost 30-year-old composer

“TICK, TICK…BOOM!”: MACALL POLAY/NETFLIX

FIRSTNAME/LASTNAME

I think the process of making anything is going as far afield as you can and then reconnecting to the original impulse. That’s the gig.

In “Ixx”

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11.04.21 BACKSTAGE

BACKSTAGE 11.04.21

In “Hamilton”

On “His Dark Materials”

With Chris Jackson in “In the Heights”

“Hamilton” was still a seed of an idea, it took Miranda two years to write the first two songs—not because he was worried about the show’s potential to fail or succeed, but because he was completely overwhelmed by the material. “I read this book and he’s an asshole, and I read this book and he’s a totally different guy, and it was just like, What am I putting onstage?” A drink with his mentor, playwright John Weidman, was, well, sobering. “He basically said, ‘You can’t get it all, so write the parts that made you think this could be a good idea in the first place, and it’s going to form its own spine,’ ” he says. “ ‘Your impulses will form the version of the thing you’re making.’ ” It’s advice that served him well directing his first film, too, as every single

decision—from what’s on Jonathan’s shelves to the kind of futon he sleeps on—came down to him. That much Miranda understood. What surprised him was how intimate these choices ultimately made the film. The first time he watched a rough cut, “I had this crashing feeling of, ‘Oh, my God, this movie’s so fucking personal,’ ” he says. Miranda thinks those who watch it, artists especially, may recognize a bit of their own struggle, too. After all, the story is about climbing to the top of a mountain only to realize it was just the hill leading to the mountain’s base. But there’s a reason the last song in “Tick, Tick...Boom!” is all questions. At the end of the film, Jonathan “is not the guy who wrote ‘Rent,’ ” Miranda says. “He’s the guy who has to start ‘Rent.’ ” backstage.com

“HAMILTON”: COURTESY DISNEY +; “HIS DARK MATERIALS”: COURTESY HBO MAX; “IN THE HEIGHTS”: MACALL POLAY

While “Tick, Tick...Boom!” is a cult classic with a passionate fanbase, Miranda knows this film, which features an adapted screenplay by “Dear Evan Hansen” scribe Steven Levenson, means a lot more people are going to hear this story than ever before. (It is Netflix, after all.) He takes the responsibility of interpreting Larson’s legacy seriously. At the same time, he couldn’t let himself be paralyzed by the question of how the work would be received. It’s a trick of the mind he’s been honing for years. “The game you constantly have to play with yourself is the joy of sharing the thing you’re making. Whether that’s with your spouse or 10 people or an audience full of people, you always have to figure out how to stay connected to [the question,] ‘Why the fuck did I start doing this in the first place?’ ” he says. “Because there are times when you are in the weeds and you have to think back to: What was the impulse that made me start? “I think the process of making anything is going as far afield as you can and then reconnecting to the original impulse,” he continues. “That’s the gig. If you’re doing that enough, you’re not worrying about the success or the failure of the thing. You can’t control it. All you can do is control what you can be proud of, and it’s the thing you’re making.” Though it is shaping up to be a theme in his work, Miranda is a lot less obsessed with his legacy than one might expect. On the contrary, he’s often been quick to go full steam ahead, even if the thing isn’t ready. Thinking back to his early days, pre-“Hamilton” and pre-“In the Heights,” he says, “I had that Jonathan Larson ‘Tick, Tick’ thing of, like: Get it out of my head and onto a fucking stage, please.” He cites his yearslong collaborator and “Hamilton” director Thomas Kail as the lighthouse guiding him away at the moments when he should really say no. Miranda knows the word is a tough one, especially when you’re young and in need of opportunity—yet he’s adamant. “A lot of your 20s is developing the gut that says no to the good so you can say yes to the great.” Of course, it’s not always easy to tell the difference. You may also, at times, be pressured to make artistic compromises, which are even harder to resist when they offer forward mobility. That’s why, when asked for a less vague take on the common advice for up-and-comers to “Make your own stuff,” Miranda advises, more specifically, “Make what’s missing.” “ ‘In the Heights’ was really born out of fear. It was, ‘Oh, I want to be in musicals, and Paul in “A Chorus Line” and Bernardo in “West Side Story” are it for you if you want to play a lead role,’ ” he says of being a Puerto Rican American performer. “And the other side of that is: No one’s going to make your dream show. It’s your dream.” Which brings him back to maintaining an allegiance to your initial vision. When

The Secret to Making It

Seven A-list directors share their filmmaking insights By Benjamin Lindsay

EVER WONDER WHAT SPIKE LEE’S PHILOSOPHY IS FOR RUNNING A film set? What about how Greta Gerwig gets the best performances out of her actors? Or Janicza Bravo’s tips for becoming a filmmaker? It’s all right here.

l “Nobody is going to just

come and give you money unless you’ve proven yourself, especially if you’re doing something that is unconventional or unorthodox and outside the way the industry thinks. All I know is this: The reason I’ve gotten attention from this industry is that I just kept making films until they paid attention.” —Sean Baker (“The Florida Project,” “Red Rocket”)

l “Art is creating something

“ZOLA”: COURTESY ANNA KOORIS/A24

and presenting it so that other people can see it; so, inevitably, you’re always worried [about] whether people would like it or not. But because it is inevitable, I

think that people should just be faithful to themselves and try to satisfy themselves and respect their own obsessions.” —Bong Joon-ho (“Parasite”)

l “It’s OK to not know what

everything is, it’s OK to not know what everything is called, it’s OK to feel a little lost, and it’s OK to ask questions. Even if you feel you are in an environment that doesn’t support or cater to that, it’s OK.” —Janicza Bravo (“Zola”)

l “If you have reverence for the

art form, your fear of failure could come from not wanting to muck up something you love. But I think there’s a time when

the fear of not ever having tried is bigger than the fear of failure. And that’s when you get to work, because you realize you have fears on both sides; which one would you rather live with? You’ll make a bad movie or give a bad performance or write a bad song or make a bad painting. Because if you’re doing it, you’ll get some bad ones. That’s just the price of admission!” —Greta Gerwig (“Little Women,” “Lady Bird”)

l “When you do something

that strives for universality, it’s always better to find the universal within the specific instead of trying to make something generic.” —Luca Guadagnino (“We Are Who We Are,” “Call Me by Your Name”)

