Backstage Magazine Digital Edition: November 18, 2021 by Backstage

11.18.21

Get Ready for

Ariana DeBose

The “West Side Story” breakout is on a one-way path to movie stardom

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The 2021 Emerging Talent Portfolio

Oscar hopefuls, Broadway’s hottest tickets, and hit streaming series—it’s just the beginning for these must-see actors

9 Pages OF CASTING NOTICES

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Contents The Green Room 6 It’s time to get rid of 10 out of 12s 8 This week’s roundup of who’s casting what starring whom

9 Devery Jacobs on “Reservation Dogs” and Indigenous representation

Advice 11 NOTE FROM THE CD Shaking it off

12 #IGOTCAST Nikky Niché

vol. 62, no. 32 | 11.18.21

Cover Story Cover Story A New Prospecting Era for Gold Ariana DeBose is more than just the new Anita in Steven Spielberg’s “West Side Story”—she’s the change we want to see in Hollywood

Your official guide to the 2020 Oscar nominations page 16

The Green Room 6 Broadway’s audience boom 8 This week’s roundup of who’s casting what starring whom

10 Annie Murphy reflects on “Schitt’s Creek”

Advice 13 CRAFT Survive and thrive

page 14

13 #IGOTCAST

12 CAREER DISPATCH

Mark Beauchamp

More ways to grow

14 SECRET AGENT MAN

Features

The power of intention

4 BACKSTAGE 5 WITH...

Features

Emilia Jones

4 BACKSTAGE 5 WITH...

10 MEET THE MAKER

Charise Castro Smith, co-director + co-writer, “Encanto”

David Alan Grier

12 MEET THE MAKER

11 THE ESSENTIALISTS

Cathy Yan, “Birds of Prey” director

Modupe Thompson, writers’ assistant

13 IN THE ROOM WITH

14 THE ESSENTIALISTS

Cassandra Kulukundis

Jeremy Woodhead, hair and makeup designer

19 STARS ARE BORN A closer look at Hollywood’s next generation

15 IN THE ROOM WITH Victoria Thomas

32 ASK AN EXPERT

21 OUR DREAM BALLOT

Tips for auditioning actors from casting director Elaine del Valle

And the 2020 Oscar SHOULD have gone to…

Casting

32 ASK AN EXPERT

Amy Russ on principal and background work

22 New York Tristate 25 California

Casting

28 National/Regional

22 New York Tristate

Ariana DeBose photographed by Emily Assiran on Oct. 8 in New York City. Cover designed by Ian Robinson.

27 California 28 National/Regional Cover illustration by John Jay Cabuay. Cover designed by Ian Robinson.

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11.18.21 BACKSTAGE

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BACKSTAGE, vol. 62, no. 32 (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...

Emilia Jones By Allie Volpe

Emilia Jones is generating awards buzz with her performance in Apple TV+’s “CODA.” To play Ruby, a music school hopeful and the only hearing member of an otherwise deaf family, Jones learned American Sign Language. The English actor also took singing lessons and mastered an American accent to add authenticity. Up next: She’ll play Margot in the film adaptation of the viral New Yorker short story “Cat Person.”

You’re still rather young, but what advice would you give your younger self? I would say: You hear no a lot more than you hear yes, but just keep at it. In reality, as a kid, I was really good at hearing no. It never knocked my confidence; it never knocked me down.

Did learning ASL impact the way you act and your physicality? 100%. Everything changed for me in terms of acting. Whatever happens in the moment, you can internalize what you’re feeling, and a lot of it shows through your facial expressions and through your eyes. You don’t need to do that much. Less is more.

What’s the wildest thing you ever did to get a role? Reading “CODA,” I was like, I have to do this movie. I sent four dialogue scenes. Sian [Heder, the writer-director,] said, “I know you don’t know any sign language, but if I send you my friend signing, will you copy the scene the best you can? I just want to see [you] sign; it doesn’t have to be perfect.” I thought to myself, It needs to be perfect. I knew I had to try my absolute hardest because I was already at a disadvantage being 17, British, [and] not a signer.

What performance should every actor see and why? For emotional scenes, every actor should watch Viola Davis. I love that she’s not afraid to ugly cry. I think sometimes in movies, crying scenes are diamonds rolling down cheeks. It’s not like that in real life.

“ ‘CODA’ really showed me that I worked harder than I thought I could.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: KATHY HUTCHINS/SHUTTERSTOCK.COM

What is your worst audition horror story? I got down to the last two for “Stranger Things” Season 2 for [the character of] Max. I sent my tape to audition, and I was a little bit older than the rest of the kids. I was also a hell of a lot taller than them. They were like, “We’re going to fly you to New York to meet the cast and screen test.” I flew out, and I was literally a head and a half taller than everybody. I looked like the older sister. I walked in like, “Oh, well, I’m not going to get this.” So we just had fun.

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Theater

No More 10 Out of 12s? A new campaign seeks to end the long-standing practice By Diep Tran

ACTOR RACHEL SPENCER Hewitt was once in a show at a well-paying regional theater. Unfortunately, the money she was making wasn’t enough to support her family. “Between groceries for my two kids, childcare, [and] tech week, I had $9,” Hewitt recalled. This was after spending 12 hours a day in rehearsals, which meant she couldn’t tend to her children and the cost of childcare ate up

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most of her take-home pay. That experience and others like it led Hewitt to co-found the Parent Artist Advocacy League (PAAL). The group fights for more humane working conditions in theater, such as eliminating what are known as “10 out of 12” technical rehearsals and instituting a five-day work week during the rehearsal period. Hewitt is not alone in her

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fight for better labor conditions. Recently, a growing number of theater workers—not all of them parents—have been raising their voices about the need for a better work-life balance. They’re asking for the elimination of 12 to 16–hour days, as well as the six-day rehearsal week. “Ten out of 12” refers to the industry standard for technical rehearsals—which take place the week before the first preview performance—when all the technical elements of a show (set, lights, sound, etc.) come together onstage for the first time. Ten hours of work are allotted for the day, plus two hours of break time for actors. No More 10 Out of 12s is a newly formed group that has been collecting testimonials

from theater workers around the country. “I’ve driven home falling asleep at the wheel, windows down, slapping my face to get home at night on local shows where I still might have a 40-minute drive home at 1 a.m. after notes,” wrote one lighting designer. No More 10 Out of 12s and PAAL are also advocating for five-day rehearsal weeks. Rehearsal periods can run anywhere from three weeks to more than a month; during this time, everyone works six days a week. “When we create healthy workers, we create healthy work,” said Tony-winning costume and set designer Clint Ramos, who is one of the artists behind No More 10 Out of 12s. “Part of that is just giving everybody a chance to actually recuperate and recover for two days.” No More 10 Out of 12s and PAAL are encouraging both producers and theaters to institute better workplace conditions. Large theaters such as New York City’s Public Theater, Cambridge’s American Repertory Theatre, and the Oregon Shakespeare Festival have already eliminated 10 out of 12s. Fewer theaters have committed to a five-day rehearsal schedule, though Detroit Public Theatre is one of them. “We do not feel that the artistic product has suffered at all from these practices,” said DPT producing artistic director Courtney Burkett. “There’s still a lot of intensity; there’s still a lot of really hard work. But the artistic product, I think, benefits from looking at the big picture of how it’s done. We don’t have to do it the way it’s always been done.”

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Joe Russo (of “Avengers” fame) and their AGBO production company for this supernatural horror story about a demon called the Skarrow. Set in a small town in the 1990s, the film follows a teen who accidentally summons the Skarrow while babysitting his cousins. The demon gives them an ultimatum: Play its game or die. Jessica Sherman Casting is working on the project, and while no cast or production dates have been finalized, it’s rumored to be looking at locations in Canada for an early 2022 shoot.

Margot Robbie Plays Teacher The Oscar nominee is slated to star in and produce “Fool’s Day” By Rebecca Welch

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

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actors are attached. Filming is scheduled to take place in Atlanta sometime in 2022. “All Fun and Games” Up-and-coming screenwriter J.J. Braider is partnering up with producers Anthony and

FILM

The Cult of DiCaprio By Casey Mink

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

LEONARDO DICAPRIO IS IN FINAL talks to play the title role in “Jim Jones,” a feature depicting the cult leader who drove more than 900 people to commit mass suicide in 1978. DiCaprio will also produce the project via his Appian Way banner. The film, which has been secured by MGM, features a script by “Venom” screenwriter Scott Rosenberg. No director is attached at this time.

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MARGAUX QUAYLE CANNON

“Fool’s Day” We’ve heard of not telling mom the babysitter’s dead, but what about the teacher? Based on Cody Blue Snider’s

2013 short film of the same name, “Fool’s Day” follows a group of fourth graders who, on April Fools’ Day, decide to pull a prank on their teacher only to accidentally kill her. The kids are left to their own devices and scrambling to hide the body—until a police officer shows up to teach an anti-drug lesson to the class. Rich Delia is casting the project, which already has Oscar nominee Margot Robbie attached to play the ill-fated teacher. Robbie is also executive producing the project via her Luckychap Entertainment, along with New Line Cinema. No other

COURTESY FX ON HULU

What’s Casting

“Eleanor & Park” Based on the acclaimed 2012 novel of the same name by Rainbow Rowell, “Eleanor & Park” is set in 1980s Omaha and follows two introverted high schoolers as they embark upon a romance they know will never last. Japanese filmmaker Hikari is attached to direct the film for Plan B, with Rowell penning the script. The film has enlisted the services of Francine Maisler Casting to fill the call sheet; talent has yet to be announced. The project has had a tenuous journey to the developmental stage, having bounced around the last couple years from Universal to DreamWorks, among others. It will go into production next year in a to-be-announced U.S. location.

together…. I was expecting to launch into a whole pitch of: ‘Maybe I can be in the writers’ room!’ And he’s just like, ‘Yeah, dude, come in!’ ”

Devery Jacobs and Lane Factor on “Reservation Dogs” Backstage Live

Devery Jacobs Moves the Needle Now in the midst of making “Reservation Dogs” Season 2, the multihyphenate talks shop By Benjamin Lindsay

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. DEVERY JACOBS IS AN ACTOR we can’t wait to see more of. Already an award-winning performer and creator in her native Canada (she was born and raised in Kahnawake Mohawk Territory outside of Montreal), she delivered one of the year’s breakout performances on FX on Hulu’s “Reservation Dogs” from creators Sterlin Harjo and

MARGAUX QUAYLE CANNON

COURTESY FX ON HULU

TELEVISION

Jeremy Strong’s Next Gig By Casey Mink

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Taika Waititi. The newly minted Gotham Award nominee is now in the writers’ room for Season 2, and she deservedly ranks among our 2021 Emerging Talent list. The six months since wrapping Season 1 have been a whirlwind. “The whole season’s come

THOUGH HE’S CURRENTLY STARring on TV’s hottest drama, Strong is not sitting idle. The Emmy winner, who plays Kendall Roy on HBO’s “Succession,” has signed on to star on and executive produce a new limited series. “The Best of Us,” from “Another Round” co-writer Tobias Lindholm, will explore the fallout of the Sept. 11 terrorist attacks and the systemic failings in its wake.

out since then. We’ve gotten to present at the Emmys and represent our communities back home. Now, we’ve started on Season 2. So it feels really exciting and really great and also a little bit like whiplash, just because it’s all happening so fast.” Jacobs independently wrote and directed three short films between 2016 and 2018; they helped get her into the “Reservation Dogs” writers’ room. “The Native film industry is so tiny. So many people who have been a part of ‘Reservation Dogs’ [and] beyond have been kicking this door down and getting Indigenous stories seen and heard. One of the people doing that was Sterlin Harjo, who I knew from the independent film circuit. Luckily, he knew me as a filmmaker even before we started working

Representing marginalized communities onscreen means being able to identify productive stories (as opposed to destructive ones). “Above all else, I look for stories that excite me as an audience member or ones that I’d be curious to see. But there are certain things that I’ll veer away from, whether it’s Indigenous women venturing into the Pocahontas stereotype, or [it’s] queer folx with queerbaiting or the “bury your gays” trope. While I try and venture away from those stereotypes and traps that writers in the industry fall into, it also depends on who the creators are and if it’s taking a different look. If it’s coming from queer and Indigenous voices at the helm, that is also a component of what I look for in the work that I’m choosing to do.” Jacobs studied to be a social worker when she was a struggling actor. Now, she marries those concerns and passions. “I was working at the Native Women’s Shelter of Montreal for a brief period of time. It was around that time that I had nearly given up on acting. I had been cast in a few roles here and there, but it was nothing significant. But it was then that I auditioned for ‘Rhymes for Young Ghouls’.… Now, it’s my hope that through acting and writing and creating, I can not only help bring our stories to the screen, but I can also help Indigenous people and all of our rights [by spotlighting] issues and everything that concerns us through this medium.” Want to hear more from Jacobs? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

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Meet the Maker

Charise Castro Smith, co-director + co-writer, “Encanto” By Murtada Elfadl

“Encanto” CHARISE CASTRO SMITH was working as a writer and producer on the Starz series “Sweetbitter” when she got the call for a meeting at Disney. She was intrigued to hear a pitch about “the first Disney Latinx musical.” “I was sold because the story was about a girl who felt other, felt less than, and was going to go on a hero’s journey to really discover what she was worth,” says Castro Smith, who’s now the first-ever Latina to direct a Disney animated feature. “Encanto,” due in theaters Nov. 24 and featuring songs by Lin-Manuel Miranda, is about the compelling but complicated relationships within a multigenerational Colombian family living together in a single household. That was familiar territory

for Castro Smith. “I’m Cuban American. My grandparents on my mother’s side came over when they were in their early 30s from Cuba. I understand that a new start is both a boon and a challenge,” she explains. That experience, she adds, is one that trickles down through generations: “Both opportunity and trauma influenced our family—me, my brother, and my cousins’ lives. I wanted to explore that in this movie.” Castro Smith started out as an actor, graduating from the Yale School of Drama. She calls her career shift to writing “a

“I was so afraid of making mistakes. My advice is: Trust yourself, and give yourself a little bit of grace.”

natural evolution.” She credits the mentors and advocates she met along the way. “I had written a play and decided to put it up at the student theater at Yale,” she says. Paula Vogel, the Pulitzer Prize–winning playwright behind “Indecent,” was then head of playwriting. “She saw that play and really encouraged me to pursue writing,” Castro Smith says. After getting a few plays produced—including “El Huracán” and “Feathers and Teeth”—and meeting playwrights who had transitioned to television writing, the jump seemed more possible. “It was seeing all this exciting work that a lot of playwrights I knew were doing on television,” she says. Leaning on a trusted support network, then and now, has

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been crucial for her. “I think you can only do things like this in a community, especially with a big project like ‘Encanto,’ ” she says. She calls the process of making the film “a hybrid between new play development and a TV writing room.” She elaborates: “The story artists who do the storyboards are like a TV writing staff, pitching us ideas and giving us feedback. And then, in terms of new play development, we essentially workshopped the movie several times over the course of this process. We would write the whole script, the story artists would board in rough animation form, we would edit it together, record all the voices, and screen it in a very rough form. We did that eight times in three years.” Castro Smith began as a writer on the film. About nine months in, she was asked to co-direct alongside Byron Howard and Jared Bush, marking her directorial debut. Most movies have one director, and some have two, but it’s almost unheard of for a movie to have three. It speaks to the size of the undertaking that is “Encanto” and the need to divide and conquer. “Byron has a long history [of] working in animation for more than 25 years. He directed ‘Zootopia’ and ‘Tangled,’ and is an incredible visual artist and animator. The direction of animation was coming from him,” says Castro Smith. “Jared and I were co-writing the script, with emphasis on design and character and directing the actors.” No matter the project or the size of the endeavor, Castro Smith believes it starts with believing in yourself. “There’s a lot of pressure to get everything right the first time, particularly for people of color [and] women,” she says. “I was so afraid of making mistakes. My advice is: Trust yourself, and give yourself a little bit of grace.” DISNEY

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ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE SEX LIVES OF COLLEGE GIRLS”: COURTESY HBO MAX

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Note From the CD

Shaking It Off

THE ESSENTIALISTS

MODUPE THOMPSON writers’ assistant

DISNEY

ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE SEX LIVES OF COLLEGE GIRLS”: COURTESY HBO MAX

By Marci Liroff

HAVE YOU EVER TAKEN ON A character that is going through a lot of psychological turmoil? How do you dig deep into the material while safeguarding yourself, and not leave set feeling like an open wound? Currently, I’m working as the intimacy coordinator on a project about sex trafficking. There are very violent scenes that could leave an impact on both the actor who’s in peril and the actor enacting the violence. These scenes can also affect the crew who are watching them take after take, along with the editing team who cuts the footage. Part of my job as an intimacy coordinator is to be there for the cast and crew if they get triggered by highly charged scenes. I can provide trauma first aid in the moment, as well as preventative education to avoid a delayed response at home. After an emotionally draining day on set, there are many ways actors can consciously remove

themselves from the character, or “de-role.” One method after a performance or audition is to physically change your appearance by taking something off, such as a piece of clothing, jewelry, makeup, or a wig. It can help you connect with yourself again. This should feel ceremonial, as if you are shedding the skin of the character and snapping back into yourself. Some actors recommend showering or bathing as a way of “washing off” your character. Treat yourself to scented bath oils or soaps. Changing and noticing your sensory intake is a great way to ground yourself. This can also apply on set if you’re triggered and begin slipping into a panic attack: Begin by naming three things you can see, feel, and smell. It helps get your brain out of fight-or-flight mode and brings you back to reality. I usually keep mints and scented hand lotion in my bag for such occasions.

