Backstage Magazine, Digital Edition: February 3, 2022 by Backstage

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“BRADLEY COOPER AS JON PETERS IS A MAJOR HIGHLIGHT OF THE ENTIRE FILM-GOING YEAR.” – VARIETY

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5 modern monologues that will get you cast

8 Pages OF CASTING NOTICES

Taking Her Crown

How Joey King became a Hollywood power player

Nicholas Hoult’s

No. 1 acting tip? “Steal from the best”

Contents

vol. 63, no. 03 | 02.03.22

The Green Room

Cover Story

10 YouTube shuts down original content

20/20 Vision

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

13 Mädchen Amick on “Riverdale” and

making the shift to directing

Advice 15 CRAFT TV’s best monologues 16 #IGOTCAST

Dana Burtin

From child star to bona fide superstar, Joey King got the industry to take her seriously by first knowing where she wanted to go page 18

16 CAREER DISPATCH To go far, go together

Features 8 BACKSTAGE 5 WITH...

Nicholas Hoult

14 MEET THE MAKER Craig Gillespie, “Pam & Tommy” director 15 THE ESSENTIALISTS Ryan Heffington, choreographer 17 IN THE ROOM WITH

Dixie Chassay

23 STEPPING UP TO THE PLATE Some of Hollywood’s most reliably great actors are becoming equally great filmmakers 32 SAG AWARDS 2022 Your voting ballot for this year’s ceremony is ready

Casting 24 New York Tristate 26 California 27 National/Regional Joey King photographed Shayan Asgharnia on Jan. 13 in Los Angeles. Styling by Jared Eng. Hair by Matthew Collins. Makeup by Allan Avendaño. On cover: Suit, shoes, and ear cuff by Alexander McQueen; earring by Jennifer Zeuner; ring by Khiry. On this page: Top and dress by Versace, earrings by Celeste Starre, chain bracelet by Bondeye Jewelry, gold ring and cuff bracelet by Dinh Van, signet ring by Dru. Additionally in story: Top and pants by H&M, shoes by Larroudé, earrings by MISHO, pink rings by Melinda Maria, heart-shaped and rectangular rings by L’atelier Nawbar, heart ring by Acchitto. Cover designed by Ian Robinson.

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Backstage 5 With...

Nicholas Hoult By Allie Volpe

Nicholas Hoult’s résumé is full of surprises, from action blockbusters to darkly comedic historical fiction. The British actor’s career began in the mid-1990s when he was just 7, and has included major roles in 2002’s “About a Boy,” the “X-Men” franchise, and 2018 prestige hit “The Favourite.” It was the co-writer of the latter, Tony McNamara, who tapped Hoult for another period comedy, Hulu’s “The Great,” in which he steals scenes as the sweetly pompous Peter III.

What advice would you give your younger self? I would encourage myself to enjoy the downtime and growth and personal exploration. So much when I was younger, and still even now, there’s this thing of [asking]: What’s the next character? What’s the next role? What’s the next story? It’s so important when you’re not acting to have experiences, learn new skills, or travel. I’d say, take more risks.

What’s your worst audition horror story? At an audition when I was fairly young, I had been told I could use my own accent for the character. Then I turned up and casting asked if I could do a Hispanic accent, which I realize now in hindsight would be something I should have never even been in the room for. Obviously, I underprepared and was not ready to do that. I was racking my brain, and the only reference I had was Antonio Banderas as Puss in Boots [in “Shrek 2”]. I was trying to replay that in my head and come up with a Hispanic accent on the spot. It was horrendous. I didn’t progress past whatever round it was—and rightly so.

How did you first get your SAG-AFTRA card? It was the first time I came to the States to do a job, which was a film called “The Weather Man,” which Gore Verbinski directed and Nicolas Cage starred in. Which is brilliant, because it’s all come around; we’re about to start shooting “Renfield” with Nicolas Cage playing Dracula and me playing Renfield. I’m excited to see him again. I’ve been enjoying what he’s been doing recently. If we’re talking about [great] performances again: “Adaptation.” Nic in that is one of the all-time great performances. He’s going to do an incredible job with the Dracula role.

What performance should every actor see and why? Daniel Kaluuya in “Judas and the Black Messiah” is one of the most powerful performances.

“It was very exciting each day going in and getting to play Peter, because I’m never quite sure what he’s going to do.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: DENIS MAKARENKO/SHUTTERSTOCK.COM

What has playing Peter added to your acting skills? Certainly working with that cast, and particularly Elle [Fanning, who plays Catherine]. I’m always watching how other people are bringing characters to life; that’s always a big learning curve. You watch someone develop their character so beautifully, and you go, Oh, that’s something you can take and learn from. Going into “The Great,” I had [just had] a front-row seat watching Olivia Colman in “The Favourite” and what she did with that character and that brilliant cast. I had a little tutorial in things to try and do with that world and those characters. What’s the old saying? ”Steal from the best”?

SAG AWARDS® NOMINEE OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES

MI C HAEL KE ATON

3 CRITICS CHOICE AWARDS NOMINATIONS BEST LIMITED SERIES

Best Actor In A Limited Series or movie made for television

MICHAEL KEATON

Best Supporting Actress In A Limited Series or movie made for television

KAITLYN DEVER

“MICHAEL KEATON IS FANTASTIC” – VULTURE

“KEATON IS INCREDIBLE” – PASTE

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New Media

YouTube Shuts Down Original Content Its focus will shift to supporting creators who are already using the platform By Diep Tran

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the company on March 1. “YouTube’s the biggest and best video platform in the world, and what an exciting and tremendous experience I’ve had working to create meaningful programming for global users of all ages and backgrounds,” said Daniels in a statement. “I’m so proud that our YTO [YouTube Originals] content could contribute to the ongoing growth and success of this remarkable

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VIDEO CONTENT GIANT YouTube has announced that it is shutting down its original programming division. It will no longer support the creation of new original content, instead focusing on funding existing YouTubers who post exclusively to the platform. The announcement comes ahead of YouTube’s longtime global head of original content, Susanne Daniels, departing

platform, and I look forward to new adventures ahead.” With Daniels’ departure, YouTube’s chief business officer, Robert Kyncl, wrote on Twitter that the platform would switch its focus from backing original content to supporting existing creators. He noted that there are over 2 million creators in the YouTube Partner Program, which allows YouTubers to monetize their videos. “We’ve paid more than $30 billion to creators, artists, and media companies over the last three years,” he wrote. “However, with rapid growth comes new opportunities; and now, our investments can make a greater impact on even more creators when applied towards other initiatives.” Kyncl added that YouTube

will continue funding original programs that are part of its Black Voices and YouTube Kids funds. “We will honor our commitment [to] already contracted shows in progress,” he wrote. The history of YouTube’s original programming has been rocky. The department, created in 2016, included the scripted series “Cobra Kai” and the docuseries “Justin Bieber: Seasons.” These series were originally available behind a paywall as part of YouTube Premium. In 2018, YouTube announced it would no longer be producing scripted content. Subsequently, several of its shows moved to other platforms: “Cobra Kai” went to Netflix, and “On Becoming a God in Central Florida” went to Showtime. Since then, YouTube has focused on documentaries and live concerts. Last year, Will Smith’s documentary series about his fitness journey, “Best Shape of My Life,” aired exclusively on YouTube. A series featuring Michelle Obama, “Creators for Change,” even won an Emmy Award. Refocusing on content creators is part of YouTube’s newest strategy: taking a bite out of the influencer market that is currently dominated by TikTok and Instagram. Last year, YouTube announced that it would be paying users to create one-minute videos for its new department, YouTube Shorts (which is currently still in beta mode). Though YouTube is exiting the streaming wars, it is going back to its roots as a platform where anyone can create content—and perhaps even get paid for it.

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who previously collaborated on “Masters of Sex.” Slated to premiere in late 2022, the project has brought on Debra Zane Casting to put together the ensemble; no actors are currently attached. Production is scheduled to start in early April, with filming taking place primarily in Louisiana.

Mark Wahlberg: Shaken, Not Stirred He’ll star in and produce a new spy thriller 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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FILM

Netflix Lands a Devilish Deal By Casey Mink

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IN WHAT WAS SAID TO BE A WHITEhot bidding war, Netflix won the rights to an untitled exorcism thriller directed by Lee Daniels. Starring in the feature will be Andra Day—reuniting with Daniels, who directed her in “The United States vs. Billie Holiday”—along with Octavia Spencer, Glenn Close, Caleb McLaughlin, and Aunjanue Ellis. The project, which follows an Indiana family whose children become possessed by demons, will begin production this spring.

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“Our Man From Jersey” Mark Wahlberg may be known for his Boston roots, but he’s heading southwest of Beantown for Netflix’s “Our Man From Jersey,” co-starring Halle Berry. Details of the

project are being kept under wraps, but the actor will play a character who’s described as a “blue-collar James Bond.” Wahlberg will also produce the film, and David Guggenheim (“Designated Survivor”) is on board to pen the script. Additional casting on the project is going through Jaffe/ Goldberg in Los Angeles. Production is set to start in mid-March and continue into spring, shooting in New Jersey and London.