l “I approach [running a set]

as if I’m a coach—football, basketball, baseball manager— to try to put people in the best position so they can succeed. What the best teams have is the fusion of the seasoned, grizzled veterans, and you

gotta have youth. I love that mixture, because it plays against [itself and] gives me what I need: that friction, that tug with the different dynamics going against each other and with each other. Another thing to maybe help you understand my process: A lot of it is just the vibe. It’s the vibe; it’s the energy. Are we on the same frequency? And if you’re not on my frequency, can we find the right [one] together?” —Spike Lee (“Da 5 Bloods,” “BlacKkKlansman”)

l “[Before filming], we’re just

improvising, doing weird experiential games together so that we’re all melted down and there’s a lot of intimacy. When I [get] everyone together, we start the morning with a 9 a.m. dance party in my little office, with me dancing as weirdly as I can. We’re all kind of embarrassed and wiggly in front of each other. It sounds simple, but it’s actually really super important.” —Mike Mills (“C’mon C’mon,” “20th Century Women”)

Riley Keough and Taylour Paige in “Zola”

backstage.com

11.04.21 BACKSTAGE

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

Submit a Notice |

New York Tristate

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. struggling to come to terms with her tumultuous relationship with her mother who suffers from Alzheimer’s disease.

Casting picks of the week

• Company: NYU Undergraduate Student

Film.

• Shoots Nov. 20-21 in Long Island, NY. • Seeking—Abby: female, 30-40, all eth-

Student Films ‘Acid With a Side of Scallops’ • Casting short surrealist student film.

Production states: “Random. Fun.”

• Company: Hofstra University. • One day shoot on Long Island in the

Hempstead area.

• Seeking—Nameless: all genders, 18+,

all ethnicities.

• Seeking submissions from NY. • Send submissions to kengelmann1@

pride.hofstra.edu.

• Include a reel if you can, if you don’t

have one no worries.

• Travel and meals provided, as well as a

copy of the film for your reel.

‘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, 35-65, all ethnicities, an old friend of Kal’s and the owner of the comedy club that he is prepping to preform in. She is charismatic, witty and smart. Joan Riversesque. Craig: male, 20-35, all ethnicities, a witty, up-and-coming comedian who is also the bane of Kal’s existence. Stunt/ Fight Scene Coordinator: 18+, a fight coordinator for a short fist fight scene.

BY LISA HAMIL

nicities, (34), laid back, caring, six months into her alcohol recovery; she’s finally coming out of her prolonged, post-college phase of picking up the pieces of her life; she’s nervous to reconnect with her mom, Elaine, who she had a falling out with after a big fight before she was sober; she’s also afraid to learn just how far along in her illness Elaine is... Elaine: female, 60-70, all ethnicities, in the middle stage of Alzheimer’s. Before her illness, she was free-spirited, comfortable in her own skin, and a bit of a firecracker; Elaine expects a lot of her daughters, Abby and Dee; Dee fits the mold of her expectations far more than Abby does, and Elaine isn’t afraid to let Abby know; Elaine is caring but harsh, and her Alzheimer’s only makes her personality more difficult to deal with. Corrine: female, 40-55, all ethnicities, Elaine’s live-in nurse; Corrine is patient, warm, confident, and understanding; she loves Elaine and her daughters, Abby and Dee, like her own family, despite Abby and Dee’s lack of visits to Elaine. Waiter: all genders, 18-60, all ethnicities, (any age/gender), serving food to Elaine and Abby during their tense and awkward lunch date; waiter serves as a bit of comedic relief and grounds the characters in the environment around them; the Video Reel component of the submission can be a reel, previous selftape, or a film/production you acted in.

stage

‘To Kill a Mockingbird’ Nat’l Tour Fight racial injustice in the national tour of this classic

film

‘186’ Beware of ghosts in this Los Angeles feature

‘Evil Lives Here: Shadows of Death’ Ep. 201 Reexamine your relationship in NJ for this true-crime series

commercials

2021 Living Spaces Holiday Campaign Commercial Shoot Spruce up your space in La Mirada, CA

student film

‘Acid With a Side of Scallops’ Be careful what you consume in this NY student project

• Seeking submissions from NY. • Apply on Backstage.com. • Travel and meals provided. Digital copy

ethnicities.

of the film provided to cast. Cast and crew must be 100% vaccinated unless there is a qualifying medical or religious exemption.

• Seeking submissions from NY. • Send submissions to

Sakshinemlekar12@gmail.com.

• Food, transportation, and copy of the

film provided.

‘White Roses’

• Casting “White Roses,” a student film

playing out the downfall of a young relationship through a handful of white roses. Sakshi Nemlekar, student filmmaker.

Scripted TV & Video

‘Mom’s Mind & Me’

around the Long Island Hempstead area, NY.

‘Evil Lives Here: Shadows of Death’ Ep. 201

coming-of-age film about a woman

ethnicities. Man: male, 20-35, all

Shadows of Death.” Synopsis: Jack was

• Seeking submissions from NY. • Send submissions to aj2776@nyu.edu. • Note availability and try to include reel

with submission.

• Non-paying role. Meals provided.

• Casting “Mom’s Mind & Me,” an NYU

BACKSTAGE 11.04.21

• Company: Hofstra University. Staff:

• Shoots dates TBD for one to two days

• Seeking—Woman: female, 20-35, all

• Casting Ep. 201 of “Evil Lives Here:

a very charismatic and charming guy. Shannon thought Jack was her soulmate. However, Jack had a dark side that Shannon and Jack’s family didn’t know about and ultimately led to Jacks conviction. • 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; LEAD. Physical 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 knock-out 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; LEAD. Physical Description: Brown hair, medium/average build, must be clean VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

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California casting

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. 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.

Multimedia ‘BuzzFeed Unsolved’ - Lorena Bobbitt | Revenge, Host • Seeking a Latinx woman to host a story

about the trial of John and Lorena Bobbitt, examining the motive behind Lorena’s actions. Interest in true crime a plus, but not necessary. • Company: BuzzFeed Inc. Staff: Oscar

Reveles, casting dir.

• Shooting in NYC Manhattan studio. • Seeking—Host: female, 21+, Latino /

Hispanic.