It’s a fact: Assistants keep Hollywood running. Just ask MODUPE THOMPSON, a writers’ assistant on Mindy Kaling and Justin Noble’s “The Sex Lives of College Girls.” Writers’ assistants are the room’s eyes and ears. “You’re going through so many ideas and so many pitches in a day that it can get jumbled. The assistant is really there to make sure every joke pitch, every new plot point, every new season arc that is pitched is down in the notes—so later on, if the writers or the

By Casey Mink

showrunners or whoever needs to see what changes we’re doing to the show, they have something to look back at and reference.” Pitching is not for the faint of heart. “By watching all of these talented writers do their thing, you can kind of figure out what your own style will be. I have been lucky enough to be in rooms where the showrunners and the people higher up are really welcoming of ideas from support staff. I’ve been able to practice pitching, practice saying an idea as my heart is pounding and wondering if it’s

Another trick is to surround yourself with things that root you in your life and personality. For example, you could display a few small keepsakes, like photos of friends and family, in your space backstage or in your dressing room. When you leave

going to get picked up. If the idea doesn’t get picked up, you know, it’s kind of just ‘ouch’ and move forward, and figure out how you can pitch another idea that might stick.”

at the end of the day, take in your new surroundings. Using all your senses, notice all the differences that separate the performance space from the outside world, and get ready to rejoin off-set life. One of the most important things is to have a safe place to come home to. Whether that’s a cozy apartment where you can watch your favorite TV show, a furry friend waiting to greet you at the door, or a home shared with someone you love who supports you and can be a sounding board, having that security can work wonders on your psyche. Whenever you’re faced with challenging material, I encourage you to plan ahead so you can keep your mental health intact when your shooting day comes. Preparation is key.

Want more?

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

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11.18.21 BACKSTAGE

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Spotlighting the people and projects you need to know

#IGOTCAST. Nikky Niché

By Jalen Michael

More Ways to Grow By Lou Llobell

The following Career Dispatch essay was written by Lou Llobell, who leads and narrates the Apple TV+ series “Foundation.” The Season 1 finale streams Nov. 19.

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I had to trust that everything I had done to get to this point meant I was ready.

Treat acting as seriously as you would any business. “I get the most out of my profile by keeping it updated with new content [and] work. Take your time on your audition tapes, and always communicate when you can’t be available. Burning bridges is bad for future jobs.” Music videos are great on-set experiences. “I was booked to do the music video ‘Rich’ by Solo the Dweeb and the production company Dial Up Stuff. I was the main love interest of the video on a first date with the artist. There was no audition process; I was told a date and showed up!” Target your market. “Thriving in the Chicago market is about applying before others, doing your best, and embodying the description of the job. The right gigs [that are] meant for you will respond.”

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; NICHÉ: ONE CROWN STUDIOS

I FEEL VERY LUCKY TO HAVE had the upbringing I did with parents who supported my acting dreams. But growing up in a small town in the South African midlands meant they were just that—dreams—and they seemed unreachable. After finishing high school, my parents encouraged me to apply to study drama in the U.K. Following the completion of my bachelor’s degree, they encouraged me again, this

time to get my master’s in screen acting. Studying and training definitely molded me into the actor I am today, but it was all the little jobs I did in between that taught me about being on a set. I have done commercials, worked as a background actor, and been a stand-in; these were the gigs that taught me set etiquette and made me appreciate all of the work that goes into creating what the audience sees onscreen. Watching professional

Chicago-based actor NIKKY NICHÉ knows performing is a business, and she treats it like one. But she still finds ways to have fun along the way.

RAQUEL APARICIO

Career Dispatch

actors from a distance taught me about the parts of acting that aren’t about becoming a character: how to hit a mark, understanding lenses so you know when it’s a wide shot or close-up, being able to angle yourself toward the camera, and deciding where to look. Most importantly, though, I was able to observe how professional actors interacted with each other and the crew. Being approachable and kind to your colleagues is part of your job; the other part is being technically aware. The crew is the reason we actors are able to do our work; having good relationships with them can only benefit your performance. (The members of the camera team, for example, are some of the people I’m closest to. They can tell you what the best eyeline is or what the next shot will be!) Every day on set is different, and you’ve got to be adaptable to your surroundings. Sometimes the person you’re acting opposite surprises you, or maybe the blocking isn’t what you anticipated. You have to just go with it. This is as true when performing a scene as it is in real life. If you’re stuck on what you did when preparing the scene, you aren’t allowing for organic developments on the day. When I first walked onto the set for “Foundation,” I felt impostor syndrome, but I had to trust that everything I had done to get to this point—from studying my castmates to building relationships with crew members—meant that I was ready. Having a lead role in a series with so many moving parts is daunting, but perseverance, lack of fear, and admiration for all of the jobs that make up a production will get you through.

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Spotlighting the people and projects you need to know

In the Room With

Cassandra Kulukundis

The NYC-based CD pulled from her own experience to cast “Gossip Girl” By Elyse Roth

created an email address. We were doing a search for some trans folks and didn’t care if they had representation. I brought in a lot of really green “I’ve never done anything” kids, and it was just word of mouth. I’ve always grabbed people off the street. I got hundreds of emails and pictures, and I’m still getting them today. If anything’s right for them, I give them a shot. I want to be out there looking. We’re looking for young talent. They just have to get Backstage; you have to read the magazines. They have to see what’s going on. We did everything we could to put it out there. The kids who really want to do stuff go to open calls, read what’s going on, make sure they know how to do selftapes, and just keep trying.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; NICHÉ: ONE CROWN STUDIOS

WHEN HBO MAX ANNOUNCED ITS REBOOT OF “GOSSIP GIRL,” most expected the series to take a cue from its predecessor. But with Cassandra Kulukundis behind the audition table, that was not the case. The longtime casting director dove deep into New York City’s acting pool to build a modern reimagining of Manhattan’s teen elite. Talk us through putting together the “Gossip Girl” ensemble. We could do what we wanted. We could hire our theater actors. When you’re doing a show in New York, you definitely want to fill in those [New York] elements, because it’s on the streets. It’s everywhere you go. It’s part of our fabric. I’ve never really had the opportunity to bring this many people to a cast.

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Did you have to fit certain “profiles” to fill out the cast? I went to one of these [private] schools. [Creator Josh Safran] went to one of these schools. We were way more diverse than the first series. Josh decided to represent that, and I was all for it. What were some of the challenges of putting this ensemble together? It was almost worse, because it could

be so open. That was exciting, but it was also terrifying. Sometimes, it’s great to know that you have to look for a 50-year-old white man. When it could be 20, it could be 50, it could be Asian, it could be anything, it’s like, How am I supposed to do all this? Where do I start? That was a big challenge. Sometimes, you just have to take it one role at a time. [It’s] like making a quilt: You just work on one patch, and then you do the next patch. Where did you look for newer talent? We put flyers everywhere, we used Backstage, we

What makes you remember someone from an audition or tape? Don’t force your choices. They have to be real to you and to how you would play a scene. If the page says [to] cry and you can’t cry, that’s fine. Maybe you’re frustrated that you can’t cry. Use your frustration; use whatever you have at that moment. I know nerves are there. Just always be natural, whatever you’re doing. I cannot stress that enough. Get out of your head and just make it real. And if you’re good, I will call you up. I will give you direction.

Want more?

Read the full interview at backstage.com/magazine

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A New Era

Ariana DeBose is more than just the new Anita in Steven Spielberg’s “West Side Story”— she’s the change we want to see in Hollywood By Casey Mink | Photographed by Emily Assiran

STARRING AS ANITA IN THE REIMAGINED “West Side Story,” Ariana DeBose is poised for the most significant moment of her career to date. She’s likely to enter an entirely new echelon of success, so it’s just a little surprising that her journey with the film started with her telling director Steven Spielberg, “No.” Actually, she said, “No, sir.” It was October 2018, and DeBose was performing in Broadway’s “Summer: The Donna Summer Musical,” for which she’d received her first Tony nomination. “West Side Story” casting director Cindy Tolan—who she’d previously auditioned for—called her at 10 p.m. on a Thursday night to ask if she could come to Brooklyn for a formal audition the next morning. “I looked at the sides and I was like, I’m not rushing those. If I’ve learned anything, it’s that I should be massively overprepared,” DeBose says. She told Tolan, “I’ll sing and I’ll dance, but I’m not going to read for you.” Tolan agreed. Cut to the next morning, BACKSTAGE 11.18.21

when DeBose walked into the audition room and saw, to her surprise, the entire creative team: Tony Kushner, Justin Peck, and of course, Spielberg. “I sang, and [Spielberg] was very happy, and then he asked me if I would read for him and I said no,” she remembers. At this point, Tolan jumped in with a reminder that they’d spoken about DeBose not wanting to hurry her preparation. “And he listened; he took it in…. He was like, ‘Will you come back?’ I said I would be honored.” DeBose laughs as she tells this story. She did eventually read for Spielberg, and she did eventually get a call from the director asking if she would “be his Anita.” But their initial meeting, and her telling him no— politely!—exemplifies DeBose’s approach to the industry. “I realize the most powerful word I’ve said in the last 10 years is ‘no.’ You can say, ‘No, thank you,’ but it’s still a no,” she says. “There’s a way to respectfully express

yourself that people in positions of power can hear.” DeBose arrived in New York City at 19 to pursue theater, freshly booted from the reality series “So You Think You Can Dance” and sporting what she calls a “big fat chip on my shoulder.” Growing up in Raleigh, North Carolina, she had performed as a dancer for most of her life. But after sustaining several injuries, she knew she needed a break. Acting was not her first love. “I was pursuing it as a necessity, to allow my body to heal,” she admits. Once she started to train rigorously, though, something clicked. She realized that acting, dancing, and singing are all storytelling, just “wrapped up in a slightly different package,” she says. “Acting, to me—it is music; it is choreography. It’s how you try to communicate, it’s how you touch people, how you move around them. I always say dancers make the best actors, because you’re taught to create a story in your brain as to backstage.com

what you’re dancing about, which inherently is acting.” Early on, she focused on dance-based auditioning—musical theater ensemble tracks, mainly. She had her 16 bars and a few songs she was great at, “and there was nary a room I went into that I didn’t feel like I was putting my best foot forward,” she says. As DeBose was getting her bearings, she knew she also needed to find ways to understand the industry’s inner workings, since she had never gone to any sort of acting school. She took what she calls a “real-world approach to the business… The way I chose to educate myself was getting online and going to the Actors’ Equity site, understanding

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what a breakdown looks like, really reading it, and noticing: These names keep showing up. Why are they important right now? What kind of work do they produce?” she says. “I could walk into a room and understand: That’s Kevin McCollum—he produced A, B, and C. This is Sergio Trujillo—he’s done this many shows with this director.” She adds, “I don’t believe in the myth being sold to young people that if you don’t go to university, you cannot and should not pursue this line of work.” Less than a year into her time in New York, she booked a featured role in “Bring It On: The Musical,” and she made her Broadway debut in 2012. From there, she could have chased

leading lady roles, but she confesses she wasn’t necessarily ready to do that. Instead, ever business-minded, she took what she calls “logical steps”: She went back to the ensemble, understudying larger roles in shows including “Motown the Musical,” “Pippin,” and the original cast of “Hamilton.” She wouldn’t play another leading role on Broadway until 2016, when she originated the part of Jane in the musical adaptation of “A Bronx Tale.” “There does come a moment when you start saying, ‘I want more,’ and people look at you a little cross-eyed, because it’s loving what you have and also knowing you want to try for more. Sometimes that makes people uncomfortable,” she says. Her career incline was gradual. When she was eventually tapped to play one of three versions of Donna Summer (hers being the Queen of Disco during her ascent to superstardom), it felt like a culmination. She was ready, not just to take on a role of that magnitude, but for the Broadway community to see the results of her years of work. “It helped me show the industry that I’m a viable leading lady, and I’m very good at what it is that I do,” she says of “Summer.” It was that Tony nomination that got Hollywood to pick up the phone. “That made film and television casting directors look at me in a slightly different way. And I had been very hopeful that those opportunities would show up,” she recalls. “I was literally about to start taking on-camera acting classes again.” She had a leading role in the 2020 Netflix adaptation of the musical “The Prom,” performing alongside Meryl Streep and Nicole Kidman. She was also a star of this year’s musical parody series “Schmigadoon!” on Apple TV+. More on-camera projects have been announced since, and DeBose says she is especially grateful to be working in film and TV right now rather than on Broadway. Like many in the theater community, the events of the last 20 months—the shutdown, the reckoning (and lack thereof) with systemic racism, the response to allegations of workplace abuse—have caused her to step back and assess. She paraphrases the James Baldwin quote: “I love America more than any other country in the world; and exactly for this reason, I insist on the right to criticize her perpetually.” “I love Broadway that deeply,” she says. “And I haven’t figured out the best way to confront some of these issues. I have great respect for so many of its pillars. I have great respect for the activists who are coming forward and creating change. I believe in taking a beat and listening and considering the most conducive thing I can do to contribute to positive change. I don’t know what that is just yet. But trust me, when I have figured it out, you will know.” She has grappled similarly with the significance of “West Side Story,” which premieres Dec. 10, arriving at this moment in American culture. She has, of course, been proud to backstage.com

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11.18.21 BACKSTAGE

be a part of the film from the moment she accepted the role; but a lot has changed since then, both for her personally and in the world around her. All of it has made her think more deeply about what she’ll represent onscreen. “I’m queer, I’m Afro Lat, I’m biracial. I have so many different labels. I’m like, Good lord—I am America,” she says. “I belong to damn near every single marginalized community in one way or another…. There are real conversations about how we treat people who fall within the margins [in the movie]. And if nothing else, if my image is the embodiment of some of that conversation, then it’s worth it. And I’m fucking proud of that.” She’s especially appreciative of the creative team’s openness to casting a Black-presenting Latina as Anita. It’s just one of the ways she’s distinguished her take on the role from the 1961 version portrayed by Rita Moreno, who won an Oscar for her performance. “The first day I met her, I had a panic attack,” DeBose says of Moreno, who plays a new role in the musical that was created for this film. “She said, ‘What do you want to know?’ And I said, ‘I would like to know anything that you want to tell me.’ And she understood me then. She was like, ‘You in no way feel like me. You’re fire, like the character, but we are different, and I hope you own all of that.’ I said, ‘Oh, I will, ma’am.’ ” The spirit of embracing what’s uniquely yours was a throughline that spanned the production all the way up to the top. In fact, DeBose remembers how her casting experience with Spielberg helped set the tone for her entire performance as Anita. “There was never a moment where I didn’t feel empowered to make my own choices for this character,” she says. “We were very much on the same page with who we believed this woman was. That’s an important part of any process for me. If my vision doesn’t align with yours, I should not work for you, because there are so many emotions that come with ownership of a character.” Still a month away from the world seeing the film, DeBose isn’t fretting over how its release will elevate her profile. At the same time, she acknowledges that she couldn’t possibly prepare for a moment like this anyway—only for what she thinks it’s going to be like. “If I learned anything from watching my colleagues in ‘Hamilton,’ [it’s that] they were ready until they weren’t,” she says. “Each and every one of them found a way to meet the moment on their own terms. That’s sort of where I’m sitting. I’m hopeful that this film will change hearts and minds and make people think about a wide variety of subject matter. “As to whatever comes as a result of it,” she adds, “I am trying to stay present so that I can experience it fully and remember it. I’m not a total idiot. Movies like this, they don’t come around twice in a person’s career.”