“Anne Rice’s Mayfair Witches” The late, great Anne Rice left behind a legacy of beloved gothic novels. AMC will adapt her 1990s trilogy “Lives of the Mayfair Witches” into a new series, titled “Anne Rice’s Mayfair Witches.” The supernatural series will follow a young neurosurgeon who discovers she’s the long-lost heir to a historic lineage of witchcraft; but she’s plagued by a sinister presence that has spent generations haunting her family. The show will be co–written and executive produced by Esta Spalding and Michelle Ashford,

COURTESY MÄDCHEN AMICK

What’s Casting

“The Spiderwick Chronicles” Disney+ is going on an adventure into the dusty corners of a dilapidated home with “The Spiderwick Chronicles.” Based on the children’s book series by authors Holly Black and Tony DiTerlizzi (which was previously adapted into a 2008 film), the hourlong show will follow a mother and her three children who move into their rundown family estate. The house begins to reveal secrets about the kids’ great-great uncle, who discovered the secret existence of faeries—which leads twin brothers Simon and Jared into a fantastical world. Aron Eli Coleite (“Locke & Key,” “Ghost Tape”) will serve as showrunner and will executive produce alongside Black and DiTerlizzi. Denise Chamian Casting is assembling the cast for the project, which is currently in preproduction. Filming will begin in mid-August and carry on into early 2023 in Vancouver.

Backstage Live

Steering the Ship

From starring on “Riverdale” to directing her first feature film, Mädchen Amick is doing it all By Rebecca Aizin

The following interview for our on-camera series Backstage Live was compiled in part by readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions. THOUGH SHE’S NOW BEST known for playing the unhinged, cult-loving Alice on the CW’s “Riverdale,” Mädchen Amick’s acting résumé goes back more than 30 years. Since breaking out on “Twin Peaks” in 1989, she’s gone on to deliver standout performances on series including “American Horror Story,” “Damages,” and “Californication.” The last few years have seen her jumping behind the camera as well, directing two episodes of “Riverdale.” Now, her feature film directorial debut, “Reminisce,” is in postproduction. She recently joined us on Instagram Live to talk about her work. Amick worked hard to show that she was up to the task of directing on “Riverdale.” “I had already started directing. I’ve been doing music videos, short films, and documentaries, so I had started the journey of going behind the camera. I didn’t want to ask right away

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‘Murder Mystery 2’ Stacks Its Cast By Casey Mink

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in Season 1 or 2. But I started saying in Season 3, ‘I really want to direct.’ The nice thing is you have to prove you’ve gone through it even to get into a director’s workshop. I proved I was willing to put in the hard work in order to deserve an invitation, and they’ve been great and supportive.” Amick wanted to make sure she was properly portraying mental illness in “Reminisce.” “The writer, producer, and star of the film, [Elissa Shay,] I had worked with earlier. We were very similar spirits in wanting to change the narrative around mental illness. The story we wrote is based on a young woman in her 20s who is dealing with childhood trauma. And from there, there’s a diagnosis that comes into play, and [the movie deals with] what it means for her and all the characters that surround her. It was important to us to tell a story that depicts mental illness differently and more

ADAM SANDLER AND JENNIFER ANISton are teaming up once again for “Murder Mystery 2,” the sequel to their hit 2019 Netflix comedy caper. Joining the duo will be Mark Strong, Jodie Turner-Smith, Tony Goldwyn, Mélanie Laurent, and Annie Mumolo, among others. Additionally, original film stars Adeel Akhtar and John Kani will return. Jeremy Garelick will direct the feature, written by James Vanderbilt. Sandler and Aniston are both serving as producers under their respective banners.

Mädchen Amick accurately, and really honors the journey of mental illness in films—because what angers me is when there’s some villainous character, and we just say they have some mental illness. It’s so irresponsible. So we wanted to tell a true story about the good, the bad, and the beautiful.” There is no such thing as getting discovered overnight; you just have to keep at it. “I guess there are stories where people get discovered in a diner overnight, but I don’t know if that’s ever happened, to be honest. It takes a lot of hard work.

David Lynch told me you have to understand that, as an actor, you will not get the job 99.9% of the time. I’ve always attributed it to: If I’m out on a ship and we’re in the deep ocean and we’re hitting the waves in the storm, whoever got to hang onto that railing and that bow long enough will end up having a career in the industry. If you love it, stick with it.” Want to hear more from Amick? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

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Meet the Maker

Craig Gillespie, “Pam & Tommy” director By Casey Mink

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getting the cadence and their speech patterns and body language down.” He adds, however, that once a certain amount of work has been done to capture a person externally, the performance still needs to come from an internal place. “There’s a point at which they felt good about it, when they just had to let that go and really embody the spirit of what we were trying to do in a scene as those characters,” he says of James and Stan, “and not just be doing an impersonation.” When retelling history, it is inevitable that some artistic license will be taken in order to prioritize the story’s emotional truth. “You do have to take liberties, but you’re taking liberties that help inform the

Unlike biopics of long-ago historical figures, the events depicted in the show take place in a past recent enough that many viewers will remember reading the headlines at the time; so it could be a challenge to get audiences on board. Fortunately, Gillespie has Lily James and Sebastian Stan in the title roles. Both of their portrayals are so convincing that they are, at times, indistinguishable from their famous counterparts. “It’s always such a tricky thing when you’re playing a real person, and particularly an iconic person that the public is very familiar with, because they tend to know their mannerisms and their inflections,” says Gillespie. “Lily and Sebastian did so much of their own work, really

“It’s always such a tricky thing when you’re playing a real person, and particularly an iconic person that the public is very familiar with.” Though the form offers more room for storytelling—“It’s like doing a really long film”—the director knew he’d never be able to represent everything about these two people. “I just wanted to give respect to their relationship and capture the fun of it, but also the connection,” he says. “They were really kindred spirits.” With that intent in mind, he stuck to his guiding principle for all projects: Leave your options open. “I shoot the script, but then, you’ve got actors who know the characters so well; and within those boundaries, they can play with it,” he adds. “Get the script, then let the actors contribute and see what else comes on the day.”

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CRAIG GILLESPIE KNOWS A thing or two about fictionalized stories based on real people. He is the director behind “I, Tonya”—which tells (some of) the tale of Tonya Harding’s rivalry with Nancy Kerrigan—and his latest project centers on events that are even more infamous. “Pam & Tommy” follows the whirlwind romance between actor-model Pamela Anderson and Mötley Crüe drummer Tommy Lee—and the notorious leak of their sex tape. “They met and were married within four days. On the surface, that seems very impetuous,” says Gillespie, who is a director on the limited series. “But it was really important for us to understand the complexities of the people involved and the motivations.”

characters and the situation,” Gillespie says. “You want to stay true to the intent. It’s in the spirit of what’s honest to what was going on—or what we have perceived was going on.” Above all, when rendering real people onscreen, it is the job of the director, writer, and actors to ensure that the outcome is never a caricature. That’s especially true for “Pam & Tommy,” which, Gillespie explains, is as much an indictment of tabloid journalism as it is a study of its central duo. “It became such a commentary on our relationship to the media and how, as a society, we’re complicit in destroying people’s lives with no real consequence,” he says.

“HOW TO GET AWAY WITH MURDER”: RAYMOND LIU/ABC; “TICK, TICK...BOOM!”: MACALL POLAY/NETFLIX

Lily James and Sebastian Stan on “Pam & Tommy”

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THE ESSENTIALISTS

RYAN HEFFINGTON choreographer

Choreographer RYAN HEFFINGTON is probably best-known in the pop world, having worked on music videos like Sia’s “Chandelier.” But he dabbles in the film world, too; he most recently choreographed Lin-Manuel Miranda and Netflix’s adaptation of the musical “Tick, Tick…Boom!” Andrew Garfield’s moves were rooted in the moment. “I’ve worked with Andrew many times, and there’s no fear. He’s such an incredible actor that, for me, I approach it as a scene: ‘This is why you do this move; this is why you do that

Viola Davis on “How to Get Away With Murder”

By Madison Mora move.’ It’s not just a series of steps. There’s background, there’s narrative to it. I think for any actor, it’s easier to access movement if they know why they’re doing it, where it comes from, and what it means as their character is doing it.” If you want to choreograph, get started. “I recommend doing as much as possible. Take as many gigs as you can, because even if it’s not in line with exactly what you want to do, you will learn so much by having to choreograph and collaborate with a director. You’ll also learn so much

about what you don’t want to ever do again…. Keep working, keep doing, and don’t be so precious about everything. We’ll have our failures, we’ll have our successes, but you’ll always learn with every step you take.”

Craft

TV’s Best Monologues

ERIN SIMKIN/HULU

“HOW TO GET AWAY WITH MURDER”: RAYMOND LIU/ABC; “TICK, TICK...BOOM!”: MACALL POLAY/NETFLIX

By Corey Ralston

DO YOU FEEL LIKE YOU’VE scrolled through 100 pages of search results and still can’t find a monologue that works for your upcoming audition? Everything seems dated or overdone. You want something powerful, heavy-hitting, fresh, and surprising. Well, have you been watching television over this past decade? Considering monologues from TV shows will open up an entire world of audition material for you. Delivered by iconic characters from Leslie Knope to Annalise Keating, these five monologues encourage strong performances and feature brilliant writing.