• Seeking submissions from NY. • Apply on Backstage.com. • Fill out this form to be considered:

https://airtable.com/ shr4nvHUAn02LalaT. • Pay is $250/day

Crockpot Video

• Casting actors for a brand new

Crockpot product, lifestyle photography & video shoot. • Company: Newell Brands. Staff:

Michelle Kornelli, prod.

• Works between Nov. 8-11, exact shoot

days TBC, in NYC.

• Seeking—Male Model for Crockpot

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.

backstage.com

Print & Digital Modeling

knows what he wants; he’s a fixer; he tends to always want to help, even at the the cost of his own happiness.

Pajama Lifestyle Shoot

monologue that showcases your vocal, physical, and emotional range. If you wish to be considered for a specific role, sides are provided on our 2022 Casting Breakdown document at: https://goldenthread.org/get-involved/ casting . Submit your headshot, resume and video link to the online audition form at: https://goldenthread.org/getinvolved/casting and be sure to select ‘Drowning in Cairo’ under ‘Productions you are auditioning for.’ Submissions deadline Nov. 8.

• Seeking submissions from CA. • For consideration, submit a two-minute

• Casting a family (mom, dad, 2 teens, 3

younger kids) for a pajama brand lifestyle shoot. Looking for diversity, lots of movement, and smiles! Production states: “Do not email or send direct messages via social channels. Only applications submitted via Backstage will be considered. Talent will not be considered if they send unsolicited direct messages.” • Company: OAK&ROMA. Staff: R. O. ,

coord.

• Shoots one weekend in November in

• In-person callbacks for “Drowning in

Brooklyn, NY.

Cairo” will be scheduled on an individual basis between Nov. 12 and 20, 2021 at Potrero Stage, 1695 18th St., San Francisco, CA.

• Seeking—Mom: female, 20-55, all eth-

nicities. Dad: male, 20-60, all ethnicities. Teen: all genders, 13-18, all ethnicities. Kid: all genders, 5-10, all ethnicities.

• Local (Bay Area) actors encouraged to

submit. Actors of all ages, races, genders, and ability levels encouraged to submit. We are a company focused on the Middle East, so we do have numerous roles of Middle Eastern heritage in productions and staged readings. Actors with physical movement experience, such as clowning; dance; ensemble, devised work; and musicians are encouraged to audition.

• Auditions will be held Oct. 29 in

Brooklyn, NY 11237.

• Apply on Backstage.com. • For consideration, include height and

three current photos of yourself (one headshot, one smiling, and one full body),. • Pays $800 day-rate.

• Note: All cast must be bilingual, English

Southern California

and Arabic (Egyptian dialect).

• For more info, visit www.goldenthread.

org.

• Equity’s contracts prohibit discrimina-

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

Plays ‘Drowning in Cairo’

• Seeking video submissions from Equity

actors for roles in the world premiere of Adam Ashraf Elsayigh’s “Drowning in Cairo.”

• Pays $349/wk. Equity (BAT Intro) Bay

Area Theatre Contract.

Golden Thread Productions 2022 Season

• Company: Golden Thread Productions.

Staff: Sahar Assaf, artistic dir.

• Rehearsals begin Mar. 1, 2022; tech/

• Seeking video submissions from Equity

dress rehearsal/preview runs Apr. 8-10; runs Apr. 8-May 1, 2022 in San Francisco, CA.

actors for Golden Thread Productions 2022 Season. Season includes “Drowning in Cairo” (Rehearsals begin Mar. 1, 2022; tech/dress/previews run Apr. 8-10; runs Apr. 8-May 1, 2022); “The Language of Wild Berries” (Rehearsals begin Sept. 5, 2022; tech/dress/previews run Oct. 14-16; runs Oct. 14-Nov. 6, 2022); and The Fairy Tale Players “Fairytale Player’s “Nasrudin’s Magnificent Journey to Samarqand” (This is a touring company so dates are added and adjusted by bookings throughout the year. Company will work with the actors’ availability for rehearsal scheduling once cast.).

• Seeking—Moody: male, 20-39,

Egyptian, male-identifying, temperamental/moody; Main Character Syndrome; Has a lot of untapped potential; extroverted; excitable; joyous; he attaches to people; wants to always be loved; irreverent; honest with himself and others; not afraid to speak his mind. Khaled: male, 20-39, Egyptian, male-identifying, conservative, has a deep capacity for love and it scares him; Incredibly self-aware of his own worst thoughts; Jealous; Always guilty and reacts to his guilt by lashing out; self-hating; grew up with privilege and power, and knows it; Will do anything to not lose that power, at the cost of his happiness. Taha: male, 20-39, Egyptian, male-identifying, ambitious yet nurturing; always feels the need to prove himself; has an inferiority complex yet can still be very confident in his ability; highly adaptable/knows how to “fit in” when he wants to; smart; determined;

• Company: Golden Thread Productions.

Staff: Sahar Assaf, exec. artistic dir.; Torange Yeghiazarian, adaptation translator-dir.

• Season rehearses and performs in San

Francisco, CA.

• Seeking—Equity Actors: 18+, actors

with physical movement experience,such as clowning; dance; ensemble, devisedwork; and musicians are encouraged toaudition.

• Seeking submissions from CA. • For consideration, submit a two-minute

monologue that showcases your vocal, physical, and emotional range. If you wish to be considered for a specific role, sides and the submission form are provided at: https://goldenthread.org/ get-involved/casting. Upload your headshot, resume and video link to the online audition form and be sure to select “General Auditions (Full Season)” under ‘Productions you are auditioning for’. Submissions deadline is Nov. 8. • In-person callbacks for our two main-

stage shows and Fairytale Players will be scheduled on an individual basis between Nov. 12-20 at Potrero Stage, 1695 18th St., San Francisco, CA.

• Local (Bay Area) actors encouraged to

• For more info, visit www.goldenthread.

org.

• Equity’s contracts prohibit discrimina-

hr. for rehearsals and $130 per performance (Fairytale Players). Equity Bay Area Theatre Contract.

‘Rhinoceros In Love’

• Casting “Rhinoceros In Love.” The

scene is about Ming Ming being treated wrongly by the man that she loves and giving all her love to Ma Lu for comfort.

• Company: ArtCenter College of Design.