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I’m queer, I’m Afro Lat, I’m biracial. I’m like, Good lord— I am America.

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Stars Are Born

A closer look at Hollywood’s next generation By Benjamin Lindsay THE ACTORS FEATURED IN OUR 2021–22 EMERGING TALENT Portfolio are already running with the best of them. They’ve acted opposite some of today’s most reputable screen talents, and some are even garnering well-earned awards buzz. Learn about their tips for the audition room, the performances that inspired them, and what you can catch them in next.

Moisés Arias

MOISÉS ARIAS: SELF-PORTRAIT; DYLLÓN BURNSIDE: GREG VAUGHAN; DALLAS LIU: JONNY MARLOW; KIANA MADEIRA: BRENDAN WIXTED; “THOUGHTS OF A COLORED MAN”: JULIETA CERVANTES

“Jockey” Arias stuns in Clint Bentley’s Sundance drama as a jockey on the rise going toe-to-toe with Clifton Collins Jr. as the man who may be his estranged father. An actor for 17 years who credits casting director Jory Weitz for helping him land his breakout role in “Nacho Libre” opposite Jack Black, it’s clear he’s got the range. What do you love most about being an actor? I love getting out of my own patterns. As an actor, you influence your mind, and your actions might follow accordingly. What in your career are you most proud of and why? It’s difficult for actors who started very young to make transitions

into adult roles. I was lucky enough at 18 [to do so] with ”The Kings of Summer.” That movie allowed me to see a team of people make a film with a small budget beautifully. What’s in the pipeline that you’re most excited about? I get excited being a part of great stories. You never know from a script or director alone how the project may turn out. I hope to continue working with creative, brilliant people and am very excited about the films in [postproduction], as well as the ones just preparing to start.

Dyllón Burnside

“Thoughts of a Colored Man,” “Pose” Since his screen debut on “High Maintenance”

seven years ago, Burnside has become a Ryan Murphy regular on “American Horror Stories” and as fan favorite Ricky on the boundary-pushing “Pose.” He returned to Broadway this fall in “Thoughts of a Colored Man.” Which casting director gave you your first big break, and what was the project? David Caparelliotis picked me out of an open call and put me in front of Kenny Leon to play a lead in the Broadway musical “Holler if Ya Hear Me,” which kick-started my acting career. And Alexa Fogel cast “Pose.” She saw me when I was in “Holler” and has supported me and my work ever since. How do you stay creatively fulfilled outside of acting? I get outside as much as I can, put my feet in the grass, soak in the ocean, feel the sun on my face. I’ve also found designing floral arrangements to be a really beautiful creative outlet that I can do just for me and sometimes share with loved ones. It’s like painting with the Earth’s color palette.

Dallas Liu

“PEN15,” “Avatar: The Last Airbender” As the brooding (and at times bullying) older brother to Maya Erskine’s baby-faced middle-schooler, Liu is always a welcome presence on Hulu’s beloved “PEN15.” We’re particularly excited to see him shine on Netflix’s live-action adaptation of “Avatar: The Last Airbender” as Prince Zuko. What in your career are you most proud of and why? Zuko has the emotional journey that I’ve been wanting for so long. He has super cool firebending abilities and is 100% my favorite character in the entire series. Which casting director gave you your first big break, and what was the project? I’d really like to thank Suzanne Goddard-Smythe, because she always supported me in my early years of acting. I was able to get my face out a lot more in the industry [on series like “No Good Nick” and “The Who Was? Show”] because of her. What’s a screen performance that inspires you as an actor? Recently, I felt really inspired by Jung Hoyeon on “Squid Game.” I thought she did an amazing job making the entire audience attached to her emotionally. Every time she came on the screen, I got extremely excited for her character, and I hope I’m able to do the same [for audiences] in the future.

Kiana Madeira

“Fear Street” Previously known for her work on teen drama “Trinkets,” Madeira led the cast of Netflix’s spooktacular horror film trilogy “Fear Street” this year and proved herself to be a major screen talent to watch.

Da’Vinchi and Dyllón Burnside in “Thoughts of a Colored Man”

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11.18.21 BACKSTAGE

What in your career are you most proud of and why? Through my faith in God and the beautiful people surrounding me, I have managed to care for myself in ways that are constructive and elevating. I have overcome a lot of self-doubt and insecurities.

“The Irregulars” A graduate of the famed BRIT School and the London Academy of Music and Dramatic Art, Osterfield made his leading player debut on Netflix’s hit “The Irregulars” as fish-out-of-water Leopold, a role he says has been his “favorite part to play so far.” What in your career are you most proud of and why? My first job on “Catch-22” with George Clooney is definitely up there. We shot this one scene over three days in a tin can of a plane in Rome, and it was boiling! Full costume, loads of prosthetics, hot studio lights—and I also had to be crying my eyes out for each of the days. It was exhausting, but I’m really proud of the performance, and it’s one I’ll always remember. What’s a screen performance that inspires you as an actor? Daniel Day-Lewis in “There Will Be Blood” blew me away.

That’s the kind of work that I hope to emulate throughout my career. What’s in the pipeline that you’re most excited about? I’m just going through the motions with auditioning at the moment. Outside of that, I’m doing some cool work with my mates from school on our sustainability company Carbon Fingerprint, where we are doing some great work to contribute toward saving the planet by planting trees all around the world.

Reneé Rapp

“The Sex Lives of College Girls” Rapp went from taking top prize at the 2018 Jimmy Awards to starring on Broadway as Regina George in “Mean Girls.” Now, she’s making her screen acting debut on HBO Max’s highly anticipated sexpositive series. What’s your No. 1 piece of audition advice? Throw everything you’ve been told out the window. Enter into spaces

Will Smith, Demi Singleton, and Saniyya Sidney in “King Richard”

Rob Huebel and Reneé Rapp on “The Sex Lives of College Girls”

authentically and navigate the room as your full self—whatever that looks like that day. The universe has got your back. If something is meant for you, it will not pass you by. Be prepared, and take risks. How do you stay creatively fulfilled outside of acting? Music has guided me through life and has been my saving grace time and time again without fail. Singing is the one arena where I feel like I have the world at my fingertips. I also like to cry. Crying feels creative for some reason. What’s in the pipeline that you’re most excited about? I’ve been writing and in the studio since I was in high school, and I can’t wait to share that part of me. My music is a reflection of my innermost thoughts and fears, so my hope is that one day, when I’m performing live, it will be like a big group therapy session.

Filippo Scotti

“The Hand of God” Filmmaker Paolo Sorrentino’s most personal movie yet wouldn’t have stuck the landing without the right lead performer; Scotti grounds the Italian coming-of-age drama in sincerity.

BACKSTAGE 11.18.21

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HARRISON OSTERFIELD: ROSIE MATHESON; RENÉE RAPP: AMANDA DELGADILLO; FILIPPO SCOTTI: MATTIA CECCHETTI; “THE SEX LIVES OF COLLEGE GIRLS”: COURTESY HBO MAX; “KING RICHARD”: COURTESY WARNER BROS. PICTURES

What’s your No. 1 piece of audition advice? Have fun! Make bold choices. Create a character that you feel resonates with you through wardrobe, body language, hair and makeup, voice. Bring a childlike curiosity when you are auditioning, and remember that there is no one else like you in the world, so bring your own perspective and ideas. You are so special.

Harrison Osterfield

SANIYYA SIDNEY: JOHN JAY; MOMONA TAMADA: JONNY MARLOW; LYDIA WEST: WOLF MARLOH; “IT’S A SIN”: COURTESY BEN BLACKALL/HBO MAX

What do you love most about being an actor? The society that we are living in hardly encourages humans to investigate and dig deep [into] our emotions. Being an actor allows me to explore my emotions and thoughts, and through that, provides me with new perspectives.

woman on the switchboard in “L’homme Qui Aimait les Femmes” by François Truffaut. The desire in his gaze captures me and excites me every time I look at him. What’s your No. 1 piece of audition advice? I often went to auditions with a mild memory [of the sides] to be able to do the scene more spontaneously. The truth is that behind almost all spontaneous things, there is a lot of work. And this, in my opinion, must never be forgotten.

SANIYYA SIDNEY: JOHN JAY; MOMONA TAMADA: JONNY MARLOW; LYDIA WEST: WOLF MARLOH; “IT’S A SIN”: COURTESY BEN BLACKALL/HBO MAX

Saniyya Sidney

What do you love most about being an actor? I think an actor is an observer. I really like to study other people’s gazes. I think that watching others is important to better understand oneself, just like one does when reading a book or watching a movie. What’s a screen performance that inspires you as an actor? I really like the scene where Charles Denner speaks to the

“King Richard” Sidney had quite the (tennis) shoes to fill in telling the origin story of record-smashing legend Venus Williams, opposite Will Smith. Her portrayal of the sports superstar’s formative years is as impressive as it is inspiring. Which casting director gave you your first big break, and what was the project? The incredible Victoria Thomas gave me my first three big breaks! My very first role as young Kizzy on “Roots,” and my very first two movie roles: “Fences” and “Hidden Figures.” My first time to the Academy Awards was for both of those movies. We won the [best

ensemble] SAG Award for “Hidden Figures.” She really understands the craft and looks for truthful performances. How do you stay creatively fulfilled outside of acting? I have the great blessing of an acting tribe. I have been with them for most of my life. We sharpen each other’s swords. Last year when we couldn’t get together in person, our acting coach assigned the greatest films from the ’70s, ’80s, and ’90s. We would Zoom and break down a film from a director and writer’s perspective. It was really a gamechanger for all of us. When you stop labeling yourself as just an actor and expand into being a storyteller, you access your creativity from a higher place and purpose. What’s in the pipeline that you’re most excited about? Sharing the screen again with my “Fences” mama, the incomparable Viola Davis, on “The First Lady.”

Momona Tamada

“The Baby-Sitters Club” From two seasons on “The Baby-Sitters Club” to her recurring role in the “To All the Boys” film franchise, Tamada is making herself right at

home onscreen. Catch her next opposite Owen Wilson, Jesse Williams, and Michael Peña in the 2022 feature “Secret Headquarters.” What in your career are you most proud of and why? Honestly, I would say everything. I think it’s important to recognize each step I’ve taken to get where I am today and to express gratitude toward it all. What’s a screen performance that inspires you as an actor? Natalie Portman in “Léon: The Professional.” I gained an incredible amount of inspiration from her performance. How do you stay creatively fulfilled outside of acting? I love to bake but often resort to drawing and painting as another way of expression. That is something [my “Baby-Sitters Club” character] Claudia Kishi taught me more about.

Lydia West

“It’s a Sin” Russell T. Davies isn’t the only person taking notice of West’s incredible talent. The star of his miniseries “Years and Years” and “It’s a Sin” has proven to be a riveting screen presence time and again. What in your career are you most proud of and why? “It’s a Sin” was particularly special, as it’s not often that a piece of work can be a poster [for] public health. Being part of something that affected a wide audience and contributed to breaking down prejudice and opening conversations about HIV/AIDS was truly special.

Lydia West on “It’s a Sin”

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What’s in the pipeline that you’re most excited about? I’m excited for a few projects out next year: “The Pentaverate” on Netflix sees Mike Myers at his finest. Another drama I’ve recently wrapped is “Inside Man” by the amazing Steven Moffat, with Stanley Tucci and David Tennant. Also, I can’t wait for everyone to see “Text for You,” a romantic comedy with Celine Dion!

11.18.21 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays ‘Addressless’

• Seeking Equity video submissions for

“Addressless.” Based on a concept by Stero AKT and Lifeboat Unit. • Production states: “’Addressless,’ by

Hungarian artist Martin Boross, speaks to this growing problem in ways that question prevailing stereotypes about housing insecurity while examining the intersections between mental health and homelessness. ‘Addressless’ is structured as an interactive theatrical game in which audiences experience firsthand the complex challenges faced by those living without a home. Audiences are asked to follow a character and make a series of decisions: Will their character sleep on the street or sleep in a hostel? Will they ask people for money or try to find work? While some decisions might earn the character money, they may also take a toll on their life expectancy and physical wellbeing. The piece is performed by four people: two actors, a homeless activist, and a social worker serving as an expert to help the audience gain insight into the lived experience of homelessness. The original piece was created to specifically speak to issues surrounding homelessness in Budapest and is being adapted for New York audiences by Boross and Script Adapter Jonathan Payne who has a great deal of experience working with unhoused communities in New York.” • Company: Rattlestick Productions.

Staff: Daniella Topol, artistic dir.; Martin Boross, dir.; Jonathan Payne, book; Tara Rubin C.S.A., casting.

• Rehearses Nov. 29, 2021; performs Jan./

Feb. 2022 in NY.

• Seeking—Louis: male, 18+, male identi-

fying, 30s-40s, Veteran. BIPOC, Louis has a short fuse and has a tough relationship with authority. Serving in Afghanistan with the US Army, he was dishonorably discharged for a positive drug test. With little support and returning home to an ailing mother he eventually became homeless when she died. Josie: female, 18+, female identify-

BACKSTAGE 11.18.21

SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity. ing, early 20s, sexual identity and gender preference ambiguous. White. Running away from upstate New York for the big city, she has found herself on the streets. She has become pensive and quiet given the turbulence of her life but she is slowly finding her voice and the ability to advocate for herself. Role is already cast.