“How to Get Away With Murder”: Annalise Keating’s closing argument “How to Get Away With Murder” focuses on Annalise Keating (Viola Davis), a professor and lawyer who finds herself on trial for murder. The six-season series culminates in her verdict. Davis

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does not disappoint when delivering her closing argument, in which she confronts her actions and begs for mercy. This monologue gives an actor a chance to show vulnerability in a life-ordeath situation.

“Parks and Recreation”: Leslie Knope’s debate speech Sitcoms may not seem like a place to find good monologues, but single-camera comedies have scores of hidden gems that have heart and personality. Amy Poehler as the ambitious civil servant Leslie Knope crushes her opponents in her bid for a city council seat by delivering a speech from the heart: “When you love something, you don’t threaten it. You don’t punish it. You fight for it.”

“Black Mirror”: Bing’s meltdown Known for its dark, prescient, often dystopian social

commentary, anthology sci-fi series “Black Mirror” has given a platform to some of the U.K.’s brightest up-and-comers. Such was the case with Daniel Kaluuya on Season 1’s “Fifteen Million Merits.” He plays Bing, a competitor in a popular reality show who has a meltdown on camera, delivering an impassioned rant about the audience’s social obsessions and glaringly narrow worldview. The sheer desperation of this monologue makes it compelling and powerful.

“Ozark”: Ben Davis’ taxi rant This haunting flashback from fan favorite Ben Davis, a character struggling with mental illness, is acted beautifully by Tom Pelphrey on “Ozark.” It’s one of the greatest character speeches from recent television. This stream-of-consciousness piece from a man losing his grasp on reality is as tender as it is gripping. It’s a perfect monologue choice for

depicting a blue-collar type who wants to combine sincerity and edginess.

“The Newsroom”: Will McAvoy’s takedown of America You’d be hard-pressed to find a list of great TV writing that doesn’t include the work of Aaron Sorkin. There could easily be a roundup dedicated to his greatest monologues; the Oscar-winning screenwriter is honest and clever, and delivers shock value that reverberates long after a scene is over. On “The Newsroom,” Jeff Daniels plays a cynical journalist who preaches to a crowd about the declining state of America. This is a monologue with purpose, and it grabs audiences’ attention in a powerful, thought-provoking way. In the right hands, it can give an actor the opportunity to do the same. Corey Ralston is a talent manager, producer, and Backstage Expert.

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To Go Far, Go Together By David Alvarez + Jalen Michael

The following Career Dispatch was told to Jalen Michael by David Alvarez, who plays Bernardo in Steven Spielberg’s “West Side Story.”

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I got a call from Spielberg: “Hey, I’m going to be calling you Bernardo from now on. I hope you’re ready!”

Dana Burtin

By Jalen Michael Though it can be tough sometimes, DANA BURTIN always tries to remember that acting should be fun. You’ll get back as much as you give. “I have learned that the more you put yourself out there, the more you will get back, whether that’s constructive feedback or roles in films. I suggest remaining consistent with applications and not worrying too much about rejections or if a company does not get back to you. Stay persistent!” Off-camera connections feed on-camera connections. “To build relationships, it can be a good idea to get to know a person outside of their role. This can build chemistry and trust that then transfers to the screen more seamlessly.” Remember why you became an actor in the first place. “After going over my lines 100 times, if the time permits, I seriously try to relax and have fun. The main reason I got into acting is because of the fun I have; so just reminding myself why I started acting is the main tool I use to prepare [for auditions].”

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; BURTIN: DOMINIC FORNITI

I HAD BEEN INTERESTED IN the military since I was a kid. Something about the camaraderie or the sense of belonging to something bigger than yourself really called to me. After doing “Billy Elliot” on Broadway, I felt like I needed to take a break from dancing and acting—just the whole arts business in general—and go see what else there was in the world for me. So, I joined the Army. I was stationed at Fort Wainwright

in Alaska for about three years. Being in the infantry taught me how to be mentally strong under extreme adversity. It taught me that when you’re hungry, tired, or hurting, you can still get up and keep doing what you need to do. It also taught me how to work as part of a team. Everything is so individualistic in real life; it’s every man for himself. But when you’re part of an organization where you

#IGOTCAST.

RAQUEL APARICIO

Career Dispatch

have to rely on the people to your left and right, that changes the dynamic. It goes from “it’s about me” to “it’s about us.” Three years into my time in the Army, I was faced with a dilemma: Did I want to reenlist or leave and give the arts another shot? I took a leap and chose the latter. I moved back to New York, did a swing gig in a Broadway show called “On the Town,” and simultaneously worked on my philosophy and theater degrees at Fordham University. After that whirlwind time, I was ready for another break. I found myself in a place where I didn’t have plans or obligations, so I bought a one-way ticket to Mexico. While I was there, I got a message from casting director Cindy Tolan. She asked if I wanted to audition for the role of Bernardo in Steven Spielberg’s “West Side Story.” I was so confused. Why me? But I wasn’t going to pass up a chance to work with Spielberg. I sent in a tape just to do myself a favor, to be able to say that I sent it. Then I could shut up and go back to my life. One day, I got a call from Spielberg: “Hey, I’m going to be calling you Bernardo from now on. I hope you’re ready!” Immediately, my Army work ethic kicked in, and I got into shape. I took boxing classes, dialect classes, and singing classes. I drilled my scenes and did character research. The lessons I learned in the Army about perseverance and teamwork helped so much on the “West Side Story” set, too, where I was collaborating with incredible artists who were all masters of their craft. Everyone was just trying to get the best out of each other. All of this is to say that everyone takes a different path to achieving their goals. There’s more than one way to get to where you’re going. Just trust yourself.

culture +

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

Dixie Chassay

The CD behind “The Electrical Life of Louis Wain” on why biographical stories can be more about “vivid” actors than literal resemblance By Jack Smart

into something that they haven’t been perceived as. One of my things would definitely be always trying to see something that hasn’t been seen before, or inviting the opportunity to just play against type as much as one can, to challenge the way audiences see things. Does that work also involve challenging directors’ perceptions? Definitely. Often, you even have to have a little bit of a pushback. And then you’re like, Should I give this one up? Which one should I fight for? And then you try and present it in a different way. It’s an interesting dynamic.

ILLUSTRATION: SPENCER ALEXANDER; BURTIN: DOMINIC FORNITI

RAQUEL APARICIO

BRITISH CASTING DIRECTOR DIXIE CHASSAY HAS POPULATED the worlds of several classic period pieces, including Oscar winner “The Favourite.” She’s a frequent collaborator with that film’s director, Yorgos Lanthimos (including on the upcoming “Poor Things”), and Joe Wright (she consulted on this season’s “Cyrano”). Chassay is also the visionary behind “Anna Karenina,” Hulu’s “The Great,” Netflix’s upcoming “Persuasion,” and Amazon Studios’ “The Electrical Life of Louis Wain.” For the latter, starring Benedict Cumberbatch as the titular cat-obsessed Victorian artist, Chassay says her collaboration with writer-director Will Sharpe exemplified the ideal relationship between filmmaker, CD, and actor. What went into casting “The Electrical Life of Louis Wain”? Did it follow your typical casting process? It was very exciting to work with Will Sharpe, because he is extremely bright. He thinks outside of the box, and he’s also a fantastic actor. He’s a huge detail man. We spent a lot of time talking about actors and looking at [historical] material. I think central to the process, particularly on this film, was figuring out the sisters, which is such a central element to

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Benedict’s character. This family was kind of taken hostage by his brilliance, but also his mental illness—and obviously, the gendered element of being women and needing him to earn the money. I think the linchpin in terms of the family—the sisters— was Andrea [Riseborough]. Did you think about this film’s biographical aspect when it came to matching actors to the real people? Interestingly, the period element of this was

never a dominating conversation. What drew us was the tragedy and misunderstanding of that brilliance and creative zeal and the mental illness aspect. [It was] a bit like “The Great”: When you’re working with brilliant stories, you’re just wanting to find vivid [actors] and explore the best kind of talent. The rest fits around it. What is your casting process in general? Are there things you do for every project? What I always do is just dive into everything that’s current and make sure that [I know about] what actors are doing. As creatives, everybody’s evolving all the time. Probably the most rewarding thing about casting and working with acting talent—outside of finding new talent and breaking out young people—is a career trajectory. Maybe they’re ready to evolve

What is your advice to actors for creating a well-executed self-tape? Just keep things simple. Don’t overthink them. The only self-tapes we normally have to ask for again are when people get carried away with props; they can sometimes do a big number. And this is a boring thing to say, but [we need] a clear headshot so we can see the eyes. Have good light. It’s better to shoot it in the daytime near a window than with a lamp. I actually lived with an actor for a long time, and he said that the key to doing a good audition was not nailing it. It’s a funny thing to say, but it’s making sure that when you [finish an audition], the director [still has a job to do]. Don’t over-perfect your performance. Bring a performance that’s maybe got a sensibility that you’ve thought of, but just keep it open and lucid, because directors want to be able to say, “Oh, that’s interesting. Can we try this?”