Staff: Production states: “Beatrice Wan is a writer-director studying under Oscar-winning director Matia Karrell. The play is a 1999 Chinese play directed by Meng JingHui. The story tells a zookeeper called Mau Lu who falls in love with his female neighbor Ming Ming, but Ming Ming is deeply in love with the other man. After studying this play for months, Beatrice is ready to prepare a theatrical and cinematic take on the play, which includes 1-day of rehearsal, 1-day performance in-class in front of Matia Karrell, and a 1-day shoot at a location.” • Actors must do in-person rehearsal

before in-class performance in front of Matia Karrell; actors must come into class Nov. 17 to perform; actors must act in a one-scene film outside of class. • Seeking—Ma Lu: male, 18-34, Asian,

Black / African Descent, Ethnically Ambiguous / Multiracial, Southeast Asian / Pacific Islander, White / European Descent, a zookeeper of a Rhinoceros. He is a character that will never follow the trend or what others do. He’s reckless and persistent when it comes to love. He’s willing to give everything to Ming Ming, no matter how hard it takes, no matter what he ends up with, he will still chase for this love with no turning back. Ming Ming:

11.04.21 BACKSTAGE

casting California female, 18-35, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Southeast Asian / Pacific Islander, White / European Descent, Ming Ming is this girl who lives next door with Ma Lu. She works in a copy center. She’s deeply in love with the other man and ignores or even tortures Ma Lu with his love. They are both paranoia about love. As long as Ming Ming loves the other man, he can torture her. • Seeking submissions from CA. • Send submissions to xwan@inside.art-

center.edu.

• Flat rate of $50 for rehearsal, in-class

acting, and shooting. Meals and copy of film are given shortly after.

acters; he is a pivotal character and plus you get a cool ride! Rico: male, 30+, a cartel patron that runs a bar; he is a jolly going man with a vengeful taste to him. He has a major altercation with one of the main characters. Julia: female, 13-18, all ethnicities, escapes the crates and lands in a beat down clinic; she has many encounters with one of the main characters that creates a change within him; she plays a crucial part in motivating the main characters perspective. • Seeking submissions from CA. • Send submissions to alisajjaed@icloud.

com.

• In your cover letter, state availability,

phone number and email address.

• Feature Film planning to be pitched to

Feature Films

streaming services. Payment will be discussed after film is picked up (lucrative). Meals will be provided.

‘186,’ Feature Film

• Casting “186,” an action packed feature

film focusing on the principle of good composed of evil. Synopsis: It’s a journey of Tony and Axel discovering a shipment that unravels chaos. Bridges their menacing Patron brings back a ghost from the past to hunt them down... a Sicario masquerading as a pastor.

Short Films

Sajjaed, exec. prod.-writer; Karam Singh, dir.-writer; Marquez Acuna, prod.; Bernard Ssentongo, prod.

• Rehearses Nov. 16-17; shoots Nov. 18-22

• Company: Seventy Six Films. Staff: Ali

• Rehearses November to December in

the LA and greater LA region; shoots Jan. 1-20, 2022 in Los Angeles, CA.

• Seeking—Jefe Messenger 1: male, 18+,

Latino / Hispanic, the Jefe de jefe’s messenger; he delivers messengers when the Plaza Patrons can not get a job done; their presence is menacing enough to send shivers down anyones spines. Jefe Messenger 2: male, 18+, Latino / Hispanic, the Jefe de Jefe’s messenger; he delivers messages when cartel members go hayward; with his glare even Plaza Patrons shiver. Bridges: male, 40-75, Latino / Hispanic, White / European Descent, the plaza patron; he is a ruthless man that strikes fear in his cartel members; he is a charismatic charm yet an aggression that takes over at times; he sets the tone for the evil the main characters have to face against. Henchman: male, 18+, Latino / Hispanic, this is a jam packed action feature to be pitched to streaming services; great opportunity to get your feet wet as an extra and a make a presence in a cartel film; extensive fight choreography. Church And Bar Extras: all genders, 18+, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, this is a jam packed action feature to be pitched to streaming services; great opportunity to get your feet wet as an extra and a make a presence in a cartel film. Nephew: male, 18-35, Latino / Hispanic, this man is in his early 20’s still trying to prove his worth to the cartel and most importantly his tyrannical uncle Bridges the Patron; he strives to please his uncle but fails over and over; he finally gets his chance to gain the cartels respect and kills one of the main char-

BACKSTAGE 11.04.21

‘Car Tunes,’ Open Call

• Casting “Car Tunes,” a pilot for a TV or

goldenvoice of his; a modern-day hipster who wants to mimic his dad but they have opposing approaches to life. Must sing and play guitar - vocals can range; estimated duration: three days. Big Charles: 45-60, Black / African Descent, Daddy Uncle, musician entire life, jolly yet wise man, brings harmony and balance to the band; he smoothly keeps everyone in check; must sing and play drums - vocals can range; estimated duration: three days). Saxophone Sam: 50-65, the Quintessential Sidekick; Bernard’s drinking buddy, E. Coaster (Bmore, Philly, NYC-type accent); must sing andplay saxophonist - vocals and type of sax can range. (estimated duration: three days). Bernard: 40-49, feel the Bern; hotter than an Ultra Perm!; drinker, life of the party. Must sing - distinct voice (Louis Armstrong type); baseplayer; estimated duration: three days).

Thompson, casting dir.

in the Apple Valley Los Angeles, CA. • Seeking—Martha: 30-45, Black / African Descent, (estimated duration: three days); the patiently awaiting wife of Doc Powers, English-speaking female, any body type, birthplace unknown; ever-longing to be, yet somehow ever-present (in Doc’s mind), she is always ready to care for Doc in any way he needs; though we never see her body, only her silhouette, we can feel her big personality through her very distinctive and motherly voice; as well as her shape-shifting body. Laconte’ Leflair: 35-45, Ethnically Ambiguous / Multiracial, estimated duration: three days; darker-hue Puerto Rican; unique style and personality overall; confident and cheeky about his weirdness. Jocko: 35-49, estimated duration: three days; the Urban White Guy; CaucasianAmerican male, slender; a bit of a nerd with some soul, as he grew up in an original (black) American neighborhood (but still speaks with a traditional American accent). King: 30-40, Mr. ‘Doc’s Band Leader’, tall, slender; commands leadership; must sing - baritone vocals. Louise: 50-65, Black / African Descent, Ms. ‘Wanna Be Startin Sumtin’; mid-late 60s but looks younger, healthy body type; cabaret singer vibes but makes it well-known sheshould lead the band; an avid reader, has infectious energy, loves to sing and thecrowd loves for her to sing to them (call and response type), good dancer, and charming personality with everyone; must sing - vocals can range, at least a soprano-alto; estimated duration: three days. Lil Charles - Little Big Charles: 25-30, Black / African Descent, Ethnically Ambiguous / Multiracial, little Big Charles (early 20’s Moorish American, well-built), the youngest and loudest of the band; he always has a colorful opinion to go along with that

• Seeking submissions from CA. • Send submissions to rblanchard@chap-

man.edu.