Casting picks of the week BY MELINDA LOEWENSTEIN

stage

• Seeking submissions from NY. • For consideration, include a full-body

‘Addressless’ Bring awareness to mental illness and life of the streets

slate at the beginning of your video, and submit an unlisted YouTube (not private), Vimeo, Dropbox, or Google Drive Link. Submit audition video, headshot and resume at https://tinyurl.com/ EPAddresslessForm.

musicals

EST). Videos submitted after the deadline will not be viewed. Auditions will be held in November.

‘The Marvelous Wonderettes’ Take a trip back to the ‘50s & ‘60s in this Pennsylvania production

https://tinyurl.com/ AddresslessEPAMaterials/.

online promos

• Submissions deadline is Nov. 19 (5 p.m.

• Prepare Louis Side 1. Link to sides:

• Film your audition in front of a clean

Pet Food Company, Family Photo and Video Shoot Parents grab you children along with your furry friends for this pet food promo

background, with no backlighting. As much as possible, limit ambient noise including air conditioners and other electronics. • Pays $594/wk. Equity LOA-NYC

Contract.

film

‘The Skin of Our Teeth’

• Seeking Equity actors for roles in “The

Skin of Our Teeth.” This production of “The Skin of Our Teeth” will tell the story of a Black, American family going through apocalypse after apocalypse, over and over and over again through epochs…and the necessity and the urgency to get back up and try again. • Company: Lincoln Center Theater. Staff: Lileana Blain-Cruz, dir.; Thornton Wilder, writer; Daniel Swee, CD; Camille Hickman, casting assoc. • Rehearsals begin Feb. 24, 2022; runs Mar. 31-June 12. • Seeking—Equity Actors: 18+, all ethncities. • Seeking submissions from NY. • For consideration, submit a link to the video, a photo and resume in pdf format, and indicate if you are a member of Equity to tsootepa@gmail.com with the subject line “Name/Role”. Submissions deadline is Nov. 22 at 6 p.m. EST.

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $1,778 wk. Equity LORT A+

Contract.

‘This Bitter Earth’

• Seeking video submissions from Equity

actors for roles in “This Bitter Earth.” Synopsis: A deep love is challenged by divisive political realities. Jesse, an introspective black playwright, finds his choices called into question when his boyfriend, Neil, a white Black Lives Matter activist, calls him out for his political apathy. As passions and priorities collide, this couple is forced to reckon with issues of race, class and the bravery it takes to love out loud.

voiceover

• Rehearsals begin Jan. 19, 2022; tech

• For more info, visit www.lct.org. • LCT is committed to diversity, equity,

• Equity’s contracts prohibit discrimina-

• Company: TheaterWorks Inc. Staff:

shot in horizontal not vertical format. Video should be posted on YouTube or Vimeo.

brief monologue no longer than two minutes in length. Your audition should be filmed in front of a clean background, with no backlighting, limiting ambient noise as much as possible. If using an iPhone, the video should be

York State, New York City, and CDC public health and safety guidelines will be required of all employees. Stage managers must be fully vaccinated for Covid-19 to be considered for an offer of employment.

‘Mon Héroïne’ (‘My Hero’)’ Stroll NYC in this independent film

‘Anti-Vemon for a Snake’ Seeking announcer voices for this USC student film

• Preparation Instructions: Prepare a

• Note: Adherence to all applicable New

Harrison David Rivers, writer; David Mendizabal, dir.; TheaterWorks Hartford, prod.; Victor Vazquez, CSA (viewing auditions). rehearsal Feb. 5-11; preview week Feb. 12-17; runs Feb. 18-Mar. 20; possible extension Mar. 22-27; streaming Mar. 14-27.

• Seeking—Jessie Howard: 30-34, Black /

African Descent, a playwright. Is queer or gay, serious, and passionate. He wields his wit like a weapon. Neil FinleyDarden: 30-34, White / European Descent, an enthusiast. Is queer or gay, compassionate, and privileged. He means well. • Seeking submissions from CT. • For consideration, include a copy of a

headshot and resume, and submit a contemporary monologue via the submission form online at www.xcastingnyc.com/auditions. Audition videos may not exceed two minutes. Submission videos will not be accepted via email, or if they are linked to an external website (such as Vimeo, Dropbox, We Transfer, YouTube). Video must be submitted as a file upload. Submissions deadline is Nov. 23. backstage.com

casting New York Tristate • TheaterWorks Hartford requires all

employees in this position to be fullyvaccinated (as defined by the CDC) by first date of employment, currently scheduled for Jan. 19, 2022.

• Equity’s contracts prohibit discrimina-

vided for out of town talent. Equity SPT contract.

Musicals ‘Flight School’ & ‘Pinkalicious’

• Casting actors and singers for “Flight

School” and “Pinkalicious” two musicals. Production states: “Performers will perform these shows in rep in NYC and on tour. This show will be a NYC sit down but we may have some run out tours in spring of 2022.” • Company: Vital Theatre Company.

Staff: Stephen Sunderlin, art dir.; Clint Hromsco, dir.-choreographer; Holly Buczek, HDB casting.

• Rehearses TBD; runs Nov. 27 in NYC. • Seeking—Pelican/Mr. Pinkerton: male,

18-35, all ethnicities, for “Flight School,” male presenting, 20s to play child/chick. Pelican is a cocky bird that thinks s/he can do it all. Fly, dive into water, even loop de loops! After all, “I Can” is part of Pelican’s name. For “Pinkalicious,” loving and hardworking father with the parental dilemma of trying so hard to provide for his family that he’s forgotten to appreciate them. He carries a secret love of Pink. Warm tone baritenor. Teacher (Flamingo)/Mrs. Pinkerton: female, 18-35, all ethnicities, for “Flight School,” female presenting, 20s-30s. Teacher is a bright and bold flamingo with tons of patience. She runs Flight School and loves teaching birds to fly. She will do whatever it takes to give her students the confidence and skills to succeed. For “Pinkalicious,” mother, organic/yoga type, obsessive multi-tasker who loves her family. Mezzo Soprano with Strong Mix and Pop flare. Penguin/Dr Wink & Alison: female, 18-35, all ethnicities, for “Flight School,” female presenting, 20s to play child/chick. Penguin is an optimistic, determined bird who dreams of flying. He/She has the soul of an eagle and For is ready to live on the wind. While he/ she wasn’t built to soar, Penguin’s spirit won’t be grounded. *Though Penguin is a boy, this track will be played by a girl. For “Pinkalicious,” adult actress to play 2 roles. Alison is an 8 year old, the sweet girl next door and friend of Pinkalicious; Dr. Wink is a goofy doctor/scientist with a passion for discovering strange diseases and a secret love for Musical Theatre. She likes a good soft shoe. Brassy belter with flare. Mezzo-Sop Contemporary Mix-Belt. Owl/ Pinkalicious: 18-35, all ethnicities, for

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“Flight School,” female presenting, 20s to play child/chick. Owl is a wise, kind bird that can be a little shy. She is Penguin’s closest friend at Flight School and is always ready to lend a wing to a friend in need. Mezzo-Sop/Alto Mix with Mid-range Belt. For “Pinkalicious,” adult actress to play precocious 8 year old girl. She is mischievous and daring with no regard for boundaries, very extroverted and single-mindedly passionate about the color pink! Straight tone belt, or strong mix to a D. Seagull/Peter: male, 18+, all ethnicities, for “Flight School,” male presenting, 20s to play child/chick. is a gullible klutzy little bird that follows Pelican around. He is not the brightest bird in the flock. Physical comedy skills a plus. Plucky Character Bari-tenor with solid Baritone – comfortable with Pop/ Rock. For “Pinkalicious.” Adult actor to play a shy, earnest 5 year old boy, Peter. He is a good-natured kid who also loves the color pink and doesn’t know he’s not supposed to. He vainly attempts to get his family to pay attention to him. Plucky Rock Tenor with personality.

model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

resume for a self-tape. Production states: “Strict COVID protocols and guidelines will be followed for audition rehearsal process and touring. Vital theatre is promoting a fully vaccinated environment for the cast and creative team of this NYC production and tour. Note: Because of potential for touring shows, performers should be licensed drivers and willing to drive.”

Performers: 18-55, all ethnicities, good looking men and women, general BG for various city scenes. Non-speaking roles.

• Seeking submissions from NY. • For consideration, include headshot,

• Pays $75/performance and $15/hr. for

rehearsals. Touring, pays $500/wk. and $25/day.

• Pays $926/wk. Equity LORT C Non-Rep

Contract.

Feature Films ‘Mon Héroïne’ (‘My Hero’)

• Casting nonunion background per-

formers for “Mon Héroïne” (“My Hero”) an indie feature. Synopsis: A wonderful comedy about a young director from France, who comes to NY with her mother and aunt, to get her foot in the door of an A list celebrities production office and hand her a script. • Company: Octopolis Productions/

Barbara McNamara Casting. Staff: Matthieu Zeller, prod.; Noémie Lefort & Fadette Drouard, writers; Barbara McNamara, casting dir.; Patrick Kline, casting assist. • Shoots Nov. 10-23 in and around NYC. • Seeking—Nonunion Background

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

tras@gmail.com.

• Pays $210/12 hrs.

Student Films ‘Roadkill’

Chorus Calls ‘Dangerous’

• Seeking video submissions from Equity

actors for chorus roles in “Dangerous.”

• Casting “Roadkill,” a student film.

Synopsis: A young boy witnesses the start of his father’s serial killing spree. • Company: Hofstra University. Staff:

Katie Tierney, dir.; Thoren Hyde, prod. • Shoots Nov. 19- 21 on Long Island, NY. • Seeking—Cain: male, 25-55, Black /

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

African Descent, Ethnically Ambiguous / Multiracial, a mechanic in his thirties who is bitter at the world for not giving him what he thinks he deserves. He is on his way to becoming a serial killer. He is an absent father to Abel and is only motivated by his desire to gain a sense of power and control in the world. His most prized possession is his red pick up truck, a souvenir from his first murder victim. Must have a driver’s license.

• Dancers, prepare a tape of the dance

hofstra.edu.

• Company: Bay Street Theater. Staff:

John Introcaso, book-music; Michael Colby, lyrics; Denis Jones, dir.-choreo.; Phil Reno, music supervisor; Judy Henderson, CSA, casting.

• Rehearses Feb. 15-27 in NYC; runs Feb.

28-Mar. 6 in Sag Harbor, NY. Full contract dates are Feb. 14-Mar. 6, 2022.

audition, picture and resume at Submissions deadline is Nov. 18.

combination: https://drive.google.com/ drive/folders/1o7lO8Apf3t4eg6PcYNL_7ns-ZdAIZ6j?usp=sharing . • Singers, choose 16 bars of music using

your own accompaniment or use the accompaniment on the weblink provided: https://drive.google.com/drive/ folders/1SjXY_WjJuRXDFwS0_ juSZyoE6uSGfF5f?usp=sharing Slate your name, the name of your audition piece, and your vocal part. • 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

• Seeking submissions from NY. • Send submissions to ktierney1@pride. • This is a non paid, low budget senior

thesis production. However, food, transportation and a copy of the finished film will be provided.

Scripted TV & Video ‘Evil Lives Here: Shadows of Death,’ 202

• Casting episode 202 of “Evil Lives Here:

Shadows Of Death,” a crime recreation

show for ID Network. Storyline: Two women have no idea they are both trapped in one man’s web of lies, of which only one of them will come out alive. • Note: All cast and crew are required to be fully vaccinated to work on this production. Child actors over the age of 12 are required to show proof of vaccination. COVID safety precautions will be in full effect during filming. All cast and crew are required to get a rapid COVID test done prior to coming to set. • Company: Red Marble Media. Staff:

Sabine Jeanty, casting dir.

• Shoots the week of Dec. 1-3 (Wed.-Fri.)

in NY/NJ (exact location TBD).

• Seeking—Jonas: male, 50-55, White /

European Descent, to anyone who meets him, Jonas is quiet, likes to garden and work on cars. He seems like an unremarkable middle-aged man. He wears Dad jeans and chain smokes. He’s a prison guard, and perhaps a loving father. And he’s perpetuated a secret life for 7 years leaving everyone he knew questioning who he really was. Physical Description: Short grey hair, medium build average height; Lead; pays $210/12hr. Maddy: female, 40-45, White / European Descent, a country girl at heart and adores being a mom. She’s a pre-school teacher who loves her job because of how much she cares for other people around her. Which is why she’s devastated to learn that her husband has been lying and living a double life for the past 7 years. She feels utterly betrayed by him, and is ridden with selfdoubt as she suddenly realizes how ignorant she’s been. Physical Description: Medium length straight blonde hair, tall strong build; Lead; pays $210/12hr. Erica: female, 18-21, White / European Descent, very quiet but when she speaks, she’s direct and has a very unwavering honesty. When the crime occurred, she was an All-American girl, rarely stood out, liked to be in the background. But she’s now coming to her own after her father’s conviction. Physical Description: Medium to long red/auburn hair, average build; can play mid-teens; Lead; pays $210/12hr. Thomas: male, 45-50, White / European Descent, absolutely adores his sister and sees himself as her protector. He always makes sure he has time to spend with her during the week. Thomas is thrilled when he first hears about his sister’s new boyfriend, but once she tells him about the engagement, he worries that their relationship may be one-sided, and that she’ll end up getting hurt. Physical Description: Long sandy blonde hair, husky build, goatee, glasses; Lead; pays $210/12hrs. Melissa: female, 30-40, White / European Descent, sweet, bubbly and trusting to the point of being naïve. At 35, she comes across as a younger woman. She’s into video games and a self-described “nerd.” Physical Description: Long brown hair, short curvy build; supporting; pays $120/8hrs. Investigator: male, 30-40, White / European Descent, must deliver the hard news to a family that their dad/husband, Jonas, isn’t who they thought he was and is currently being investigated for murder. He must then interview witnesses to see if Jonas’ alibi’s hold up; supporting; pays $120/8 hrs. Note: This role will be backstage.com

California casting

cast based on an acting reel. Submit with a dramatic acting reel or past dramatic audition tape. • Seeking submissions from NY and NJ. • Send submissions to sjeanty@redmar-

blemedia.net.

• For consideration, submit online demo

clips. Casting states: “If possible, please submit actor’s online demo clips along with each actor submission.” • Note: This production has a mandatory

vaccination policy and requires all cast & crew to be vaccinated with the COVID-19 vaccine (Pfizer, Moderna, Johnson & Johnson) or have a disability or sincerely held religious belief that prevents vaccination. If you meet this criteria, please submit without providing any additional information at this time. If you are selected, you will be given separate information on how to provide evidence to the production that you are fully vaccinated or to request an accommodation of any disability or a sincerely held religious belief. Any job offer will be conditioned on satisfactorily testing negative for COVID, showing evidence of vaccination, or being granted an accommodation of a disability or sincerely held religious belief by the Employer. • Pays $210/12 (lead roles); and $120/8

(supporting roles).

Demo & Instructional Videos Tech Conference, Live Speakers

• Casting live speakers for a tech confer-

ence in Las Vegas for Orcam, a company that develops devices for the blind and visually impaired, and for Mobileye, a company that develops self-driving cars.

products for Mobileye, a company that develops self driving cars and advanced driver assistance systems. Production states: “Must be comfortable to read scripted material live in front of an audience for a tech conference.” • Company: Brooke Goldman

• Rehearses early December in NYC; trav-

Theatre Department. Staff: Ellis Stump, prod.

Plays

shoots Jan. 28-29, 2022 at Shapiro Theater in NYC.

‘Closer Than Ever’

Productions Inc. Staff: Brooke Goldman, casting dir.