Want more?

Read the full interview at backstage.com/magazine

02.03.22 BACKSTAGE

From child star to bona fide superstar, Joey King got the industry to take her seriously by first knowing where she wanted to go By Casey Mink | Photographed by Shayan Asgharnia

JOEY KING MAY HAVE SOME GROWING YET to do, but at 22, the multihyphenate has a surer head on her shoulders than many of her decades-older colleagues. Whether she’s talking about maturing through the industry or developing projects under her production banner, she speaks with both a Hollywood veteran’s perspective and the OMG enthusiasm characteristic of Gen Z. “Don’t surround yourself with the ‘yes, yes, yes’ men. The most important thing for producing, acting—anything—is to surround yourself with people who aren’t afraid to tell you the truth,” she says. “Have crazy ideas, and don’t be afraid to say them. But don’t be a dick about it.”

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“Don’t be a dick about it” is as good a mantra as any for finding success in showbiz, and King is living proof. She has been acting professionally for 18 years (your math does not deceive you; she began at the ripe age of 4) after getting her start in commercials. From there, the Los Angeles native began to book steady television and film work in kids’ and adult programming alike—a title role in children’s literature staple “Ramona and Beezus” and a substantial arc on “Fargo” among them. In 2019, she received an Emmy nomination for her work on “The Act,” Hulu’s limited series based on the true story of a mother with Munchausen syndrome by proxy who won’t stop making her daughter sick.

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02.03.22 BACKSTAGE

While “The Act” marked a turning point in how the industry perceived her, King cites Netflix’s “The Kissing Booth” franchise as the most substantial shift in her career to date—not because it was one of the streaming platform’s biggest-ever hits, but because it allowed her to explore producing for the first time. King now has her own production company—All the King’s Horses, which is co-led by Jamie King and Dan Spilo—and a pair of unprecedented first-look deals with Netflix (as of last spring) and Hulu (as of 2020). The slate of projects she has helped bring into reality includes an adaptation of the sci-fi novel “Uglies” for Netflix, the limited series “A Spark of Light” for Hulu, and this month’s metaphysical romance “The In Between” for Paramount+. It’s all because she decided, unequivocally, that what she has to say is valuable. “I just had these opinions and felt a little uncomfortable giving them when no one was asking,” she says of what initially led her to producing. “Now it feels so good to be able to be like, ‘This may be a crazy thing to say, but I have the merit to say it, so let’s all just talk about it.’ ”

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Though her résumé argues otherwise, King doesn’t wear her confidence on her sleeve. She’s hyper-aware of the fact that she is part of an industry that, historically, has had very little interest in listening to young women, much less granting them power. While she acknowledges that becoming a young female producer likely would not have been possible even 10 years ago, that progress doesn’t change the fact that she often finds herself confronting condescension. Young women, she insists, shouldn’t have to prove themselves to be taken seriously, but an “I’ll show ’em all” mindset still creeps in when she is on the job. “When I’m on new projects or when I’m pitching and in all these different meetings, I’ve come across so many people who still treat me like a child, and it is so upsetting,” she admits. “The thing is, I just try to remind myself that it says more about them than it does about me.” Ever levelheaded, King also recognizes that her past as a child actor may inspire these preconceived biases. The friction she describes is one that nearly every actor will experience at some point in their career: getting the business at large to see you outside of the box it has placed you in.

“People within the industry, when they’re addressing me and realizing that I have this role of producer now—I still feel like sometimes they think they’re addressing 15-year-old me,” she says. “My biggest struggle is trying to get people to see me. “That’s a really tough thing to do,” she adds, “to change the industry’s mind about you.” Yet by all accounts, King has done just that. She now creates sophisticated work both in front of and behind the camera, and that is not an accident. “I’ve worked my butt off and I’ve had so much fun doing it, but I have been able to make that transition,” she says. In her performances, King now actively pursues characters “whose point of view people are looking through for the whole movie,” as opposed to what she calls the “daughter” archetype. Ironically, what has proven most useful in advancing her to a position of power is the fact that she doesn’t have a deep knowledge of the inner workings of the business. More than anything, she says, it’s crucial to acknowledge all that you don’t know and go from there: Seek out more experienced collaborators, figure out when to speak up and when to listen, and absorb information like a sponge. “I am still very comfortable saying that I have no idea what I’m doing,” King says. “For me, that is producing right now; it’s just picking up scraps of knowledge and giving notes and opinions where they’re welcomed. I don’t know everything. I want to ask questions. I don’t want to be that person that’s like, ‘Oh, I’ve got this.’ Don’t say that you’ve got it when you don’t. That’s the worst.”

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People within the industry…I still feel like sometimes they think they’re addressing 15-year-old me. My biggest struggle is trying to get people to see me.

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02.03.22 BACKSTAGE

King is just as happy to admit she’s still learning things as an actor, too, despite having “put in my 10,000 hours,” she says with a laugh. In some ways, producing has changed the way she views her place as a performer on set. But in other ways, acting is acting is acting. When she is serving as both actor and producer, compared with projects in which she is only an actor, King says, “It is so different. It’s also so not that different.” (The latter includes the upcoming action thriller “Bullet Train,” in which she stars opposite Brad Pitt.) As a producer, she continues, “I get to see everything from beginning to finish. You don’t see that as an actor. You come in, you audition, you go to set, you do your wardrobe, hair, and makeup tests. But you don’t get to see all the fights or the amazing discoveries.” What never changes is her “process”—a word she hates to use because “it makes me sound like I think I’m special, which I don’t.” Whatever you want to call it, the way she approaches the material is completely unaffected by any additional producorial billing. Call it a separation of church and state. “The way that my brain thinks, or the way I tap into a character when I’m on set—that

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will never feel different,” she says. “That’s my bread and butter. That’s my heart and my soul, acting. Whatever hat I am wearing or not wearing, I feel like tapping into a character, no matter what, will always feel like a very separate little space.” In order to access that space, King is careful not to overprepare. Memorize your lines front to back, inside and out? Yes, of course— but she usually learns them the night before. She paraphrases a quote she loves from the actor Michael Shannon: “You’ve got to keep some juice in the lemon.” Most important to King’s character development is establishing an emotional connection to the material before shooting has even begun. That’s when she falls at least a little bit in love with the person she’s playing. Giving it that dedication up top, she says, allows her to be more present on the day and to access moments of true spontaneity. “I give that time to it, and I know the character so well and I love the character so much and I’m so fully into playing them that, when I’m on set, I can make random choices in the middle of a take that don’t feel out of left field—because I feel I am completely this person now,” she says.

The almost Zenlike space that opens up inside of those scenes, where her thoughts don’t belong to her, is probably why acting “is my favorite thing in the world,” King continues. “It’s the most amazing way for me to be present. Between the moments of ‘action’ and ‘cut,’ I’m not thinking about anything else. When they say ‘cut,’ I might start thinking, Oh, God, I’ve got to go pick up the dog at the vet afterward. But in between those two words, I’m not thinking about anything else. It’s like a meditation state.” In a moment of flawless timing, just as King concludes this thought, her dog, Jessie, trundles in to let her know it’s lunchtime and she needs to stop talking to the computer screen. As a final thought, King looks ahead. With her production banner being “a real thing now,” she is excited about the prospect of producing films and series that she herself is not in. Citing actor-producers like Charlize Theron and Margot Robbie that came before her, she is thrilled by the idea of pairing the perfect project with the perfect actor and then watching the magic unfold. “I’m looking for projects like that right now,” she says. “And it’s been really interesting, because there are all these books that are of interest and all these IPs [intellectual properties] that are of interest. There’s so much material, it’s overwhelming. That’s why I’m really happy I have a team now. I could never do all of this alone. There are not enough hours in the day.”

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Stepping Up to the Plate Some of Hollywood’s most reliably great actors are becoming equally great filmmakers By Matthew Nerber ON FILM SETS, THE CAMERA IS OFTEN DESCRIBED AS BEING ON one side of an imaginary line. There’s everything that exists behind the lens, which is decided by the director, and the world in front of the camera, which is brought to life by the actors. But increasingly, veteran performers are crossing that line, directing films that are finding success with audiences and critics alike. That includes buzzy 2021 awards contenders such as Rebecca Hall’s “Passing” and Maggie Gyllenhaal’s “The Lost Daughter.”