• For consideration, submit your resume,

gmail.com.

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

the location with snacks.

will be provided.

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

• This is for gas. Hot meals prepared on

• Meals provided and gas compensation

‘Jerome’

streaming network.

• Company: TAR Networks. Staff: Sheila

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).

Student Films ‘Dadu’

• Casting “Dadu.” Synopsis: Dadu, an old

stubborn widowed Indian man, sneaks out of his family home and goes to the park for a walk. There he meets Rita old, lovely, female, and exciting. Sparks fly immediately, however in a few days, Rita goes missing. A desperate Dadu scours the neighborhood in search of her home. Will he be able to find her? • Company: Chapman University. Staff:

Raghav Puri, dir.

• Shoots March 2022 in CA. • Seeking—Dadu: male, 60+, South Asian

/ Indian, old, lonely and stubborn.

• Seeking submissions from CA. • Apply on Backstage.com. • Credit, gas, meals and deferred com-

pensation offered.

‘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,

• Casting “Jerome.” Additional Project

Info: AFI first-year cycle films are not eligible for festival entry and do not receive IMDb credit. They are designed to be a safe space for filmmakers and actors to take risks and forge relationships. They are also opportunities to add beautifully shot footage to your reel. Note: at the 2019 Student Academy Awards, the Gold, Silver, and Bronze medals all went to AFI Thesis Films. This is where those relationships begin. • Covid safety protocols may be found

online at: www.afi.com/protect/production-protocol/. Note if you are currently enrolled in the SAG-AFTRA LA Conservatory. SAG Eligible and NonUnion may also submit.

• Company: American Film Insitute. Staff:

Austin Williams, prod.

• Shoots Nov. 20-22 in Los Angeles, CA. • Seeking—Jerome: male, 18-24, Black /

African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, South Asian / Indian, Southeast Asian / Pacific Islander, 18-23 to play a 16-17-year-old male. Black and/or brown lead. Must play basketball. Athletic on the court and nimble off. Your mom wants him to be your friend. But around Father’s Day, he runs with a chip on his shoulder, good as he is keeping it down. Mateo “Mati” Rivera: male, 18-24, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, 18-23 to play a 16-17 year old, male. Black and/or Brown. Must play basketball. A class act, all-around good kid. Big brother energy. His friends are his family. Has a hard time keeping things to himself and gets a little too pushy. Gustavo “Tavo” Rivera: male, 40-60, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, South Asian / Indian, 40s, black and/or brown, a youthful spirit and a great father. He has the greatest intentions, even if he toes the line perhaps a little too closely. Clara Rivera: female, 40-60, Asian, backstage.com

National/Regional casting

Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, 40s, female. Black and/or brown. Mati’s mother. She is the foundation of the Rivera family. Jade Walker: female, 40-60, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, 40s, worked her way to being a decently paid nurse in Baldwin Heights. And even still, as much as she works, she doesn’t miss a thing. A thoughtful and cheeky woman. • Seeking submissions from CA. • Send submissions to AWILLIAMS@afi.

edu.

• No pay.

Local Commercials 2021 Living Spaces Holiday Campaign Commercial Shoot • Casting the 2021 Living Spaces Holiday

Campaign commercial shoot.

• Company: Living Spaces. Staff:

Jonathan Munsayac, sr. prod. mgr.

• Shoots Nov. 4 at Living Spaces Studio,

14501 Artesia Blvd., in La Mirada, CA 90638.

• 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 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

Online Commercials & Promos Tech Product Company Commercial

• Seeking actors who can drive a motor-

cycle, or a Vespa scooter, or a manual transmission (stick shift) car with expertise for filming in an online commercial of a tech product company. Specify what capability above you can do and if you own one. • Company: Simplimotion Inc. Staff: Pat

Rapeepat, CFO.

• Shoots around Nov. 12 in Los Angeles or

nearby.

backstage.com

of the following: a full-suit puppet, stilts, mask, marionettes, shadow puppets, and other physical theater/ puppetry mediums. Perform as an actor outside of the puppet. Works under the direction of Manager, Performing Arts to collaborate on the development of new theatrical shows; attends training sessions to learn authentic movement of the relevant animal for which a puppet, mask, or costume will be performed; attends training sessions on Museum research and collections and exhibitions. Requirements: Must travel via personal vehicle or public transport to off-site meetings. May lift up to 80 lbs. while in puppet. Operate a computer using various Microsoft Office, Google Workspace and accounting software. Requires wearing a puppet costume with internal mechanisms for movements and sound amplification. Extended periods of standing and bending within costume, which may include holding physically challenging positions for lengthy periods of time. Costume is created from nonhazardous materials but the operator may not be sensitive to or react to any of the materials used to fabricate the costumes. May require stilt walking and light gymnastic activity for some of the Museum characters.

• Seeking—Motorcyclist: 18-35. Manual

Transmission Car Driver: 18-35.

• Seeking submissions from CA. • Send submissions to pat@simplimotion.

com.

• Specify whether you can drive a motor-

cycle, or a Vespa scooter, or a manual transmission car. • Pays $300/day plus food, snacks and

beverages provided.