• Company: Columbia University MFA

els to Las Vegas Jan. 2, 2022; works Jan. 3-8 in Las Vegas; travels back to NYC Jan. 9.

• Rehearses December-January, 2022;

• Seeking—Live Speaker at Tech

• Seeking—Director: 18+. • Seeking submissions from NY. • Send submissions to THEellisstump@

Conference: all genders, 30-47.

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

gmail.com.

nproductions@gmail.com.

• Production states: “Travel Stipend /

MetroCard available.”

• Note: All talent must be fully vaccinated

to attend the conference.

‘The Skin of Our Teeth’

• Pays $500/day for rehearsals in NYC

(two rehearsals). Pays $800/day in Las Vegas. Meals, travel, and lodging provided.

• Seeking Equity Assistant Stage Manager

for “The Skin of Our Teeth.” This production of “The Skin of Our Teeth” will tell the story of a Black, American family going through apocalypse after apocalypse, over and over and over again through epochs…and the necessity and the urgency to get back up and try again. • Company: Lincoln Center Theater. Staff: Lileana Blain-Cruz, dir.; Thornton Wilder, writer; Daniel Swee, CD; Camille Hickman, casting assoc. • Rehearsals begin Feb. 24, 2022; runs Mar. 31-June 12 in NY. • Seeking—AssistantStageManager:18+. • Seeking submissions from NY. • For consideration, submit resume to Paul Smithymanat smithyman@lct.org. Submissions deadline is Nov. 22, 6 p.m. EST.

Online Commercials & Promos Cleaning Product Commercial

• Casting cleaning product commercial.

Looking for talent/hand model.

• Company: Gildin Media. • Shoots TBD date in Brooklyn, NY. • Seeking—Hand Model: female, 25-40. • Seeking submissions from NY. • Send submissions to tyler@gildinmedia.

• For more info, visit www.lct.org. • LCT is committed to diversity, equity,

com.

inclusion, and access in all areas of its structure and operations as attention to these goals makes it stronger and helps better serve the artists, staff, crew, audience, and community at large. LCT welcomes candidates who are fully committed to joining a theater that is proactively focused on diversity, equity, and inclusion. Applicants from populations underrepresented in theater and who align themselves with LCT’s values and goals are encouraged to apply. • Note: Adherence to all applicable New York State, New York City, and CDC public health and safety guidelines will be required of all employees. Stage managers must be fully vaccinated for Covid-19 to be considered for an offer of employment. • Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

• Send a video introducing yourself and

showing your hands as the spot will feature them. If you have any examples of related work (top down/mostly hands) would be great to share. • Pay provided.

• Company: Brooke Goldman Productions

Inc. Staff: Brooke Goldman, casting dir. • Rehearses early December in NYC;

works Jan. 1-3 2022 in Las Vegas.

• Seeking—Live Speaker for Orcam: all

genders, 30-45, speaking for Orcam, a company that creates tech for the visually impaired and blind. Well-spoken, comfortable with public speaking, young professional, business casual. Live Speaker for Mobileye: all genders, 30-45, speaking for Orcam, a company that creates tech for the visually impaired and blind. Well-spoken, comfortable with public speaking, young professional, business casual.

• Seeking submissions from NY. • Send submissions to brooke@standard-

production.com.

• Note: All talent must be fully vaccinated

to attend the conference.

• Pays $500/day for rehearsals in NYC

(two rehearsals), $800/day in Las Vegas. Meals, travel, and lodging provided.

Tech Conference, SelfDriving Car Company

• Casting actors for a live tech confer-

ence show in Las Vegas where they will be speaking about and introducing new backstage.com

Southern California

epidemic among today’s Amish youth during Rumspringa (their 1-3 years spent “on the Outs,” exposed to contemporary worldly pleasures). Inspired by true events, self-conducted interviews with ex-Amish individuals, and my Lancaster County upbringing.”

Stage Staff & Tech ‘Once on Rumspringa,’ Director

• Seeking a director for “Once on

Rumspringa,” a Columbia University second year playwriting production. Synopsis: Amish childhood gal pals, Sadie Fisher and ex-Preacher’s daughter Willa Stolzfus, share a trailer, meth addiction, and sexual tension thick as cold butter. They’ve spent their Rumspringa together higher than Heaven, but the analog clock’s tickin’ on when they can revisit their Community, before forced to either surrender freedom or leave town forever. So, they make a pact: get clean, head home for Fall Communion, snatch cash from their folks, and then hit the road in Willa’s fancy non-Amish automobile. Destination: dreamy Sarasota, Florida.

• Pays $2,050 wk. Equity LORT A+

Contract.

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

• Production states: “A dark romantic

comedy about queer love and the meth

• Casting Equity actors in “Closer Than

Ever” a musical revue in two acts, with words by Richard Maltby, Jr. and music by David Shire. The revue contains no dialogue, and Maltby and Shire have described this show as a “bookless book musical.”

• Company: Coachella Valley Repertory.

Staff: Ron Celona, dir.; Scott Storr, musical dir.; Richard Maltby Jr, lyrics; David Shire, music. • Rehearsals begin Feb. 7, 2022; runs

Mar. 1-20, 2022 in Cathedral City, CA.

• Seeking—Woman #1: 25-40. Woman

#2: 25-40. Man #1: 25-40. Man #2: 25-40. • Seeking submissions from CA. • Prepare two brief musical theatre

songs. One character/storytelling song and one belt/full-out singing song that shows off your range. Include vocal range with resume. You may also use the accompaniment provided at https://www.dropbox.com/sh/tx0vxyr3ayyenzm/ AADp17iZ1geJ-rVoO33DY_3oa?dl=0 • For consideration, submit audition

video to auditions@cvrep.org. Submissions deadline is Nov. 27.

• Equity’s contracts prohibit discrimina-

Musicals ‘The Marvelous Wonderettes’ • Seeking two nonunion female-identify-

ing performers to complete the cast of “The Marvelous Wonderettes.” • Company: San Luis Obispo Repertory

Theatre. Staff: Kevin Harris, managing artistic dir.; Suzy Newman, dir.; Kelly Fidopiastis, choreo. • Rehearses Jan.11, 2022-Feb. 3, 2022;

runs Feb. 4-Mar. 6 (27 performances) in San Luis Obispo, CA. • Seeking—Cindy Lou: female, 18-35, all

ethnicities, to play 18 and 28; she knows she is the prettiest girl at Springfield High. She knows she will be named Prom Queen and acts out against her best friend Betty Jean when things don’t go her way. She makes the biggest change between Act 1 & 2, having learned the lessons of true love and loss. Vocal Range: Mezzo-Soprano Belt: E3-F5. Sings melody line on most songs, so the other girls hang their

11.18.21 BACKSTAGE

casting New York Tristate vocals on this voice. Among the songs she sings lead are: ‘Allegheny Moon,’ ‘Son of a Preacher Man,’ and ‘Maybe’. Missy: female, 18-35, all ethnicities, to play 18 and 28; the over-achiever of the group. Very controlled, very concerned that everything at the prom turns out wonderful and perfect. Head of the prom decorations committee; and absolutely smitten with her music teacher. Her best friend is Suzy.Vocal Range: Soprano: G3-A5. Wide range, floating high vocals and belting throughout the show. Among the songs she sings lead are: ‘Secret Love,’ ‘You Don’t Own Me,’ and ‘Wedding Bell Blues’. • Seeking submissions from CA. • Send submissions to kevin@slorep.org. • For consideration, upload a current

headshot, resume, and digital submission to the following link https://www. dropbox.com/request/ WlrnP762ZuhO69kKAyv8. All digital submissions should include a 32-bar (or less) vocal audition and a short, contemporary, comedic monologue (less than two minutes). Submissions deadline is Dec. 1. • If you are local and would prefer to

schedule an in-person audition, email your request to Kevin Harris at kevin@ slorep.org. • Note: All performers will be provided

with individual rehearsal/vocal part tracks when contracted and be expected to come into rehearsal on Jan. 11, 2022 familiar with the music and their individual parts (additional compensation for pre-rehearsal work on music will be included in the contract.) • Contract will pay weekly rate ($300-

$400/wk.) for all rehearsal and performance periods. Travel reimbursement and housing available.

Feature Films ‘Immortal Thieves - The Bloody Heist’

• Casting “Immortal Thieves - The Bloody

Heist,” a supernatural thriller. Synopsis: A ragtag group of 5 thieves attempt to steal an invaluable artifact and come face to face with its demon owners. Some things are to be feared more than death. • Company: Bottle Monster LLC. Staff:

Anthony Dillistone, creative prod.

• Tentatively shoots Nov. 29-Dec. 9 +

anticipated pickup days in December in the L.A. area. • Seeking—Lucky: male, 30-35, White /

European Descent, California surfertype who has been worn down by life. He has never gotten his lucky break and wearily has accepted his lot in life. He walks through life as a zombie now, not truly caring for anything or anyone except for his brother (The Kid). Dakota: female, 30-35, all ethnicities, feisty and quick-witted. She’s had a tough life but on the outside she looks like she has it all together. Lucky originally brought her into a life of crime when she was an aspiring singer. After she was screwed over by her ex-manager, Lucky helped her seek revenge and plunged her into

BACKSTAGE 11.18.21

the dark side of crime. The Kid: male, 25-30, White / European Descent, tall and lean with a boyish face. As the younger brother of Lucky, he has always gotten away with anything and Lucky has always gotten him out of any jam he’s been in. He never truly grew-up and is a child in a man’s body. He never acknowledges his role in what happens to him. Four Fingers: male, 40-44, all ethnicities, a bit of a buffoon and always putting his foot in his mouth. He has been picking locks and cracking safes since he was a kid. He grew up on the streets but his skills as a safecracker have gotten him by. He is always seeking the thrill of the next job. He constantly seeks others validation and uses humor to get attention. He has been loyal to Lucky and his crew. Fatima: female, 19-25, all ethnicities, very intelligent but a true introvert. She should have been a CEO of a tech company but her father’s illness and her shyness prevent her from ever being truly successful. She is her own worst enemy. The Boss: male, 40-50, all ethnicities, ruthless, elegant, successful and criminally - business-minded, gangster. He will do anything he needs to do, use anyone he needs to, to achieve his goals. Miami: female, 25-30, Latino / Hispanic, tall, elegant, cool, collected, ruthless and possibly sociopathic - she is The Boss’ Lieutenant and enforcer. Layla: female, 25-30, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, all business and her business is violence. Clever, cool, collected, and ruthless, she is one of The Boss’ bodyguards/ enforcers... a 2nd to Miami. Tina: female, 25-29, all ethnicities, but looks much older. She’s had a tough life, living on the edge of society, doing what she needs to do to survive, including burglary. Marc: male, 30-35, all ethnicities, born on the hardscrabble streets and scrapes by through theft, burglary and any kind of scam that he can devise. Wilhemina: female, 50-59, Ethnically Ambiguous / Multiracial, White / European Descent, elegant, luxurious. She is the epitome of living in style and good taste... timeless and glamourous... with an air of mystery and danger. Butler: male, 50-60, all ethnicities, elegant, classically dressed... the perfect British Butler with the appearance, bearing and demeaner that implies. • Seeking submissions from CA. • Apply on Backstage.com • The Producers plan to apply for the

SAG-AFTRA New Media Agreement. Duration varies by role, please see role for specific duration estimates.

Student Films ‘Cassette Girl’

• Casting “Cassette Girl.” This film is the

story of Jamie; a man trying to get over a rough breakup which proves to be easier said than done. Jamie is constantly haunted by “Cally,” an idealized version of his ex who follows him around everywhere he goes. In his head, she never leaves his side. Things

change when Jamie bumps into someone from his past. A high school friend named Maya. Sparks fly but is it enough for Jamie to finally get over Cally? • Company: Little Brother Productions.

Staff: Maxwell Walters, writer-dir.; Cayden Tuttle, AD-prod.; David Estrada, DP-cam op; Gavin Callow, storyboard; Gabe Diaz, sound mixer. • Rehearsals will be in late November (a

date will be provided soon); shoot Dec. 13-17.

• Seeking—Cally: female, 20-30, Cally is

the ex girlfriend of the lead; Jamie. She is a likable but sarcastic and snarky counterpart to the lead. She is naturally funny but cynical. Almost a modern-day femme fatale. She’s aware of the power she has over men and uses it to her advantage. Maya: female, 20-30, Maya is very different from Cally. She’s unique and somewhat “quirky” if you will. Unlike Cally, Maya’s an optimist who always laughs at the little things in life that would frustrate most of us. She wears glasses and carries around a Sony Walkman and a few cassettes to go along with it. If I had to compare her “vibe” to another character in modern pop culture the closest I can think of would be a more subtle version of Ramona Flowers from Scott Pilgrim Vs. The World. Mikey: male, 20-30, Mikey is the best friend of Jamie. They’ve been friends for years and he’s always steered him in the right direction. He’s wise beyond his years but still carries himself with a laidback, almost stonerlike vibe. He never went to college and he only ever wears board shorts and t shirts but you if you close your eyes you’d think you’re talking to someone with a lifetime of knowledge and experience; and he’s all too happy to share it with you. • Seeking submissions from CA. • Apply on Backstage.com. • If interested, send your availability and

examples of previous work, and will send you the sides to audition with. At which time you can send an initial audition/reading tape and production can go from there. • No monetary compensation; meals,

refreshments provided.

‘Hermanas’

• Casting “Hermanas,” a short film.

Synopsis: Based on a true story from the early 90s, the story follows the oldest sister of nine Latinas living with their abusive father. The girls face one of their worst nights when the youngest is violently abused, forcing them to try to escape the hell they have known as home.

Hispanic, immigrated from Mexico to L.A. with all of his daughters. Their dream was to all go to Disneyland. But as financial hardships stacked up, he was forced to make his girls work to keep them housed. His tactics are harsh, and over time he lost himself. He has trust within his oldest daughter to make sure the work is done. Overall, a complicated man that struggled how to show he cared for his family, in his own way. Marielena: female, 15-21, Latino / Hispanic, the second youngest sibling. She has tendencies to disagree with her older sister, but overall wants the same for the family. She makes sure the work gets done and protects her younger sisters from their father. Yesenia: female, 14-21, Latino / Hispanic, one of the older sisters, but not old enough to be in charge. She likes to banter with her sisters, and still maintains love for the family despite their poverty and hardships. Like the other girls, they are united against their abusive father. Yadira: female, 10-16, Latino / Hispanic, one of the middle children. She’s not quite a long adult yet, but she works with the older sisters for the more complex jobs. She joins the group in making sure the chores get done around the house. While she is not the baby of the family, her early maturing shows how living in this family can affect the girls. Ricky: male, 8-13, Latino / Hispanic, the only boy of the family, also the youngest. As a result, he gets different treatment and does different kind of chores. He sometimes does mischievous pranks on his siblings, and sometimes gets punished for them. Veronica: female, 8-14, Latino / Hispanic, the youngest girl of the family, Veronica is a playful soul. Still a child, she helps get some of the chores done around the house, and is cared for by the older siblings. Florina: female, 8-14, Latino / Hispanic, one of the younger sisters, she’s very feisty on screen. As she’s still young, she doesn’t deal with some of the hardships the older sisters have to work. Sarah: female, 16-21, Black / African Descent, Southeast Asian / Pacific Islander, White / European Descent, a friend of the lead character, Amparo. She supplies her with feminine hygiene products, because the family does not have normal access. While momentarily, she does express care for the family and offers a solution. Norma: female, 30-45, Latino / Hispanic, the mistress of the Father. With the mother absent, Norma is a normal guest of the house. She is taken care of by the father.