JOHN BAER/NETFLIX

In an era when performers at all stages of their careers are advised to make their own work, there’s much to be gleaned from these A-listers’ success stories. Fortunately, Backstage and others have peppered actor-directors such as Greta Gerwig (2017’s “Lady Bird”) and Viggo Mortensen (2020’s “Falling”) with questions about the lessons they’ve learned and the advice they have to share with those who want to follow in their footsteps. “The best thing a director can do for an actor is create an atmosphere that’s relaxed and conducive to good work,”

Mortensen told us. When he was filming his directorial debut, which charts the complicated relationship between a father and son, the Oscar nominee found that his experience as an actor gave him a valuable perspective and allowed him to develop a collaborative, inviting mood on set. It’s the same instinct Halle Berry brought to her first directing outing, “Bruised,” which premiered on Netflix late last year and stars the Oscar winner as an aging MMA fighter. She emphasized that an entrepreneurial spirit is required to make the leap from actor to director. “You just

have to decide to do it and then do it,” she told us. “That requires being focused, being tenacious, not taking no for an answer, and really having a desire to do something that you love.” A deep appreciation of the medium goes a long way, as Paul Dano found when directing his 2018 debut, “Wildlife.” He recalled soaking up lessons from the likes of Paul Thomas Anderson and Ang Lee that prepared him to take the helm himself. Actors interested in filmmaking should follow Dano’s lead and embrace curiosity and enthusiasm. “There are times when, in a dorky way, I just get excited by working,” Dano told IndieWire. “I wasn’t necessarily studying to make a film of my own, but a love of the whole thing was a big factor in my choices.” Gerwig had experience writing and producing before directing “Lady Bird.” She knew from her own acting work (in “Frances

Halle Berry in “Bruised”

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Ha,” “20th Century Women,” and other films) how hard the craft is. That shared knowledge made her feel connected to her film’s cast. “At the end of the day, I feel like you need to know what you’re asking of people,” Gerwig said. She prioritizes finding an emotional connection to the work. Echoing Gerwig, Hall said that emotionally mining Nella Larsen’s 1929 novel, the source material for “Passing,” as if she were acting helped her ease into directing. In some ways, the approaches are one and the same. “The best bits that I love as an actor are the thinking and the kind of logical road-mapping of the emotions and what’s happening,” she told Variety. “You do all that as a writer, and then you do all that again as a director when you’re working out how to capture and film that…. The truth is, I think directing holds everything for me.” Jonah Hill also felt that he was always meant to be a director; in an interview about his own debut, 2018’s “Mid90s,” he told NPR that his acting career was an “amazing derailment” on the way to filmmaking. But working as an actor with the likes of the Coen brothers and Martin Scorsese showed him what kind of director he wanted to be. He noted that Scorsese, whom he worked with on “The Wolf of Wall Street,” taught him that you shouldn’t judge your characters. “I like how unabashedly and unapologetically he shows human behavior, for better or worse,” Hill said, adding that it’s “something that really speaks to me in art in general, and something I’m going to strive to do if I’m lucky enough to get to make another film, and something that I tried to do in ‘Mid90s.’ ” What leaves us rapt today is waiting to see what these actors and filmmakers will choose to do next.

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

Submit a Notice |

New York Tristate Plays ‘Hamlet’ and ‘Oresteia’

• Seeking video submissions from Equity

actors for roles in “Hamlet” and “Oresteia.”

• Company: Park Avenue Armory. Staff:

Rob Icke, dir.-adaptor; Jim Carnahan Casting, Inc., casting co.; Jim Carnahan. Alexandre Bleau, casting dirs. • Rehearsals begin May 23; runs May

31-Aug. 13 in NYC.

• Seeking—Equity Actors: 18+. • Seeking submissions from NY. • For consideration, email headshot,

resume, and video submission to audition@carnahancasting.com with “Hamlet/Oresteia EPA: -Your Name-” in the subject line. Submitted videos must be in a format that can be watched without downloading. We will not download any videos. Submissions deadline is Feb. 7. • Prepare one of the sides at www.drop-

box.com/sh/gtq87m6zemtabwj/ AABqTBCH1Ms47FINHlNEaoI1a?dl=0 . The video should include a slate stating your name and which role/track you are interested in and a video of the corresponding side. All roles should have a British Accent. For the Laertes side, if you do not have a reader, do the side as a monologue. For the Iphigenia and Orestes sides, if you do not have a reader, you may submit a monologue in the style and accent of the production.

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; Jim Carnahan, Alexandre Bleau, casting dirs.

Ron Weasley: male, 37-40. Draco Malfoy: male, 37-40. Amos Diggory/ Albus Dumbledore: male, 60-70. Hogwarts Professor/And Others: male, 40-60, all ethnicities. Bane/Sorting Hat: male, 30-39, all ethnicities. Ginny Potter: female, 37-40. Hermione Granger: female, 37-40. Professor McGonagall/Trolley Witch/And Others: female, 40-50. Albus Potter: male, 18-25. Scorpius Malfoy: male, 18-25. James Potter Jr./And Others: male, 18-25. Yann Fredericks/And Others: male, 18-25. Karl Jenkins/And Others: male, 18-25. Craig Bowker Jr./ And Others: male, 18-25. Delphi Diggory: female, 18-29. Rose GrangerWeasley/And Others: female, 18-25. Moaning Myrtle/Polly Chapman/And Others: female, 18+.

actors for future replacement roles in “Harry Potter and the Cursed Child.” • Company: Train Times Broadway LP.

Staff: Sonia Friedman Productions, Colin Callendar, Harry Potter Theatrical Productions, prods.; J.K. Rowling, Jack Thorne, John Tiffany, writers; Jack Thorne, playwright; John Tiffany, dir.; Steven Hoggett, movement dir.; Jim Carnahan Casting, cast-

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‘Blindsided’ Solve crimes in in Vancouver and Los Angeles for this lead in a new pilot

musical

‘The Outsiders’ It’s Socs vs. Greasers in NYC

stage

‘Steel Magnolias’ Grab a slice of armadillo cake in Sonora, CA

may perform a monologue in the style of the show. Send the video in a format that be viewed without needing to download.

chorus calls

‘Anne of Greene Gables’ Make some waves in East Haddam, CT

• Equity’s contracts prohibit discrimina-

(League) Agreement.

• Seeking video submissions from Equity

‘The Book Of Mormon,’ B’Way Say “Hello” to Broadway in NYC

• If a reader is not accessible to you, you

• Pays $1,207/wk. Equity LORT A Non-Rep

‘Harry Potter and the Cursed Child’

musical

side for the role/track you are interested in to hpcc.nycasting@gmail.com. Sides are available at www.dropbox. com/sh/uheto1a7lcsl7jp/AAA_ jPaqCShb50eIniAdKrdRa?dl=0 Submissions deadline is Feb. 2.

• For more info, visit www.armoryonpark.

Agreement.

BY LISA HAMIL

• Seeking submissions from NY. • For consideration, submit a video of one

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.

org.

Casting picks of the week

• Currently running on Broadway. • Seeking—Harry Potter: male, 37-40.

• Pays $2,323/wk. Equity Production

‘One More Night,’ Equity Video Submissions

• Casting Equity actors for “One More

Night,” a durational performance event, the culmination of five years of development inspired by the classic collection of ancient stories, The Thousand and One Nights. Over time this project has grown to include adapted stories from the “Nights,” stories from other traditions that echo or reflect on the “Nights,” and the history of the oral transmission and ceaseless re-invention of the “Nights.” We will experiment with

a broad range of materials and devise a play created by the company. We are seeking two actors (of any gender) to join our principal ensemble. Actors will shift and share roles often, depending on the sections we choose for adaptation. All actors will share the role of Scheherazade and other important roles too. As with any devised work, the shape of this will be largely determined by our collaborative process. • Company: Target Margin Theater, Inc.

Staff: David Herskovits, dir. (viewing auditions); Dina El-Aziz, Carolyn Mraz, and Jack Scaletta, design team, Michelle Tuite, stage mgr.; Sophie Aung and Adam Kassim, art. prods. • Rehearsals begin Feb. 21; runs through

May 1 in Brooklyn, NY.

• Seeking—Equity Actors: 18+. • Seeking submissions from NY. • For consideration, prepare and record a

brief (not more than two minutes) monologue from any play written before 1942. Be comfortable with the language and confident in using it. Submit your headshot, resume, and link to your audition video for us to view (not download) on your preferred platform (YouTube, Google Drive, Vimeo, etc.) to targetmargintheater@gmail.com. Headshot and resume should be sent as attachments and labeled with your name. Submissions deadline is Feb. 2, 6 p.m. EST.

• Target Margin Theater is aggressively

inclusive. We are especially committed to an ethnically diverse cast. Older and younger MENASA, African American, Asian, and multi-ethnic actors are strongly encouraged to audition. We also seek actors of all genders, sexualities, ages, physical abilities, and categories beyond what we know today! Experience with classical drama is helpful. We are an experimental theater company and actors must be comfortable with unorthodox approaches and unusual treatment of the text. We seek actors who are comfortable trying things without knowing why. All stage management positions have been filled. • Pays $567/wk. Equity LOA-NYC

Contract.