Theme Parks & Attractions Natural History Museum of Los Angeles County, Puppeteer

• Seeking a Puppeteer for our Education,

Exhibitions, and Programs department. Company states: “The Natural History Museum of Los Angeles County (“NHMLAC”) was the first museum in L.A. to open its doors 107 years ago and is poised for an exciting new era as it plans for the future. Having recently completed a new strategic framework, the Natural History Museums of Los Angeles County—including NHM at Exposition Park, La Brea Tar Pits and museum in mid-Wilshire, and the William S. Hart Museum in Newhall—is looking forward to new building projects and campaigns, exhibitions, community outreach, and innovative audience engagement. The Natural History Museum of Los Angeles County values and endeavors to support diversity, equity, inclusion, and access within its organization and communities. Candidates who identify as Black, Indigenous, or a Person of Color (BIPOC), neurodiverse, a woman, a person with disability, a veteran, and/or a part of the LGBTQAI+ community are welcome and encouraged to apply.”

• Puppet T. Rex: 5’11”-6’3”, Women’s

shoe size 10-12 or Men’s size 10-11. Medium athletic build. Must be able to lift and carry heavyweight, up to 80 pounds, on back in upright standing, bending and crouching positions for limited periods of time. All weight on shoulders and waist. Extremely hot, claustrophobic full suit puppet with limited sight range. Job requires wearing a T. Rex costume with internal mechanisms for movement and sound amplification. Must be available for weekend work and occasional evening work. Regularly working with large groups of public, including children, in an occasionally loud, crowded environment.

• Company: Natural History Museum of

Los Angeles County. Staff: Minna Rim, human resources generalist. • Runs in Los Angeles, CA. Note: The

• Seeking submissions from CA. • Apply on Backstage.com. • A cover letter, current resume, and list

NHMLAC is establishing a COVID-19 vaccination mandate for staff, effective Aug. 10, 2021. NHMLAC is requiring that all staff receive the vaccine for COVID19 as a condition of employment. Exemptions for documented medical reasons or a sincerely held religious belief may be requested.

of 3-4 references are required for all applicants. Review of applications begins immediately and continues until the position is filled. Interested candidates visit www.nhmlac.org/careersour-museums and click the link of the position for which you are interested or go directly to the online application here: https://workforcenow.adp.com/ mascsr/default/mdf/recruitment/ recruitment.html?cid=2fc0a355-012e4bef-9c85-724ae074a06a&ccId=19000 101_000001&jobId=423884&source=C C2&lang=en_US.

• Seeking—Puppeteer: all genders, 18+,

works closely with the Manager, Performing Arts to create and present Performing Arts programming inspired by the Museum’s halls, exhibits, and collections at the Natural History Museum. It is an exciting time as we embark on new journeys of becoming a museum of, for, and with L.A. Responsibilities include, but are not limited to: Acquires knowledge of the Museum and its programs, cultural and scientific concepts by becoming familiar with the Museum’s resources, exhibits, collections, and programs, as well as the Museum’s initiatives and policies in support of inclusion, diversity, equity, and access. Performs in Performing Arts programs using/operating some or all

• Note: The NHMLAC is especially inter-

ested in candidates whose background and experience have prepared them to contribute to our commitment to engagement and inclusion at culturally diverse audiences in museums and in sciences.

• The position pays $20/hr. This is a part-

time regular, non-exempt position. The Natural History Museum of Los Angeles County is an Equal Opportunity Employer.

Stage Staff & Tech Golden Thread Productions 2022 Season, Stage Manager • Seeking Equity stage managers for

Golden Thread Productions 2022 Season. Season includes “Drowning in Cairo” (Rehearsals begin Mar. 1, 2022; tech/dress/previews run Apr. 8-10; runs Apr. 8-May 1, 2022); “The Language of Wild Berries” (Rehearsals begin Sept. 5, 2022; tech/dress/previews run Oct. 14-16; runs Oct. 14-Nov. 6, 2022); and The Fairy Tale Players “Fairytale Player’s “Nasrudin’s Magnificent Journey to Samarqand” (This is a touring company so dates are added and adjusted by bookings throughout the year. Company will work with the actors’ availability for rehearsal scheduling once cast.). • Company: Golden Thread Productions.

Staff: Sahar Assaf, exec. artistic dir.; Torange Yeghiazarian, adaptation translator-dir.

• Season rehearses and performs in San

Francisco, CA.

• Seeking—Stage Manager: 18+. • Seeking submissions from CA. • For consideration, email resume and

cover letter to sahar@goldenthread. org. Submissions deadline is Nov. 8. Note: Local (Bay Area) stage managers are encouraged to submit.

• For more info, visit www.goldenthread.

org.

• Pays $419/wk. Equity Bay Area Theatre

(BAT Intro) Contract.

National/ Regional Plays ‘The Royale’

• Casting “The Royale,” for the roles of

Jay and Fish in Mad Cow Theatre’s upcoming production of The Royale by Marco Ramirez. Synopsis: The year is 1905, and Jay Jackson is a gladiator in the boxing ring. He possesses strength, skills, intellect, and enormous courage. However, since he is black, challenging the white world champ also requires an abundance of ambition… and caution. It simply never happened before. Outside the ring, Jay is supported by a loyal team and a questionable promoter, but inside the ring, he is alone with the burden of generations of inequity. This sixround play—inspired by legendary fighter Jack Johnson and the “fight of the century”—brings to life an explosive encounter in segregated America while it examines the hefty price paid by an underdog in a racist nation. • Company: Mad Cow Theatre. Staff: Dr.

Julius John, dir.

• Rehearses and performs in Orlando, FL. • Seeking—Jay: male, 25-35, Black /

African Descent, “The Sport” Jackson;

11.04.21 BACKSTAGE

casting National/Regional male, late 20s - early 30s, Black; in public, he is a gladiator with endless amounts of showboat swagger; in the press room, he is witty whilst suppressing both facts and his anger; in private, however, he lets down his guard to reveal his emotional vulnerabilities; he also sings with Fish and Wynton. Fish: male, 18-25, Black / African Descent, male, late teens - early 20s, a skilled amateur boxer; a tall, spirited, proud, cautious, and cynical young man from Mississippi who becomes Jay’s sparring partner; also takes care of his grandfather; sings with Jay and Wynton.

• Seeking submissions from FL. • Send submissions to casting@madcow-

theatre.com.

• In your cover letter, indicate your avail-

ability, as well as if you have housing in Orlando. Submit a video with both of the attached sides, regardless of which role you are submitting for. • Pays $1,100. Housing available if

needed.