• Company: SF State Cinema. Staff: Alex

• Seeking submissions from CA. • Apply on Backstage.com. • Unpaid. Food and transportation pro-

• Shoots Dec. 3-5 in Los Angeles, CA. • Seeking—Amparo: female, 16-23,

‘Run Girl Run’

Landin, dir.; Jacob Tucker, cinematographer; Arely Acuna and Gema Ceron, prods. Latino / Hispanic, the oldest of eight siblings in a Mexican household. She looks after everyone, even going against their abusive father. She has ambitions of making a better life for the girls, even going to night school. Even though the girls’ life is full of hardships, she makes sure they at least have some fun. Ricardo: male, 36-55, Latino /

vided. Production states: “Some roles will receive pay, based on how much fundraising we’re able to get.”

• Casting “Run Girl Run,” a graduate stu-

dent film production at USC.

• Company: USC. Staff: Raphael Buisson,

dir.

• Shoots sometime between Nov. 15-24 in

Koreatown, Beverly Hills, Venice, DTLA. • Seeking—Ariane: female, 18-45, all

ethnicities, Neo-noir thriller. Ariane has recently lost her job in a law firm. backstage.com

California casting

After returning home to discover her boyfriend cheating on him, she decides to go for a run to forget the life changing events she’s been through.Hardworking, Ariane used to think she had the best life. A stable job, a nice apartment in Los Angeles, a handsome husband. But in one day, everything will fall apart as she will loose her job and discover her husband is cheating on her. After that traumatizing day, she decides to become a complete different person to forget.Inspirations: Eyes Wide Shut, The Shoes- Time to Dance (music clip), Spring Breakers, Shame…. Diane Ariane’s bestfriend: female, 18-45, all ethnicities, Neo-noir Thriller. Ariane has recently lost her job in a law firm. After returning home to discover her boyfriend cheating on him, she decides to go for a run to forget the traumatizing events she’s been through… The role will be Ariane’s bestfriend. She is also the one who will have sex with Ariane’s boyfriend. She grew up in a boring city of the Midwest. Since she arrived in LA to work in fashion, she follows her desires to enjoy life fully by partying, having sex, alcohol, drugs... Inspirations: Eyes Wide Shut, The Shoes - Time to Dance (music clip), Spring Breakers, Shame….

• Apply on Backstage.com • For consideration, fill out this form :

edu.

will be $400. This pays for the use and perpetuity of your image/voice in the ad for commercial usage.

• Seeking submissions from CA. • Send submissions to rbuisson@usc. • Travel and meals provided

‘Samaritan’

• Casting a Babadook-esque “creature”

villain for a short horror-thriller by director John Poliquin.

• Staff: John Poliquin, writer-dir.; Colin

Minihan, writer-prod.

• Shoots Nov. 23-24 in Los Angeles, CA. • Seeking—Creature/Villain: male, 18-50,

no dialogue; the character is a creature that is essentially stalking a young woman who has just moved into an apartment. The creature is brooding, menacing.As described in the script: “He’s dressed in black. Wears a strange top hat. His pale face hidden in a grainy shadow. Long fingers.”Actors could dress in dark clothes (hat a plus) and take on a menacing stance, looking into the camera. Reels are a plus. • Seeking submissions from CA. • Apply on Backstage.com. • Meals provided.

Multimedia Buzzfeed, Latinx People Share With Romantic Holiday Memories • Seeking Latinx people to share their

most hilarious or lighthearted holiday love memories. • Company: BuzzFeed Inc. Staff: Oscar

Reveles, Casting Director.

• Shoots in Hollywood, CA. • Seeking—Main Talent: all genders, 18+,

Latino / Hispanic, Latinx people who can share their most hilarious or lighthearted holiday love memories. • Seeking submissions from CA.

backstage.com

like. There will be scripted dialogue with the host. Note: Do not double submit. Include a bio for your specialty in the hearing loss profession if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss. Real Board Member of Hearing Loss Association: all genders, 25-65, all ethnicities, a real Board Member of the a Hearing Loss Association. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. There will be scripted dialogue with the host. Note: Include a bio in the cover letter if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss. Real Physician With Expertise in Hearing: all genders, 30-65, all ethnicities, a real Physician with expertise on hearing loss. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. There will be scripted dialogue with the host.Note: Do not double submit. Include a bio in the cover letter if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss. Real Audiologist Technician: all genders, 25-65, all ethnicities, a real Audiologist Technician. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. There will be scripted dialogue with the host. Note: Include a bio in the cover letter if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss. Real Worker in R&D for Hearing Devices: all genders, 25-65, all ethnicities, a real worker in research and development of hearing devices. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. There will be scripted dialogue with the host. Note: Include a bio in the cover letter if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss.

https://airtable.com/ shrzfQkrT9vGObBUy. • Pays $300/day.

Online Commercials & Promos DTC Wallet Paid Social Ad

• Casting a 25-55 y/o male for a video

shoot with a client’s smart wallet. You will be the host of the video reading through a script talking about the wallet. Script example is provided below. • Company: Stavro Media. Staff: Stavro

Victor, Content Producer/ Director. • Shoots Nov. 20 or Nov. 21 in Walnut

Creek/Concord, CA area. Aiming for a 1/2 day shoot for talent. Confirm if either date works for you. • Seeking—Lead Male: male, 20-50, all

ethnicities.

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

gmail.com.

• Video example casting is going for:

https://vimeo.com/392726043

• Submit an example video read ASAP. • Payment for the role in this production

Leading Brand Innovator in OTC Hearing Aids Nonunion Infomercial

• Casting a nonunion infomercial from a

leading brand innovator in OTC Hearing Aids. A leading brand innovator in OTC hearing aids is looking for an expert in hearing and hearing loss. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. • Company: asg casting, inc. - A Casting

Company. Staff: Arlene Schuster (CCDA), casting dir.; Justin Radley (CCDA), casting dir.; Stella Goss, casting assist. • Shoots Jan. 13, 2022 in Southern CA. • Seeking—Real Audiologist: all genders,

25-65, all ethnicities, a real Audiologist. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks like. There will be scripted dialogue with the host. Note: Include a bio for your specialty in the hearing loss profession if you have one. Note experience and current location. Project notes are extremely important on this project. If nothing is noted, we have no way of knowing that talent is a real expert in the field of hearing loss. Real Ear/Nose/Throat Physician: all genders, 30-65, all ethnicities, a real Ear, Nose, Throat Physician. This expert does not have to “endorse” the product but will speak to the importance in hearing loss, options for treatment, and how to explain hearing loss and what that looks

• Auditions will be held Nov. 11 and Nov.

12 at Virtual Self Tapes, Santa Barbara, CA. And Nov. 11 and Nov. 12 at Virtual Self Tapes, San Francisco, CA. And Nov. 11 at Virtual Self Tapes, Los Angeles, CA. And Nov. 11 (deadline is Saturday 13th to apply) and Nov. 12 at Virtual Self Tapes, San Diego, CA. And Nov. 11 and Nov. 12 at Virtual Self Tapes, Palm Springs, CA. And Nov. 11 and Nov. 12 at Virtual Self

Tapes, Las Vegas, NV.

• Send submissions to arlene@asgcast-

ing.com.

• Pays $5,000 (+20% if applicable) + any

travel/lodging. Usage: Broadcast cable for 3 years. Conflicts: Hearing Aids.

Pet Food Company, Family Photo And Video Shoot

• Seeking talent for a video and photo-

shoot for a pet food brand.

• The video will highlight the mother/

father/ child in a home setting, interaction with dogs and cats, and pet food. No audio will be captured of the mother/father/ child.

• Looking for a mother and child to apply

together or father and child apply together.

• A child should be between ages 2 and 6. • Company: Pets Global Inc. Staff: Olga

Leyman, coord.

• Shoots TBD in Santa Clarita, Los

Angeles, CA.

• Seeking—Child: all genders, 2-6, all

ethnicities, to submit with own mother between the ages of 25-40 to participate in a photo and video shoot with the dogs and cats for a pet food company. Parent: female, male, 25-45, all ethnicities, to submit with own daughter/ son between ages of 2-6, to participate in a shoot with dogs and cats for a pet food company. • Seeking submissions from CA. • Apply on Backstage.com • For more info, visit www.inceptionpet-

foods.com.

• Pays $350 total ($200 to mother/father,

$150 to child). Includes full buyout of all rights.

Film & Documentary (Voiceover) ‘Anti-Venom for a Snake’

• Casting voiceover role for “Anti-Venom

for a Snake,” a student thesis that follows a New York drag queen during the AIDS epidemic. • Company: University of Southern

California. Staff: Cameron Kostopoulos, coord. • Records remotely. Have access to a

microphone (iPhone audio will also work).

• Seeking—Male Announcer #1: male,

gender-nonconforming, trans male, 25-65, The host of the Names Project AIDS Quilt Ceremony in New York, 1993. The announcer is reading off the names of all the victims who have died of AIDS, commemorated by the quilt. Reference video:https://www.youtube.com/ watch?v=lrVzjJ2e4hU&t=220s. Female Announcer #1: female, gender-nonconforming, trans female, 25-65, The host of the Names Project AIDS Quilt Ceremony in New York, 1993. The announcer is reading off the names of all the victims who have died of AIDS, commemorated by the quilt. Reference video:https://www.youtube.com/ watch?v=lrVzjJ2e4hU&t=220s. • Seeking submissions nationwide.

11.18.21 BACKSTAGE

casting National/Regional • Apply on Backstage.com • For consideration, include an audio

audition of the attached sides with your submission. • Copy and credit provided.

Gigs Brik West

• Seeking marketing associates for Brik +

Clik’s revolutionary DTC Holiday Market in the heart of L.A. The market will host numerous DTC brands, small and large, seeking to be represented by people like you! The team in L.A. will have the opportunity to help launch and operate this Holiday Market while participating in the most anticipated and engaging shopping experience L.A. has to offer. • Company: Brik + Clik. • Works Nov. 22- Dec. 27 in L.A. • Seeking—Brand Marketing Associate:

all genders, 18+, all ethnicities.

• Seeking submissions from CA. • Send submissions to eric@brikclik.com. • Company states: “Potential bonuses for

achieved sales quotas. Retention bonus for completing service of entire season. Product discounts.” • Job Types: Part-time, Contract

Video Agency Christmas Party

• Casting someone to play a bouncer (not

a real bouncer) to be at the door at company Christmas party (for a video agency).

Company (SFBATCO) is seeking nonunion performers for the upcoming production of “I, Too, Sing America,” which celebrates the spectrum of human experience authored by great American artists of color, in word, song, music, and movement.

• Seeking—Lee: male, 25-35, Asian, an

international student from China. In order to escape the pressure from his parents to urge marriage, he quits his stable job and starts a new life in the United States. Lee is cautious in everything but also willing to take an adventure. Note: This role requires make out with another male role including kiss. Actor doesn’t need to speak Chinese.

• Company: San Francisco Bay Area

Theatre Company (SFBATCO). Staff: Jamie Yuen-Shore, dir.; Othello Jefferson, Music dir.; Christine Chung, DP.

• Seeking submissions from CA. • Apply on Backstage.com. • Unpaid. Travel and meals provided.

• Rehearses Jan. 4, 2022 (Tues.-Fri. 6:30-

9:30 p.m. and Sat., 10 a.m.-2 p.m.); runs Jan. 28-Feb. 13, 2022 at Brava Theater Center in San Francisco, CA.

National/ Regional

• Seeking—Hip-Hop/Contemporary

Dancer: male, 18+, Black / African Descent, any age, male-identifying, Black. Ideally, this performer would have experience with hip-hop and contemporary dance, with a strong ability to interpret text. Singers: all genders, 18+, Black / African Descent, Latino / Hispanic, vocalist: Any age, femaleidentifying, Latine. Ideally, this performer would have experience as a soloist singing a wide range of styles, with a strong ear for harmonies. Vocalist: Any age, male-identifying, Black. Ideally, this performer would have experience as a soloist singing a wide range of styles, with a strong ear for harmonies.

Plays American Players Theatre 2022 Season, Equity Video Submissions • Seeking Equity actors for American

Players Theatre 2022 season. Each actor in the season will play up to three roles and will have additional understudy responsibilities. All roles in the season are understudied. APT will produce eight shows in rotating repertory. Hill Stage season includes “The Rivals,” (Aaron Posner, dir.); “Sense and Sensibility,” (Marti Lyons, dir.); Hamlet, (James DeVita, dir.); “A Raisin in the Sun,” (Tasia A. Jones, dir.); and “Love’s Labors Lost,” (Brenda DeVita, dir.). Touchstone Theatre season includes “The River Bride,” (Robert Ramirez, dir.); “The Moors,” (Keira Fromm, dir.); “The Brothers Size,” (Gavin Lawrence, dir.); and “Stones in His Pockets,” (Tim Ocel, dir.).

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

sfbatco.org.

• Pays $300/wk., subject to change

based on conflicts.

• Coordinator states: “It is only our staff

coming to the party, but we thought it would be comical to have a fake bouncer checking the ‘party list’ as people come through the door. We are also looking to cast a few other roles for this event too. Our office is located in South Orange County.” • Company: Kyro Digital. • Event is Dec. 10 (6:30-8:30 p.m.) in

South Orange County, CA.

• Seeking—Bouncer: male, 30-40, all

ethnicities, The Christmas party bouncer needs to be a large, intimidating man who takes his “party checklist” job very seriously. Money Man: male, 35-65, all ethnicities, The Money man is a man at the party who will hand out dollar bills to the guests as a type of “game.” • Seeking submissions from CA. • Send submissions to studio@kyrodigi-

tal.com.

• Must include headshot. • Pays $200 for 2 hours.

Northern California

Student Films ‘New Year Gummy’

• Casting “New Year Gummy,” a student

film. Synopsis: Lee is a 30 years old gay man. In order to escape the marriage pressure from his parents, he resigns from his job in China and uses his savings for many years to study in San Francisco. The Chinese New Year is approaching, and his mother arranges a special meeting for him. It turns out that his father’s friend’s daughter is also studying in San Francisco, and his mother wants to match the two. When Lee was about to meet the girl at home in order to satisfy his parents, a handsome young guy messaged him. After a thoughtful consideration, Lee decides to meet the guy first then meet the girl later. However, things get out of control after he accidentally takes the edible gummy from the guy......

• Company: American Players Theatre.

Staff: Carey Cannon, assoc. artisticdir.; Jake Penner, artistic assoc. • Rehearsals begin May 3, 2022; runs

through Oct. 9, 2022 in Spring Green, WI. • Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from WI. • For consideration, prepare one

Shakespeare monologue and one additional piece of your choice not to exceed a total of three minutes. All videos should use either the YouTube or Vimeo platform. Include digital copies of your headshot and resume. Include either Equity status in the subject line. Submit to Evelyn Matten at casting@ americanplayers.org. Submissions deadline Nov. 21. As we play in rotating repertory we cannot consider actors who aren’t available for the entirety of the season. For more info, visit http:// www.americanplayers.org.

• Production states: “We are a group of

film students from different Asian countries and regions, including China, the Philippines, Taiwan, and Hong Kong, this wonderful story brings us together and make us want to turn it from a script into a motion picture.”

• Equity’s contracts prohibit discrimina-

• Company: San Francisco State

‘I, Too, Sing America’

University. Staff: Xin Jiang, writer-dir.; Amy Wu, Johan Casal, prods.; ShihHsuan Kuo, DP; Qiaoran Ma, editor; Yifan Lv, sound; Johanes Gomez, prod. design.

cal. San Francisco Bay Area Theatre

Francisco, CA.