‘soft’

• Seeking video submissions from Equity

actors for roles in “soft.” • Company: MCC Theater. Staff: Robert LuPone, Bernard Telsey, William Cantler, co-artistic dirs.; Blake Westm exec. dir.; Beth Dembrow, general mgr.; Ayana ParkerMorrison, mgr. of artistic prod.; Elissa Huang, mgr. of artistic development; Donja R. Love, author; Whitney Whitem, dir.; Will Cantler CSA, Destiny Lilly CSA, Karyn Casl CSA (The Telsey Office), casting. • Rehearsals begin Apr. 12; runs May 12-July 10, 2022 at the The Susan & Ronald Frankel Theater in NYC. Note: Rehearsals and performances will be indoors. These will be live performances with an audience. All stage managerial positions have been filled. All actors must be fully vaccinated and, if eligible, boosted. • Seeking—Mr. Isaiah: 25-29, Black /

African Descent. Mr. Cartwright: male, 18+, Black / African Descent. Antoine: male, 18, Black / African Descent. Dee: female, male, gender-nonconforming, non-binary, trans female, trans male, backstage.com

New York Tristate casting agender, androgyne, aporagender, autigender, bigender, cisgender, demiboy, demigirl, gender questioning, genderfluid, genderflux, genderqueer, maverique, neutrois, pangender, polygender, third gender, transgender, trigender, two-spirit, 18, Black / African Descent. Jamal: male, 18, Black / African Descent, Latino / Hispanic. Bashir: male, 18, Black / African Descent. Kevin: male, 18, Black / African Descent. Eddie: male, 18, Latino / Hispanic. • Seeking submissions from NY. • For consideration, submit your video

with your photo/resume in a downloadable format (Google Drive, Dropbox, etc.) at https://forms.gle/ my4Aeuo4CuYsFywt7 . Submissions deadline is Feb. 8. • Prepare one of the selected sides at

https://www.dropbox.com/ sh/6enrj70j0qp50hw/ AACqh1C3fYjZBki5weWpnSWea?dl=0 . If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name, location, and height. • Pays $662/wk. plus 1.5% media fee

(Category AA.) Equity Off Broadway Agreement.

Musicals ‘Jersey Boys’

• Seeking video submissions from Equity

actors for roles in “Jersey Boys.” Synopsis: From the mean streets of Jersey to American Bandstand, this is the thrilling story of how a group of blue-collar boys from the wrong side of the tracks became the biggest doowop sensation of all time: The Four Seasons. Using their legendary music, two-time Tony Award winner Des McAnuff brings to life the exciting early days of rock-and-roll, and the price of fame for four guys who had nothing and everything - to lose. • Company: (principals). Staff: Dodger

Properties LLC, prod.; Des McAnuff, dir.; Marshall Brickman and Rick Elice, book; Bob Gaudio, music; Bob Crewe, lyrics; Ron Melrose, music dir.; Sergio Trujillo, choreo.; Tara Rubin, casting; Merri Sugarman, casting dir.-CSA. • Currently running Off-Broadway in

NYC.

• Seeking—Frankie: 20-35. Bob: 20-35.

Tommy: 20-35. Nick: 20-35.

• Seeking submissions from NY. • For consideration, submit a video audi-

tion (via a Youtube, Vimeo, Dropbox or Google Drive link), headshot and resume to (https://tinyurl. com/2p8rkh7f). Audition video instructions: Prepare a brief cut of a rock ’n’ roll song from any era of your choice or “Cry For Me.” Include a full-body slate at the beginning of your video. Film your audition in front of a clean background, with no backlighting. As much as possible, limit ambient noise including air conditioners and other electronics. It’s recommended that you do not use Bluetooth headphones, as it can sometimes cause a delay in the audio. Use a secondary audio backstage.com

tenor; strong falsetto. Burt Grompsky: male, 50-79, White / European Descent, male identifying; a coarse, disheveled older man. Successful in the music industry despite having zero knowledge of music; Grompsky take advantage of people for business rather than personal reasons. Sings in the ensemble. Baritone or tenor. Dina: female, 20-39, female identifying, a member of the Ding-Dongs. The more popular, less talented of Dora Dell’s bandmates-or was that Donna? Also several comedic ensemble roles. Strong pop sing who is excellent with harmonies. Donna: 20-39, female identifying; a member of the Ding-Dongs. The more popular, less talented of Dora Dell’s bandmates-or was that Dina? Also several comedic ensemble roles. Strong pop sing who is excellent with harmonies. Ensemble Man: male, 20-59, male identifying; versatile and an excellent with character voices; a wide variety of roles; Strong singer in ensemble; baritone or tenor.

source to play the accompaniment music so that it is audible in the tape. Submission deadline is Feb. 7.

• Equity’s contracts prohibit discrimina-

(Category E) Contract.

‘Pants! The Jimmy Pants Musical’

• Seeking singers/actors with strong

oopo/rock voices and exceptional comedic skill for roles in “Pants! The Jimmy Pants Musical.” Synopsis: A loving and warmhearted send up of biojukebox musicals, based on a a wholly fictitious character with an original score spanning pop styles from the 60s through the 2000s. The story of the show spans five decades. With the possible exception of Grompsy, every actor will be asked to believably portray younger and older versions of their character, thus, their true ages are less important than their fitness for the role.

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

resume, and video submission as an unlisted link (YouTube or Vimeo) to jimmypantsepaauditions@gmail.com with your name and the role you would like to be considered for in the subject line.

• Prepare a pop rock song (not shorter

than one minute in duration) or perform the song provided at www.dropbox. com/sh/poyyn7j16ysrod7/ AACYjCnZVXN_onZH_ODxxFYKa?dl=0.

• Company: York Theatre Company.

Staff: Bill Castellino, dir.; Henry Aaronson, musical dir.; Joseph Church, music; Joe Church and Jeff Bienstock, lyrics; Jeff Bienstock, book; Stephen DeAngelis (viewing auditions), casting dir.

• All stage managerial positions have

been filled. All actors must be fully vaccinated with proof of vaccination. They will be asked to take a PCR test prior to first rehearsal and may be asked to test at various times during the workshop process This audition process is open to actors of any races, ethnicities, gender identities, and ages as well as performers with disabilities.

• Rehearses Feb. 28-Mar. 18 at Pearl

Studios in NYC.

• Seeking—Jimmy Pants: male, 20-45,

White / European Descent, male identifying, sincere, ambitious, and hails from a hard-working blue-collar background. Despite lacking smarts or luck, he is rarely down for long. Ideally a baritone or a tenor with a very wide vocal range including strong falsetto; comfortable with several pop and rock styles. A bit of an underdog with excellent comedic timing. Dora Dell: female, 20-39, female identifying; a woman who seems like she can do anything, and frequently does. In addition to her towering musical talent, she possesses a near superhuman work ethic and an unparalleled ability to adapt to new situations. Strong pop singer, some high belt. Tony: male, 20-49, White / European Descent, male identifying, Italian American, a good-looking ladies’ man replete with a stereotypically hot temper, Tony wears his heart on his sleeve and is especially possessive of the singing group he helped to co-create. Baritone. Nicky: male, 20-49, Black / African Descent, male identifying, the smartest one of his cliques, Nicky is nice enough not to hold his friends’ deficiencies against them, although he is always ready with wry or sarcastic commentary. Vocal range: Low bass. Bjorgvin: male, 20-39, male identifying; “Icelandic.” Bjorgvin cannot speak a word of English, instead communicating in a faux Scandanavian patter that only his friends can discern. Largely oblivious to the world around him, he is still a caring friend. Preferably a high

• Pays $575/wk. Equity Off Broadway

Contract.

‘The Book Of Mormon,’ B’way, Principals

• Seeking video submissions from Equity

actors for future replacement principal parts in “The Book Of Mormon.” • Company: Book of Mormon Broadway

LLC. Staff: Anne Garefino, prod.; Robert Lopez, Trey Parker & Matt Stone, bookmusic-lyrics; Casey Nicholaw & Trey Parker, dirs.; Casey Nicholaw, choreo..; Stephen Oremus, musical dir.; Carrie Gardner, casting dir.; Rayshaun Sandlin, casting assoc.; Justin Mendoza, music dir.; Graham Bowen, asst. choreo. • Currently running at the Eugene O’Neill

Theatre on Broadway.

• Seeking—Kevin Price: male, 18, White /

European Descent, fits the stereotype of a male-identifying, Utah-based Mormon; head of the class,always optimistic; heroic Mormon; a fantastic poprock tenor to a B; at least 5’10”+. Arnold Cunningham: male, 18, could be dweeby, dorky, and/or; Arnold is a pathological liar, but his heart is in the right place; he is a total screw-up but not for lack of trying, he always wants to do the right thing; sings well; tenor. Nabalungi: female, 20, Black / African Descent, Black Ugandan Villager; takes the hardships of her village very seri-

ously and wants to help her people find a better life; has great comic timing; strong Alto; Belt to an E. Mafala Hatimbi: male, 40-49, Black / African Descent, Black Ugandan Villager; father of Nabalungi; has come to accept the hardships in the village where they live but is a discerning community leader and tries to bring joy to their lives; sings well; Baritone. Elder McKinley: male, 18, White / European Descent, district leader of the Mormon missionaries in Uganda; like Elder Price, fits the stereotype of a male-identifying, Utah-based Mormon, wide-eyed and hopeful; great singer; high Baritone. Price’s Dad / Mission President / Various Roles: male, 40-49, White / European Descent, like his son, fits the stereotype of a maleidentifying, Utah-based Mormon; several parts from the perfect picture of a head of a Mormon household, to the stern missionary president, to Joseph Smith; has the ability to be transformative; a good singer; high Baritone to an Ab. General: male, 25-45, Black / African Descent, Black Ugandan Villager; warlord in Uganda who is bothering the local villagers; has an excellent physical presence with the ability to be authoritative and intimidating; great singer; Baritone to an F. • Seeking submissions from NY. • Prepare a brief contemporary musical

theatre song that really shows off your voice. You may also use the accompaniment at https://www.dropbox.com/sh/ wkgshbi4grd8tf0/AABFP_ LeoxzQgmn0vi5DW8_Fa?dl=0 . Submit videos to bomcasting@gmail.com. Submissions deadline is Feb. 5 at noon EST. Note: All stage management positions are currently filled.