Theatre Three 2021-22 Season

• Seeking video submissions from Equity

actors for roles in Theatre Three 202122 Season. Season includes “Maytag Virgin” (Whitney Latrice Coulter,, dir. Rehearses Jan. 4-26, 2022; runs Jan 27Feb. 20, 2022); “Stede Bonnet: The F*ckin Pirate Musical” (Gloria Benavides, dir.; Nicole Neely, playwright; Clint Gilbert, composer. Rehearses Mar. 15-Apr. 6, 2022; runs Apr. 7- May 1, 2022); “Who’s Afraid of Virginia Woolf” (Blake Hackler, dir. Rehearses May 10-June 8; runs June 9-July 3, 2022). • Company: Theatre Three, Inc. Staff:

Jeffrey Schmidt, artistic dir.; Christie Vela, assoc. artistic dir.; Sarah Barnes, company mgr.

• Rehearses and performs in Dallas, TX. • Seeking—Equity Actors: 18+. • Seeking submissions from TX. • For consideration, submit a digital

headshot, resume, and audition form to theatre3auditions@gmail.com. Videos should be emailed via WeTransfer, Dropbox, or Hightail. Submissions will be accepted Oct. 25-Nov. 9. Submissions deadline is Nov. 9 at 5 p.m. PDT.

• Preparation Instructions: Actors should

prepare a 3-minute audition consisting of either 2 contrasting monologues or 1 monologue and a brief song of their choosing. You may also choose from the accompaniment provided. You may request sheet music by emailingtheatre3auditions@gmail.com.

• Soprano: https://www.dropbox.com/s/

th31i8djqr0obbo/To%20See%20 The%20Sun%20Again%20 %28Soprano%29.mp3?dl=0

• Alto: https://www.dropbox.com/s/dke-

gems2i1eu8ys/Blackbeard%20 %28Alto%29%20%281%29.mp3?dl=0

• Tenor: www.dropbox.com/s/r9hbqxrc-

gvkpgn5/If%20I%20Could%20 Rewrite%20My%20Story%20 %28Tenor%29.mp3?dl=0

• Bari-Bass: www.dropbox.com/s/

wv4q81udv2r7rmw/A%20 Pirate%27s%20Life%20is%20Not%20 For%20You%20%28BariBass%29. mp3?dl=0

BACKSTAGE 11.04.21

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).

‘To Kill a Mockingbird’ Nat’l Tour

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

• For more info, visit www.theatre3dallas.

com.

• Equity’s contracts prohibit discrimina-

• Pays $451/wk. Equity SPT 5 Contract.

• Company: Utah Shakespeare Festival.

• Seeking video submissions from Equity

actors for the National Tour of “To Kill a Mockingbird.” Synopsis: “To Kill a Mockingbird” tells a story of racial injustice and childhood innocence. Set during the Depression in the fictional town of Maycomb, Alabama, small town lawyer Atticus Finch defends an Black man, Tom Robinson, who is falsely accused of rape, before an all white jury.

• Note: Individuals will be contacted

directly via email regarding callbacks, which will also be held via video submission. There are understudy roles available.

• Seeking—Equity Actors: 18+. • Seeking submissions from MD. • For consideration, email the video audi-

• For question, email casting@bard.org.

tion, with your photo/resume attached, in a downloadable format (Google Drive, Dropbox, etc.) to tkamauditions@ gmail.com with the subject line “[Your full name] -[The role for which you’d like to be considered].” Submissions deadline is Nov. 4.

For more info, visit www.bard.org.

• Equity’s contracts prohibit discrimina-

• Preparation Instructions: Prepare sides

from the script for one track of your choosing or prepare a monologue from a 20th century American play. Link to materials: https://www.dropbox.com/ sh/zqm13ggyt9iqndt/ AACV8h8zTxfuSD_uN6LM7xCqa?dl=0 If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name, location, and height.

• Pays $1,008/wk. (LORT B through Sept.

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

Student Films

• Equity’s contracts prohibit discrimina-

• No pay.

Scripted TV & Video 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.

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.

Columbia, MD.

webster.edu.

• Seeking—Equity Actors: 18+, all • Seeking submissions from UT. • For consideration, use this link https://

• Rehearsals begin February 2022 in

• Send submissions to kaylaodow28@

‘Safe Haven’

ethnicities.

Staff: Barry Diller, prod.; Seth Wenig (NETworks), exec. prod.; Gregory Vander Ploeg (Gentry & Associates), general mgr.; Bartlett Sher, dir.; Aaron Sorkin, adaptation; Harper Lee, novel as source material; Adam Caldwell CSA, Destiny Lilly CSA (The Telsey Office), casting.

from 9 a.m.-2 p.m. at Webster University, Communication Building Sverdrup, Room 131, St. Louis, MO 63103.

• Rehearses and performs in Cedar City,

UT.

• Company: TKMB National Tour LLC.

• Auditions will be held by appt. Nov. 14

‘The Bailey’s’

• Casting “The Bailey’s,” a short narrative

film based on a behind-the-scenes look at an influencer couple shows the reality of their relationship. As soon as the camera cuts their real intentions come out to play.

• Casting “Safe Haven,” a series for a

• Production states: “Producer is com-

mitted 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, female, any ethnicity, and 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. • Note: Casting little people-people with

dwarfism.

• A series regular role. Compensation

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

• Company: Webster University. Staff: K.

Oldow, casting.

• Pays $1,702/wk. Equity Production

(League) (Tier B) Contract.

• Rehearsals Nov. 21-22; shoots Dec. 5-6

(possible extra days for ADR recording).

Utah Shakespeare Festival 2022 Season

• Seeking—Becca: female, 25-35, all

ethnicities, a woman who can fake charm, but in reality is ugly on the inside while beautiful on the outside. She is independent and toxic and her end goal is her own gain. Andrew: male, 25-35, all ethnicities, manipulative and selfish Andrew is in the prime of his life in terms of looks, but he is always chasing more.

• 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

Reality TV & Documentary Gender Pronoun Conversation

• Seeking individuals to participate in a

discussion about gender pronouns/preferred pronouns, and bring awareness to the importance of this topic. The aim backstage.com

National/Regional casting

is to educate an audience who may not understand. • Shoots in Los Angeles, CA. • Seeking—Guest: all genders, 18+,

Casting asks: “Do you want to share your story? Do you have a family member or friend who doesn’t understand?” • Seeking submissions nationwide. • Send submissions to amy.zinicola@cbs.

com.