Musicals • Casting “I, Too, Sing America,” a musi-

BACKSTAGE 11.18.21

• Rehearses TBD; shoots Jan. 4-7 in San

• Pays $926/wk. Equity LOA ref LORT C

Agreement.

‘Carmela Full of Wishes’

• Seeking video submissions from Equity

actors for roles in “Carmela Full of Wishes.” All stage managerial positions have been filled. Based on the book written by Matt de la Peña and adapted by Alvaro Saar Rios. • Company: Chicago Children’s Theatre.

Staff: Michelle Lopez-Rios, dir.; Jacqueline Russell, artistic dir.; Erica Cruz Hernández & Will Bishop, casting.

• Rehearsals begin Mar. 21, 2022; travels

to Atlanta for TYA Fest Mar. 24-26; tech runs Apr. 14-17; runs Apr. 19-May 22 (10 shows/wk.) with a possible extension through June 5, 2022. • Seeking—Carmela: 18+, Latino /

Hispanic, to play 7 years old, female identified, comfortable/familiar with Spanish. A curious, precocious, and adventurous young girl. Papí: 30-59, Latino / Hispanic, male identified, comfortable/familiar with Spanish. Caring provider of the family. The character PAPÍ sings a song a cappella during the show adapted from the folksong, Carmen Carmela. • Seeking submissions from IL. • For consideration, submit a self-tape

of provided sides with your basic info (name/contact), headshot, resume, and Youtube self-tape link to casting@ chicagochildrenstheatre.org. Sides can be found at: https://bit. ly/3o45ASV . If you do not have a reader, you may perform a monologue. Actors auditioning for the role of Papí should also prepare to sing 30 seconds of a lullaby, corrido or song in Spanish. Submissions deadline is Nov. 19. • Note: Latinx/e Identified Actors

encouraged to submit. CCT is a fullyvaccinated company (full vaccination is defined as receiving both doses of a two-dose vaccine or a single-dose vaccine at least two weeks prior to an individual’s first day of work on the project). As per AEA rules, and by auditioning, you agree to follow all guidelines set forth by CCT and AEA regarding COVID regulations including: vaccinations, testing, mask-policies, etc. For audiences, we’ll be following vaccination verification and mandatory mask wearing. • In-person callbacks will be held Dec. 3,

3-8 p.m. at Chicago Children’s Theatre. For more info, visit chicagochildrenstheatre.org. • Equity’s contracts prohibit discrimina-

wk. for any 10-show weeks. Equity LOA Contract. Note: The contract includes traveling to perform in a staged reading of the show in Atlanta, GA, at the TYA/USA national conference of Theatres for Young Audience. This will be the first week of the contract for actors. CCT shall cover all travel backstage.com

National/Regional casting

expenses - round-trip economy flights, hotels, and per-diems.

‘Fun Home’

• Seeking video submissions from Equity

actors for roles in “Fun Home.”

• Company: Aurora Civic Center

Authority. Staff: Lisa Kron, book-lyrics; Jeanine Tesori, music; Based on the graphic novel by Alison Bechdel; Marti Lyons, dir.; Trent Stork, CSA, casting dir.; Jim Corti, artistic dir.; Amber Mak; artistic prod.; Paul-Jordan Jansen, assoc. artistic prod. • Rehearsal begins July 5, 2022, tech

begins July 28; runs Aug. 3-Sept. 18 in Aurora, IL.

• Seeking—Equity Actors: 18+. • Seeking submissions from IL. • For consideration, submit a video along

with your headshot/resume via YouTube, Vimeo, or Dropbox to casting@paramountarts.com. Submissions deadline is Nov. 17. Video Preparation Instructions: Include one one-minute cut of a song in the style of the show. You may also use the accompaniment at https://www.dropbox.com/sh/ w9p1ykq2h6cxlj6/AAAB-Qk-ivWu_ PgPq7zcSw2va?dl=0. Strong actors and singers of all genders, ethnicities, ages and types are encouraged to submit. • Production states: “A note about cast-

ing (adopted from language with consent originally created by Kevin Kantor and Emily Traquin of Actors Theatre of Louisville): Most characters we encounter currently are on the binary and are written with he/him or she/her pronouns and you will see that in the following character descriptions. However limiting the descriptions are, our casting seeks to be inclusive as possible and we invite gender non-conforming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide.” • Equity’s contracts prohibit discrimina-

Contract.

Great River Shakespeare Festival 2022, Equity Video Submissions

• Casting Equity actors for roles in Great

River Shakespeare Festival’s 2022 Season. Season includes “Taming of the Shrew” (Lisa Wolpe, dir.), “Twelfth Night” (Beth Gardiner, dir.), and “African Company Presents, Richard III” (Corey Allen, dir.). • Company: Great River Shakespeare

Festival. Staff: Doug Scholz-Carlson, artistic dir.; Aaron Young, managing dir. • Rehearsals begins May 10, 2022; pre-

views run June 18, 19, and 30; runs June backstage.com

24 and 25 to July 30 and 31, 2022 in Winona, MN. Note: Travel days May 9 and Aug. 1.

• Seeking—Equity Actors: 18+. • Seeking submissions from MN. • Slate your name, your pieces, and list

any musical instruments you play. Selftape two pieces: You may choose either two contrasting Shakespeare pieces or one Shakespeare/1 contemporary piece totaling no more than two minutes in one video file. Email Vimeo or YouTube link and headshot/resume with the subject line: last name 2022 Audition “Smith 2022 Audition.” Deadline: Nov. 15 to tarahf@grsf.org. All stage managerial positions have been filled. COVID vaccination mandated. Possible Zoom callbacks TBD. Due to our repertory casting and the need for all members of our acting company to play several roles, casting will be determined by what is best for the needs of each production and the season as a whole. The Great River Shakespeare Festival is committed to auditioning and hiring performers regardless of age, race, ethnicity, gender-identity, sexual orientation, or disability. For productions where race, ethnicity, or gender is central to the show’s plot or themes, casting will reflect those requirements. All roles will be understudied. • Pays $740/wk. plus housing and trans-

portation (LOA ref LORT D.) Equity LOA Agreement.

Illinois Shakespeare Festival 2022 Season, Equity Video Submissions

• Casting a diverse group of Equity per-

formers for the Illinois Shakespeare Festival 2022 Season. Season includes: “Much Ado About Nothing” (Lisa Gaye Dixon, dir.) and “King Lear” (Robert Quinlan, dir.) Much Ado About Nothing and King Lear will run in rotating repertory.

• Company: Illinois Shakespeare Festival.

Staff: John C. Stark, artistic dir.; María Amenábar Farias, casting assoc.

• Season rehearsal begins May 31, 2022;

season runs July 1-Aug. 6, 2022 in Normal, IL.

• Seeking—Equity Actors: 18+. • Seeking submissions from IL. • Send video of two contrasting mono-

logues by Shakespeare, not to exceed three minutes total. Send as a YouTube link. Deadline: Nov. 24 to ISFcasting@ IllinoisState.edu. ISF values diversity. Actors of color are strongly encouraged to audition. More at www.illinoisshakes.com. • Pays $688/wk. (Tier II.) Equity URTA

Agreement.

‘Supernatural: The Play’

• Casting seven (union/nonunion) black

females for “Supernatural: The Play.” Synopsis: Rated one of the top plays to watch by L.A.’s Stage Raw, this is an exciting production set in Brooklyn, NY that explores the lives of seven black women who are forced to confront their natural hair and themselves. Called the “Vagina Monologues” of hair, the play has made its mark Off Broadway, in New Jersey, Virginia, and in Los Angeles at the Kirk Douglas Theater.

• Company: Funny Girl Productions. • Performs late January 2022 in

Monmouth County, NJ.

• Seeking—Kee Kee: female, 18-38,

Black / African Descent, this charismatic, African American woman from Brooklyn is an entrepreneur and YouTube rock star who hosts her own natural hair events. Wears her hair natural – the bigger the better. Vivacious and colorful yet down to earth. A standup comedian. Dr. Jenkins: female, 30-70, Black / African Descent, this charismatic, African American woman from Brooklyn is an entrepreneur and YouTube rock star who hosts her own natural hair events. Wears her hair natural – the bigger the better. Vivacious and colorful yet down to earth. A standup comedian. Hannah: 20-36, Black / African Descent, Ethnically Ambiguous / Multiracial, a light-skinned, mixedrace woman. Her father is black and her mother is Jewish. Wears her hair natural. From New York. Constance: 50-65, Black / African Descent, a lesbian writer with a deep voice who looks like a man. Sensual. Wears her hair natural. From San Francisco. Nicey: female, 25-35, Black / African Descent, a lesbian writer with a deep voice who looks like a man. Sensual. Wears her hair natural. From San Francisco. Bertina: female, 30-40, Black / African Descent, a dark-skinned woman from Jamaica. She is concerned that her little sister uses skin lighteners with dangerous chemicals and perms her hair. Speaks with a Jamaican accent. Doris: female, 32-45, Black / African Descent, Latino / Hispanic, a southern preacher’s wife who is a cancer survivor. Wears her hair natural. • Seeking submissions from NJ and . • Send submissions to funnygirlshap-

pen@gmail.com.

• For consideration, submit a theatrical

résumé and/or links to past work, plus a note about which role(s) you are interested in auditioning for, and which location you prefer. For more info, visit www.supernaturalproject.org. • Pays $60/performance, $10/rehearsals.

Equity Special Appearance Contract.

‘The Courage’

• Seeking video submissions from Equity

actors for the roles in “The Courage.” • Company: Miami New Drama. Staff:

Peter Romano, dir.; Michel Hausmann, artistic dir.; Vyana Preti, dir. of education.

• Rehearsals begin Jan. 3, 2022; runs Jan.

25-Jun. 8; tour (Miami-Dade County public schools) begins Jan. 25 in Miami, Florida.

• Seeking—Equity Actors: 18+. • Seeking submissions from FL. • For consideration, submit video, head-

shot, and resume via https://auditionsmanager.com/submission. php?AU=8niByO598. Submissions deadline is Nov. 23. Video Preparation Instructions: Prepare a one-minute classical comedic monologue. All should be submitted as Vimeo, YouTube or website links not requiring downloading or passwords to view. Zoom callbacks will be held on the week of Nov. 29. • Productions intend to operate under

the Fully Vaccinated Rider released by

Actors’ Equity Association requiring all team members to be vaccinated for COVID-19 14 calendar days prior to inperson activities.

• Equity’s contracts prohibit discrimina-

SPT Equity TYA per performance Tier II Contract.

Musicals ‘The Marvelous Wonderettes’ • Seeking video submissions from Equity

actors for roles in “The Marvelous Wonderettes.” The four roles will be considered for two principal Equity contracts.

• Company: Montgomery Theater. Staff:

Roger Bean, writer; Tom Quinn, artistic dir.; Stephen Casey, dir.-choreo.; John Lehr Opfar, musical dir. • Rehearsals begin Mar. 14, 2022 (Mon.

Tues. Thurs., Fri., 10 a.m.-4 p.m.; Sun., 4 p.m.-10 p.m.); runs Mar. 31-Apr. 24 (performs Thursdays & Fridays, 7:30 p.m.; Sat., 7 p.m.; Sun., 3 p.m.; two Thurs. matinees, Apr. 7 & Apr. 14 at 3 p.m.; one Sat. matinee, Apr. 16; one Weds. performance, Apr. 20 at 7:30 p.m.) in Souderton, PA. • Seeking—Betty Jean: female, 18-28,

practical joker of the group; struggles with her relationships with her boyfriend (plays 18 in Act One); husband (plays 28 in Act Two). Cindy Lou: female, 18-28, the flirt and catty girl of the group. She very much wants to win prom queen and believes the world revolves around her. Goes through a bit of a journey in Act Two. Missy: female, 18-28, the bossy girl of the group. Likes to control things; but she is also a bit socially awkward and shy about her secret crush. Suzy: 18-28, the happygo-lucky one of the group. Positive but also a little on the ditzy side. She is continuously chewing bubble gum. • Seeking submissions from PA. • For consideration, submit a video (short

comic monologue), picture, and resume to tq@montgomerytheater.org (Tom Quinn, artistic dir.). Submissions deadline is Dec. 12. For questions, call at (215) 206-8452. • Production states: “Video audition sub-

missions will be viewed only by those who meet the casting personnel requirements of the employer’s agreement. Once submissions have been viewed and actors are selected for callbacks, video audition submissions will be destroyed. Video audition submissions are to be used for casting purposes only and will not be utilized or distributed for any other purpose.” • Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment

11.18.21 BACKSTAGE

casting National/Regional opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $404/wk. Equity SPT Tier 4

Contract.

The Public Theatre (ME) 2021-22 Season

Student Films

sity 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.

‘Play it Again, Soph’

• Casting “Play it Again, Soph,” a two-

minute short film about a 30-year old woman mourning the passing of her father through their mutual interest playing the guitar. She must find a way to turn grief into strength.

• Pays $739/wk. (LORT D.) Equity LORT

Non-Rep Agreement.

• Company: Columbia College Chicago.

Staff: Tiffany Zhao, prod.

• Seeking video submissions from Equity

actors for roles in The Public Theatre 2021-22 Season. Season includes “Be Here Now” (Deborah Zoe Laufer, writer; Christopher Schario, dir. Rehearses and performs Jan. 3-30, 2022); “Dancing Lessons” (Mark St. Germain, writer; Janet Mitchko, dir. Rehearses and performs Feb. 21-Mar. 20); and “Screwball Comedy” (Norm Foster, writer; Christopher Schario, dir.; Rehearses and performs Apr. 11-May 8). • Company: The Public Theatre. Staff:

Janet Mitchko and Christopher Schario, co-artistic dirs. • Rehearses and performs in Lewiston,

ME.

• Seeking—Equity Actors: 18+. • Seeking submissions from ME. • For consideration, submit picture and

resume with a video of a contemporary monologue, two minutes or less to auditions@thepublictheatre.org or mail to The Public Theatre, 31 Maple St, Lewiston, ME 04240. Submissions deadline is Nov. 18, noon EST. • Actors of every race and ethnicity will

be equally considered for all roles. If the role resonates with you, we urge you to submit yourself.

• Equity’s contracts prohibit discrimina-

portation. Equity SPT 9 Contract.

‘The Royale,’ Headshot/ Resume Submissions

• Casting Equity actors for “The Royale”

by Marco Ramirez.

Feature Films ‘Snow Day’

• Casting “Snow Day,” a feature film.

Synopsis: A musical reimagining of the original “Snow Day,” a film that follows a group of kids who are determined to achieve their dreams on a snow day. • Company: Treadwell Kelly Casting.

Staff: Jennifer K.M. Treadwell and Monica Kelly, casting dirs.

• Rehearses o/a Jan.-Feb. 2022; shoots • Seeking—Hal Brandston: male, non-

binary, trans male, 12-16, all ethnicities, a 14-year-old clumsy but sweet hopeless romantic pining for the girl of his dreams. He is sincere, charming, energetic, and honest. He is lovable, charismatic, and genuine...we root for him right away! Hal has stayed in the shadows his whole life, never looking to stand out, but is determined to change all that on one fateful snow day. Hal sets out to prove good guys can come in first. After all, he has a history of being extremely lucky on snow days.Production states: “Must be a strong singer and comedic actor. Please include singing ability and dance experience in a submission note.” • Seeking submissions from . • Apply on Backstage.com. • Production states: “We are commit-

ted to diverse, inclusive casting. For every role, please submit qualified performers, without regard to disability, race, age, color, national origin, ethnic origin, sexual orientation, gender identity, or any other basis prohibited by law. • COVID-19 notice Production and

• Seeking submissions from MO. • For consideration, submit headshot and

• Equity’s contracts prohibit discrimi-

label, publishing agreement, music related deals, or preexisting merchandising, and/or endorsement deals.”