• Pays $2,323/wk. Equity Production

(League) Agreement.

‘The Outsiders’

• Seeking video submissions from Equity

actors for roles in the working session of “The Outsiders,” based on S.E. Hinton’s novel and Francis Ford Coppola’s Film. Synopsis: “The Outsiders” is a story about class, broken homes, protecting one’s turf, and the all-too-real American condition known as the “Haves and Have Nots.” It is a world of kids of every sort, from destitute outlaws, gas station workers, and high school dropouts (the Greasers), to the very well-appointed, college- bound, and wealthy (the Socs). This is Tulsa 1967, where to be a Soc means to be rich and white. To be a Greaser is to be poor, rejected by the Haves because of any number of facets: economic status, gender identity, race, sexual orientation, ethnicity and any other facet that Tulsa Soc Society deems as “other”. The Greasers are a group of boys who have created a chosen family that reflects the true diversity of Tulsa. • Company: Tulsa 1967, LLC. Staff: Adam

Rapp, book; Jamestown Revival and Justin Levine, music-lyrics; Danya Taymor, dir.; Justin Levine, music supervisor; Matt Hinkley, music dir. Tara Rubin, casting-casting dir.; Xavier Rubiano, casting dir.; Louis DiPaolo, casting assoc.

02.03.22 BACKSTAGE

casting California • Runs Apr. 18-May 26 in NYC. • Seeking—Equity Actors: all genders,

15-50, all ethnicities.

• Seeking submissions from NY. • For consideration, submit a video

audition using the following form: https://tinyurl.com/ OutsidersForm2022 Video Instructions: Prepare a video of a song of your choice from the show: https:// tinyurl.com/OutsidersEquityMaterial or a brief country, soul, rock or folk song that shows range with accompaniment. Send link and slate with your name and the material. Film your audition from your waist up in front of a clean background, with no backlighting with as much limit ambient noise as possible. Submissions deadline is Feb. 4. The sound of “The Outsiders” is a blend of folk, soul, southern rock, blues, with some elements of early country, hints of bluegrass and church revival. Authenticity is key, as this should not feel like something put on, but the truest expression of these characters’ emotional lives. For these reasons, production is interested in unique and eclectic voices to comprise the company. For some stylistic references, here is a link for musical references: https://tinyurl.com/ OutsidersPlaylist • Equity’s contracts prohibit discrimina-

Agreement Contract.

Chorus Calls ‘Anne of Greene Gables,’ Chorus

• Seeking video submissions from

Equity actors for chorus roles in “Anne of Greene Gables.” Synopsis: Anne Shirley just arrived on Prince Edward Island and she’s already making waves. Feisty, smart, and wildly imaginative, Anne is eager to find her own place in the world. But is the world ready for her? Fall in love with this “different kind of girl” - the singular redhead from the classic novel, now reimagined as a vibrant folk-rock musical for all generations. With bold choreography, witty humor, and a revolutionary spirit, this is “Green Gables” as you’ve never seen it before. • Company: Goodspeed Opera House.

Staff: Donna Lynn Hilton, artistic dir.; David B. Byrd, managing dir.; Matte O’Brien, book-lyrics; Matt Vinson, music; Jenn Thompson, dir.; Jennifer Jancuska, choreo.; Adam Souza, musical dir.; Amanda Morton, music supervisor; Binder Casting and Chad Murmane, casting; Amber Snead, CSA. • Rehearsals begin June 14; runs July

15-Sep. 4 in East Haddam, CT.

BACKSTAGE 02.03.22

Stage Staff & Tech

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from CT. • For consideration, submit a video audi-

tion at (https://airtable.com/ shr9bJ82esFjfENlH). Audition Video Instructions: Singers must prepare either a cut of “Different Kind of Girl” in one of the provided keys that best suits your voice at (https://www.dropbox. com/sh/4618q13ncxvoe5l/ AAD7yqB1RBDUrIGRVpgQ4aSZa?dl=0) or pick a song of your choosing that showcases your voice. Dancers must prepare a tape of the provided dance combo at (https://www.dropbox.com/ sh/4618q13ncxvoe5l/AAD7yqB1RBDUrI GRVpgQ4aSZa?dl=0). Include a slate at the start of your video with your name, full body zoom (head-to-toe), and what you’re going to perform. Submission deadline is Feb. 8.

‘Hamlet’ & ‘Oresteia’

• Seeking Equity stage managers submis-

sions for future consideration for “Hamlet” and “Oresteia.” Note: All stage managerial positions have been filled. • Company: Park Avenue Armory. Staff:

Rob Icke, dir.-adaptor; Jim Carnahan Casting, Inc., casting co.; Jim Carnahan. Alexandre Bleau, casting dirs. • Rehearsals begin May 23; runs May

31-Aug. 13 in NYC.

• Seeking—Equity Stage Manager: 18+. • Seeking submissions from NY. • For future consideration, materials can

be sent to Jenni Bowman at jbowman@ armoryonpark.org. Submissions deadline is Feb. 7.

• Equity’s contracts prohibit discrimina-

org.

• Pays $1,752/wk. (LORT A.) Equity LORT

Non-Rep Agreement.

‘Ride The Cyclone’

• Seeking Equity stage managers for

future consideration for “Ride The Cyclone.” Note: All stage managerial positions in Ride The Cyclone have been filled.

• Pays $1,008/wk plus pension/welfare.

Travel and housing will be provided during the entire duration of the contract. Equity LORT B Non-Rep Contract.

• Company: McCarter Theatre Center.

Staff: Brooke Maxwell and Jacob Richmond, book-music-lyrics; Sarah Rasmussen, artistic dir.; Nicole A. Watson, assoc. artistic dir.; Debbie Bisno, resident prod.; Julie Dubiner, artistic initiatives consultant; Cory Dunn, artistic line prod.; Alexandra Haddad, artistic asst.; Jim Lichtscheidl, choreo.; Mark Christine, music dir.; Jim Lichtscheidl, choreo.; Mark Christine, music dir.; Scott Davis, scenic design; Trevor Bowen, costume design; Jiyoun Chang, lighting design; Andre Pluess, sound design; Duncan Stewart CSA of Stewart|Whitley, New York casting; Darienne Orlansky, Afshee Misaghi, casting assts.

Theatre on Broadway.

30-May 29 in Princeton, NJ.

‘The Book Of Mormon,’ B’way actors for future replacement chorus parts in “The Book Of Mormon.”

• Company: Book of Mormon Broadway

• Currently running at the Eugene O’Neill • Seeking—Morman Males: male, 18-29,

White / European Descent. Male Ugandan Villagers: male, 25-39, Black / African Descent. Female Ugandan Villagers: female, 20-39, Black / African Descent. • Seeking submissions from NY. • Singers: Prepare either a song selec-

tion from the show at www.dropbox. com/sh/r7mcvbk1dw113wb/ AABsbnmpM68MXx_9BTj-8Dnta?dl=0 or a 16-32 bars of a song of choice (Contemporary Musical Theatre, pop, R&B.) Dancers: Prepare the following dance audition on video https://www. dropbox.com/sh/4ia3k3uwf11nzpg/ AADdIZdlxtoLXXTjjfG4_egra?dl=0. Email submissions to bomcasting@ gmail.com. Submissions deadline is Feb. 5 at 12 p.m. EST. All stage management positions are currently filled. • Pays $2,323/wk. Equity Production

(League) Agreement.

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

and Design: 18+, responsibilities: Writing programs, booking events, marketing and advertising for the venue, getting experts to advise on specific operational issues such as safety, event lighting, stage lighting, etc., hiring artists and other personnel. • Seeking submissions from NY. • Send submissions to jw@reward.com. • Pays $25-$35/hr. based on experience.

Job has flexible hours but requires a minimum of 20 hr./wk.

Southern California

• For more info, visit www.armoryonpark.

• Seeking video submissions from Equity

• Working dates TBD in NYC. • Seeking—Event Venue Coordination

• Rehearsals begin Mar. 29; runs Apr.

• Seeking—Equity Stage Manager: 18+. • Seeking submissions from NJ. • For future consideration, submit

resume to cdunn@mccarter.org. Submissions deadline is Feb. 4.

• Pays $1,202/wk. (LORT C.) Equity LORT

Non-Rep Agreement.

Festivals & Events Event Venue Coordination and Design • Seeking someone to help with the

development of an event venue, The Solarium, a glass building in Waterloo Wisconsin.