• No pay.

Online Commercials & Promos Remote Silk Pillow Case Testimonial (Free Pillow Cases), Sassy Fun Fiery Red Heads

• Casting a director assisted remote proj-

ect. Must have an iPhone. You will be giving a testimonial at home in your bedroom.

• Company: TubeScience. Staff: Sarah

Furlong, coord.

• This is an ongoing project. • Seeking—Female Red: female, 22-40,

all ethnicities, Talent will be giving a testimonial about the benefits of a silk pillow case. • Seeking submissions nationwide. • Apply on Backstage.com. • Pay provided.

Cruise Lines Virgin Voyages Entertainment, Singer

• Seeking female or non-binary singers

for upcoming and future replacements for Sam Pinkleton and Ani Taj’s “Untitled Danceshowpartything,” a hype music video disguised as an absurdist style dance party, and the 7 fingers’ ships in the night. • Production states: “Our shows include

captivating and dynamic singers with a strong sense of style, humor, and self. We are looking for unique vocalists with wildly diverse body types, backgrounds, and individual styles. All singers must be comfortable learning basic movement, improvising, performing in close proximity to and among audience members. Our singers are unicorn vocalists with unmatched stage presence and explosive star quality. Our vocalists are given the space to sculpt and adapt to their individual styles, however, the following breakdown provides a guideline for particular skills/Qualities that are needed specifically seeking.” • Company: Virgin Voyages

Entertainment Casting. Staff: James Shea, sr. ent. mgr., Ryan Cowles, casting dir., Jessica Ferris, casting dir. • Contracts for immediate and future

replacements beginning January 2022 for an open-ended run. • Seeking—Female/Non-Binary Singer

(Unicorn): 21+, all ethnicities, an utterly singular vocal force with stratospheric backstage.com

pipes and a strong sense of humor about herself/themself and the show. Performs an unexpected set of 90s hits with total self-seriousness. • Auditions will be held Nov. 7 from 2:30-

3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) and Nov. 8 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Live House Hollywood, 1534 N Highland Ave., Los Angeles, CA 90028. And Nov. 10 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Seattle Center at the Armory - East Entrance, 305 Harrison Street (Building- The Armory), Seattle, WA 98109. And Nov. 12 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Dance 101, 855 Emory Point Drive C-105, Atlanta, GA 30329. And Nov. 16 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Spotlight Studios, 7751 Kingspointe Pkwy., #102, Orlando, FL 32819. And Nov. 18 from 6:30-7:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Gibney Center, 280 Broadway, New York City, NY 10007. And Nov. 21 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) and Nov. 22 from 2:30-3:30 p.m. (This is an open call, but due to ongoing COVID restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced.) at Above The Arts Theater, 6/7 Great Newport Street, London, England WC2H 7 JB.

restrictions, all auditionees are required to register in advance. No walk-ins will be accepted. In order to comply with local laws and regulations, and to ensure your safety, capacity has been reduced. We kindly ask that you keep this in mind when signing up, and that you take your availability and ability to commit to your appointment into consideration before scheduling a time. Proof of vaccination will be required to attend the audition. Additionally, masks are also required on-site.”

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.

tion, and all meals provided.

• Seeking an Equity Assistant stage man-

• Pays $1,100/wk. Housing, transporta-

Stage Staff & Tech ‘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. • Company: Denver Center for the

ager for the National Tour of “To Kill a Mockingbird.” Synopsis: “To Kill a Mockingbird” tells a story of racial injustice and childhood innocence. Set during the Depression in the fictional town of Maycomb, Alabama, small town lawyer Atticus Finch defends an Black man, Tom Robinson, who is falsely accused of rape, before an all white jury. • Company: TKMB National Tour LLC.

Columbia, MD.

• Seeking—Assistant Stage Manager:

18+.

• Seeking submissions from MD. • For consideration, submit resumé to

resumes@networkstours.com with “TKAM Tour / SM Resume” in the subject line. Submissions deadline is Nov. 4. • Pays $1,921/wk. Equity Production

(League) (Tier B) Contract.

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.

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).

ethnicities.

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

Michael Morales, prod. stage mgr. 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 OffCenter. 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, cultur-

ally competent care to our patrons, students, guests and team members, it is of highest importance that our hiring

‘To Kill a Mockingbird’ Nat’l Tour, Stage Manager

Utah Shakespeare Festival 2022 Season, Stage Manager

• Seeking—Stage Manager: 18+, all

calls, however, you will need to book an audition slot on our website. Walk-ins will not be accepted. Your safety is our top priority. Due to ongoing COVID

Rep Contract.

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

• Production states: “Auditions are open

• Pays $1,202/wk. Equity LORT B Non-

• Seeking Equity stage managers for

• 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.

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

11.04.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

In self-taped auditions, how much time should I take after my slate before I begin the scene, and how much time should I wait before breaking character to end the audition?

Our Expert

*Submit questions for our Experts on Backstage’s Facebook, Instagram, or Twitter accounts, or via our forums page at backstage.com/forums! The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.

BACKSTAGE 11.04.21

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; DEL VALLE: COURTESY ELAINE DEL VALLE

Elaine Del Valle is an actor and founder of Del Valle Casting, a bilingual talent casting company in New York City.

Most of the time when actors start a self-tape audition, they put their slate in a separate take. But in the case of the scenario you’re describing, where it’s all going to be in one, I would say you should introduce yourself, then take a moment to become the character and feel the character. Turn around if you need to. Then, turn back to us in character. I would also say that before you start the acting portion of your audition, stay in the character’s mindset until the moment you become uncomfortable. That way, you know you’re fully there. Now, if you’re self-taping, you can always edit out those gaps or pauses. However, if you’re in the room and the casting team is telling you, “OK, we’re just going to slate, and then go right into it,” just remember that it’s always your audition. That time is granted to you; take it. Do what you need to do to get there, and give what you want to deliver to the camera. It can be daunting, but let the experience be joyful for you. Always think about audition days this way: “This is the best day of my life, because I’m getting a chance to do what I love.” Then do it, and make us know you love it! Before and after my self-taped auditions, I like to linger in character. But I would say that if you have the opportunity to introduce yourself first on a separate slate and then do the character portion, that’s preferable.

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