Theatre. Staff: Stuart Carden, artistic dir.; Nelson Eusebio III, assoc. artistic dir.; Yetunde Felix-Ukwu, artistic assoc.; Steph Paul, dir. • Rehearsals begin Feb. 15, 2022; runs

Mar. 8-27 in Kansas City, MO; Community Tour Mar. 31-April 10.

• Seeking—Jay: male, 18+, Black /

African Descent, late 20s/early 30s; script notes “The Negro Heavyweight Champion. 220lbs, six feettall.”. Fish: male, 18, Black / African Descent, an amateur boxer; 18; script notes“227lbs, 6’2”, muscular, swagger for days.”. resume to Casting@kcrep.org. Submissions deadline is Nov. 22. For more info visit kcrep.org.

nation. Equity is committed to diver-

BACKSTAGE 11.18.21

• Talent cannot have any ties to a record

• Pay TBD.

30’s. It’s been two months since the death of her father and she has been working non-stop to avoid her emotions, until the arrival of a mysterious package. Now, she can no longer escape her feelings. With the company of her good old dog, she will reconnect with her father through the mostimportant thing they shared, the love for music. Special requirement: Guitar Player and no dog allergies. • Seeking submissions from IL. • Send submissions to tiffanyzhao39@

o/a Feb.-April 2022 in Montreal, QC.

Actor will comply with applicable health and safety laws and regulations relating to the COVID-19 pandemic including any requirements for travel to and from location. Actors and their guardians, if applicable, will be required to comply with Production’s then-applicable COVID-19 protocols, including any advance testing, negative test result and vaccination requirements. It is anticipated that under Canadian federal law persons traveling in Canada will be required to demonstrate that they have completed a full series of an accepted COVID-19 vaccine at least 14 days prior to flying. If you have any questions or concerns about such a requirement, please let us know.

• Company: Kansas City Repertory

• Shoots in Downtown Chicago. • Seeking—Sophie: female, 28-40, mid

gmail.com. • No pay.

‘Ruminate’

• Casting “Ruminate,” an animated thesis

film about a depressed man, Redd, going through his dull daily routine when he is confronted by a physical manifestation of his accusatory selfconscious going by the name of Spec. • Company: SVA. Staff: JohnMichael

Mitchell, School of Visual Arts Casting Office. • All recordings should be complete by

Dec. 1. Applicants should have access to professional/sufficient recording equipment. • Seeking—Redd/Spec: male, 18-30, A

depressed man who longs to break out of his boring everyday routine, begins the story unenthusiastic and defeated. Redd should have a deeper gravelly voice that mirrors his depressive state. Spec is a cleaner reflection of Redd and a visible manifestation of Redd’s selfconscious that critiques Redd. • Seeking submissions from NY, CA, IL,

TX and MA.

• Apply on Backstage.com. • Only submit if you have solid recording

capabilities.

• SVA Thesis film, no distribution plans as

of right now.

Executive A&R Director: 18+, very professional and signs artists to record labels. Guy: 18+, a guy who steals Hakeems money when he’s down bad. • Seeking submissions from PA. • Apply on Backstage.com. • No pay but a copy of the film and food

will be provided

Reality TV & Documentary ‘Land of Plenty’

• Seeking participants for a documen-

tary that will uncover the truth behind weight and weight bias in America. Whether it’s uncovering the history of the BMI or looking at obesity through the ages, this film will show you that everything you know about obesity is wrong.

• Company: Onslot Films. • Shoots 2-3 days in the winter. Location

will be where the talent lives.

• Seeking—General Practitionists and

Nutritionists: 18+, larger-bodied General Practitioners and Nutritionists to be interviewed about what it is like to serve people with similar body types and challenge what a healthy body looks like. Requirements - Must live and work in the South, West or the Southwestern United States. Note: This is a documentary. Not seeking actors to play a scripted role. Patient: 18+, note that this is a documentary; not seeking actors to play a scripted role. Largerbodied patients who go to larger-bodied General Practitioners and Nutritionists and share a connection with them. Requirements - Must live in the South, West or the Southwestern United States. • Seeking submissions nationwide. • Send submissions to cara.producer@

gmail.com.

• For consideration, submit relevant

links. Let us know if you are a patient or a doctor. If you are a patient, tell us about your doctor. • There will be reimbursement for vari-

ous expenses if they are incurred.

MTV Digital: Music Dating Show

• Seeking outgoing singles who are also

film. Logline: An up coming rapper loses his shot at making it big time due to ignorance. This will be a 100% fully vaccinated shoot. Vaccine card will be asked for upon role offer.

good storytellers. This new dating show centers around your favorite music and the stories that are attached to them. Daters will pick dates based off the contestants stories. Must be single, love music and be able to tell an interesting story about the music you love. Really fun, and lighthearted show.

Staff: Mya Moore, casting.

Staff: Lauren Waters, casting dir.

‘Signed’

• Casting “Signed,” an NYU Student short

• Company: NYU Intermediate Narrative. • Shoots Nov. 26th in Philadelphia, PA. • Seeking—Hakeem: male, 18-23,

Hakeem is an upcoming rapper who thinks he’s on top of the world and is very cocky. Charles: male, 25-50, Latino / Hispanic, a hispanic CEO of a record label. Very professional and very nice guy. Jasmine: female, 18-40, Hakeems manager, very professional. Engineer: male, 18+, Hakeem’s Engineer and producer who mixes his tracks.

• Company: Lauren Waters Casting. • Shoots in January in a Los Angeles

studio.

• Seeking—Male Singles: male, 18-28.

Female Singles: 18-28.

• Seeking submissions from NJ and CA. • Send submissions to

Laurenwaterscasting@me.com.

• For consideration, include your IG, best

email/contact number, and dating preferences in your submission. • This is a one day shoot in early January.

backstage.com

National/Regional casting

We will be filming one day, most likely a 1/2 day. The pay is $350 for the day.

• Pays $1,000 for shoot day and usage.

• *Must be vaccinated due to EU/UK

travel restrictions.

Money Gaming App

• Seeking males 18+, all ethnicities, with

Multimedia Clip Show, Quirky TV Host

• Casting a quirky TV host for a clip show.

Production states: “Casting a quirky TV host, actor, comedian or performer with a natural sense of curiosity and a hunger for knowledge to host a weekly studio-based show that showcases the odd and often gross history behind the origins of everyday objects. If you like the fact that toothbrushes used to be made out of pig hair, then this is the show for you.” • Company: De Simone Casting. Staff:

Sean De Simone, casting dir.

• Talent can be based anywhere in the

country and will be flown into NY for shoot.

• Seeking—Quirky TV Host: male, 35-65,

all ethnicities, has a unique look and entertaining personality. Host is good with improv and has the ability own the room. They are curious, intelligent and opinionated with lots of charisma and a good sense of humor. Big hair, facial hair, history and science nerd types, interesting looks are encouraged apply. Experienced hosts as well as out-of-the box actors and performers with character are all encouraged to apply. Open to improv and sketch actors, commercial actors and comedians. • Seeking submissions nationwide. • Send submissions to SDhostcasting@

gmail.com.

• For consideration, submit video and

photo. Include a reel or upload a video letting us know why you are interested in the content of the show. Leave notes letting us know why you are interested. You can also leave links to reels and Instagram profiles. • Pay TBD.

Online Commercials & Promos Financial Service Company Training Video Interview • Casting internal training Interview

video for financial service company.

• Staff: Kristen Paladino, coord. • Shoots week of Nov. 29 in Atlanta, GA. • Seeking—Real Parents Who Currently

Seek Financial Advice: 30-67, all ethnicities, parents who have (or soon to be) experienced financial changes/ challenges over the last two years and are working with a financial advisor. Real Financial Professionals: 35-55, all ethnicities, who sell annuities as part of their financial planning strategy for their clients.

fun energy, willing to act but remain unapologetically themselves, big personalities. Looking for people to have big reactions and highly-expressive faces. • Staff: Anna S., talent prod. • Runs TBD and ongoing, remote work. • Seeking—18+ Fun Energetic Male:

Invasion” Live On Stage, an immersive multi-media show. • Production states: “Huge projection

period photos and original film footage recreate the era’s excitement, fashion, and headlines; all the while a full live band performs all of the hits of the Swingin’ 60s; the iconic British pop sound that swept across America and the world.”

Video for a New Recruiting Platform • Casting a video for a new recruiting

platform which is both socially and environmentally conscious. Looking for young people of color; undergrad/ recent grads who are frustrated by the standard online job application experience and rejections with online recruitment platforms. You will be asked about your frustrations and experiences on camera, and then asked what you think about the concept of the new alternative. • Tentatively shoots Nov. 19 in

Washington D.C.

• Seeking—Undergrad/Recent Grad

• Pays $1800/wk. and $40/day.

• Pays $100 flat rate per person.

Production states: “Note that both the dollar values will now be subject to tax withholdings and all cast/crew will be treated as employees. Performers are paid half rate for rehearsals and the first paid performance triggers the full pay rate.”

Print & Digital Modeling

Stage Staff & Tech

Japanese Male Talent Needed for International Shoot

American Players Theatre 2022 Season, Stage Manager

union shoot, non speaking role in a shaving product ad. Must appear to be in their early 30s. Should be able to grow a beard or stubble.

American Players Theatre 2022 season. APT will produce eight shows in rotating repertory. Hill Stage season includes “The Rivals,” (Aaron Posner, dir.); “Sense and Sensibility,” (Marti Lyons, dir.); Hamlet, (James DeVita, dir.); “A Raisin in the Sun,” (Tasia A. Jones, dir.); and “Love’s Labors Lost,” (Brenda DeVita, dir.). Touchstone Theatre season includes “The River Bride,” (Robert Ramirez, dir.); “The Moors,” (Keira Fromm, dir.); “The Brothers Size,” (Gavin Lawrence, dir.); and “Stones in His Pockets,” (Tim Ocel, dir.).

VA.

• Send submissions to casting@vive-

media.com.

• Seeking Japanese male talent for a non-

• Seeking Equity stage managers for

• Staff: Fabianne Meyer, casting dir. • Shoots December 1-7 (approx.; 2 days

filming and 2 days stills) in EU or UK (Amsterdam or. London).

• Seeking—Japanese Male: male, 20-40,

Asian, must be able to grow beard/ stubble (shaving ad), smooth skin. Must be vaccinated (for travel reasons). • Seeking submissions worldwide. • For consideration, email headshot and

intro to MeyerCastingNY@gmail.com.

• Per diem provided as well as travel pay.

($500 per year)

• Equity’s contracts prohibit discrimi-

nation. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. • Pays $1,109/wk. Equity LOA ref LORT

C Agreement.

‘Making It On Broadway,’ Summer Stock Intensive Audutions

photos and include any videos of you singing and playing to thebritishinvasionlivecasting@gmail.com. In-person callbacks September in NYC.

• Seeking submissions from DC, MD and

Evelyn Matten at casting@americanplayers.org. Submissions deadline Nov. 20. For more info, visit http:// www.americanplayers.org.

• Runs Feb. 1-May 15, 2022 in NYC. • Seeking—Mike: 18-32, lead front-man;

• Seeking submissions nationwide. • For consideration, submit resume and

POC: all genders, 18-30, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, specifically people of color, and at least one person who is nonbinary or gender-nonconforming.

• Seeking submissions from WI. • For consideration, submit resume to

Workshops & Classes

a good-looking and confident showman; excellent singer, actor (must be able to do a British Accent), and bonus if he can play Rhythm Guitar (more important that he sing and act).

DuPraw, CD-lead prod.

ders, 18+, all ethnicities.

• Company: Maple Tree Entertainment,

Quatro Entertainment Inc. Staff: Ralph Schmidtke, prod.-general mgr.; Dean Elliott, music dir.-dir.-creator; Alison Franck, casting dir.

• Company: Vive Media. Staff: Will Allen-

own clothing.

backstage.com

• Casting the lead in “The British

• Seeking submissions nationwide. • Apply on Backstage.com. • Flat rate, nonunion

casting.com.

• Remote Callback Nov. 19. Talent to wear

‘The British Invasion’ Live On Stage, Lead Singer

male, 18-70, all ethnicities.

$1250/day for 3 or 4 days (plus 20%). Flights, accommodations and transportation provided.

• Seeking submissions from GA. • Send submissions to talent@paladino-

Musicians & Composers

• Seeking—Stage Managers: all gen-

• Seeking participants for “Making It

On Broadway,” a musical theater training program. Production states: “Making It On Broadway’s NYC summer stock intensive gives participants the opportunity to have a private audition in front of five major summer stock theaters, North Shore Music Theater, John Engeman Theater, Theater By The Sea, WeatherVane Theater, and Penobscot Theater Company before audition season begins.” • Company: Making it on Broadway.

Staff: Jodie Langel, CEO.

• Runs Feb. 26 (12 p.m.-5 p.m.), and Feb.

27 (12 p.m.-4 p.m.) in NYC.

• Seeking—’Seeking Participants: all

genders, 18+, all ethnicities, all students will prep one on one with Broadway actress, Jodie Langel (“Les Miserables,” “CATS,” “Joseph and the Amazing Technicolor Dreamcoat”), on their material and Broadway dancer/ choreographer, John Leggioc (CATS), prior to their auditions. All participants will audition personally for over 20 shows for: Ethan Paulini, artistic dir.; Mathew Chappel, casting dir.; and Vic Di Monda, prod. • Seeking submissions nationwide. • Send submissions to jodie@makingi-

tonbroadway.net.

• For consideration, submit a video.

Production states: “All students will sing two songs and learn one or more one dance combination in front of artistic directors and casting directors directly.” For more info, visit www.makingitionbroadway.net to register.

• The workshop is a paid participant fee

of $250.

• Company: American Players Theatre.

Staff: Carey Cannon, assoc. artisticdir.; Jake Penner, artistic assoc. • Rehearsals begin May 3, 2022; runs

through Oct. 9, 2022 in Spring Green, WI.

• Usage: 2yrs. Digital Stills and In Store

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

11.18.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

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

My No. 1 pet peeve when I am auditioning actors is when they come in ill-prepared. I feel that they need to take every job seriously. If they don’t want it, they should just decline the audition. But you should be there, you should be prepared, and you should give it your all—because this career is such an exciting one. I mean, think about it! Think about being a working actor and how exciting that life is. Every day, you don’t know what your next audition is going to be. You don’t know if you’re going to book that job. You don’t know where in the world that job is going to take you. You don’t know who you’re going to meet along the way. Your life and career can really turn on a dime. I’ve seen it happen over and over and over again, so I think that you need to bring the love of that lifestyle into the room and breathe it into the character. Consider auditions as a time when you get to play and when you literally get to do what you love, because that’s what acting should be. If acting is not what you love, stop doing it. You should only be an actor if you feel like you must act. It’s a career path that requires so much dedication and passion, and you need to put that all out there in every audition. Someone who comes in ill-prepared shows that they don’t have that passion. Why should I have the passion for you if you don’t have the passion for yourself? *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 11.18.21

backstage.com

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

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