• Company states: “Our goal is to open in

April 2022 as a multipurpose event venue. There will be a variety of design and administrative work and you will be the primary interface between artists, other personnel and investors.” • Company: The Solarium. Staff: Erin

Lincoln, coord.

Scripted TV & Video ‘Nick Jr. Hostie Show’

• Casting child musicians for “Nick Jr.

Hostie Show.” Synopsis: An animated host is joined by live action, real kids, as well as some favorite animated Nick Jr. characters to celebrate popular preschool music videos with our audience, who is invited to sing, dance and play along! • Company: Uptown/Nickelodeon. Staff:

Danielle Pretsfelder Demchick, casting dir. • Shoots mid March in Los Angeles, CA. • Seeking—Kid Accordion Player: all

genders, 5-12, must be able to play the accordion with joy; overall musicality a must; expressive, charismatic, and playful; outgoing, upbeat talent with strong conversational skills and must be great with both scripted and improv-ed lines and reactions. Kid Beatboxer: all genders, 5-12, must be able to beatbox with joy; overall musicality a must; expressive, charismatic, and playful; outgoing, upbeat talent with strong conversational skills and must be great with both scripted and improv-ed lines and reactions. Kid Mouth Harp Player: all genders, 5-12, must be able to play the mouth harp with joy; overall musicality a must; expressive, charismatic, and playful; outgoing, upbeat talent with strong conversational skills and must be great with both scripted and improv-ed lines and reactions. Kid Whistler: all genders, 5-12, must be able to whistle with joy; overall musicality a must; expressive, charismatic, and playful; outgoing, upbeat talent with strong conversational skills and must be great with both scripted and improv-ed lines and reactions. Kid Yodeler: female, 5-12, must be able to yodel with joy; overall musicality a must; expressive, charismatic, and playful; outgoing, upbeat talent with strong conversational skills and must be great with both scripted and improv-ed lines and reactions. • Seeking submissions from CA. • Send submissions to Danielle.

Pretsfelder@nick.com.

backstage.com

National/Regional casting • Shoot Day Rate: SAG-AFTRA: $845 +

10%, if applicable (1 day rate) or $1,149 +10%, if applicable (2 day rate.)

Local Commercials Living Spaces: Purple Campaign 2022

• Casting Living Spaces Purple campaign

commercial.

• Company: Living Spaces. Staff:

Jonathan Munsayac, sr. production manager.

• Shoots Feb. 10 at 14501 Artesia Blvd, in

La Mirada, CA 90638.

• Seeking—Lead Female: female, 18-35,

all ethnicities.

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

sayac@livingspaces.com.

• Dancing or Ballet Background is a plus.

Talent will be asked to lay down side ways on apple boxes or yoga blocks to help create a floating effect. • Our budget is $400 Day Rate. Usage

would be perpetual for possible use in other marketing material. Media usage is Broadcast TV + digital commercial. Airdate for our Purple Campaign is Feb. 28-Mar. 20, 2022.

Local Automotive Commercial, Adventurer’s Only • Casting a male and female to be an

adventure couple in a local commercial from Local Automotive Group. Note: One day shoot near Lake Tahoe. We will meet in Reno, NV then drive to our shoot destination which will be in the mountains. The footage will be combination of interior driving shots plus some snow lifestyle like grabbing the skis off the roof rack, walking in the snow, etc. • Company: Mapache Films. Staff: Matt

Page, president.

• Shoots Feb. 23 from 9 a.m.-3 p.m. in

Lake Tahoe, NV.

• Seeking—Male Driver: male, 25-38,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent. Female Passenger: female, 25-37, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent.

• Seeking submissions from NV and CA. • Apply on Backstage.com • Include a headshot or photo of yourself

to be considered.

• Pays $300/day. Snacks and beverages

provided.

Online Commercials & Promos National Bike Brand, Snap To It, Social Video • Casting a short video for social media

featuring a young adult male age 20-25 for a branded bike. backstage.com

• Company: Anaheim Studios. Staff:

• Fitting on Jan. 23 or 24; shoots Jan. 25

• Shoots Jan. 27 in L.A. • Seeking—Young Male Bicycle Rider:

• Seeking—6 - 12 Month Year-Old Baby:

Sean Atalla, coord.

- 27 in L.A.

all genders, 1, South Asian / Indian, cute babies.

male, 20-25, this video features a young adult male age 20-25 searching for the right outfit to ride his bike in style.

• Seeking submissions from CA. • Apply on Backstage.com • Session fee: $1,000 for the first eight

• Seeking submissions from CA. • Apply on Backstage.com • To be considered, include a short video

stating your name and age, along with the date of the video. • Pays $350 flat rate for a half day of

shooting (approximately four-five hours). This is a buyout; brand is looking for full rights to use for online/ social media globally in perpetuity.

Silk PillowCase Testimonial, Mother And Daughter Teams

• Casting fun outgoing mother daughter

teams who have good chemistry. Note: You will be talking about the benefits of silk pillow cases. • Company: TubeScience. Staff: Sarah

Furlong, casting prod.-talent prod.

• Shoots TBD remotely. • Seeking—Mother Or Daughter For Silk

Pillow Case Testimonial: female, 18-55, all ethnicities, for this project we are looking for fun mother and daughter duos who are both chatty and outgoing; we need you both excited about the product and willing to talk on camera. • Seeking submissions nationwide. • Send submissions to casting@tube-

science.com.

• This is an ongoing casting but please

get your audition in sooner than later because I will be sending auditions to the talent team every few days. Both mother and daughter need to be in the same city and send in a selfie audition which you need to do together. When you film your audition, film it in the bedroom so we can see your set up.

hours of work. Overtime, if applicable, calculated at 1.5x the regular rate for work over eight hours up to 12 hours (or $187.50 per hour), and any hours over 12 calculated at 2x the regular rate (or $250 per hour). Prior day fitting/product interaction session fee is $50 per hour. COVID stipend is $100. Usage fee: If talent’s identifiable face remains in final, airing materials, a $2,500 buyout fee will be paid covering use of the materials for the Term, in the Media and Territory above. This fee is payment in exchange for full and unlimited use of the rights to the image or video. Usage: three years worldwide - all internet, digital, and social media; industrial/non- broadcast; in-store, third-party channel advertising; PR and archival media. Screen grabs/stills from video. If talent’s identifiable face remains in final, airing Materials, an additional $5,000 will be paid for one year of use on broadcast TV, worldwide.

Plays

Film & TV Crew

• Pays $526/wk. plus pension and health.

RAA Productions, Production Assistant

• Seeking production assistant who can

manage records and details on IMDB and other online works. Production states: “We are a Production Company focused on making music video, short films, webseries, and feature film.”

• Each talent will receive $200 for this

project plus two Queen size silk pillow cases.

• Company: RAA Productions. Staff: S.

Manoj, coord.

• Works remotely. • Seeking—Producers Assistant: 18+. • Seeking submissions from CA. • Send submissions to sujhamanoj@

Social Video, National Bike Brand, Transitions • Casting a short video to appear on

social media featuring a fun, enthusiastic woman for a branded bike.

gmail.com.

• Pays $150/five hrs.

• Company: Anaheim Studios. Staff:

‘Send Help,’ Crew

Sean Atalla, coord.

• Shoots Jan. 27, in/around LA, CA. • Seeking—Female Bicycle Rider:

• Seeking crew for “Send Help,” a TV

• Seeking submissions from CA. • Send submissions to sean@anaheim-

series. Synopsis: A coming of age dark comedy series about a first generation American struggling to overcome the challenges of “making it” in Hollywood, whilst coming to terms with a recent family tragedy.

• For consideration, include a short

Gauyo and Jean Elie, coord.

female, 20-40, a fun, enthusiastic woman ready to take on the day with her bike. studios.com.

• Company: MJ Pictures. Staff: MIke

video stating your name, age, and confirming if you can ride a bike, along with the date the video was recorded.

• Shoots Feb. 7-Mar. 14 in L.A., CA. • Seeking—Set Production Assistant:

18+. Truck Driving Production Assistant: 18+.

• Pays $250 flat rate/half day of shoot-

ing (four-five hours). Production states: “This is a buyout; brand is looking for full rights to use for online/social media globally in perpetuity.”

• Seeking submissions from CA. • Apply on Backstage.com • Pays $200-$250/day.

‘Splendid,’ Commercial

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

• Casting “Splendid,” a digital

commercial.

• Company: TBA. Staff: L. Brawner, coord.

Northern California

‘Steel Magnolias’

• Seeking video submissions from Equity

actors for “Steel Magnolias.”

• Company: Sierra Repertory Theatre.

Staff: Scott Viets, prod. artistic dir.; Jerry Lee, assoc. artistic dir.

• Rehearsals begin Mar. 29; runs Apr.

14-May 22 in Sonora, CA.

• Seeking—M’Lynn Eatenton: female, 50,

Southeast Asian / Pacific Islander. Truvy Jones: female, 40. Annelle Dupuy-Desoto: female, 25. Clairee Belcher: female, 60. Ouiser Boudreaux: female, 60.

• Seeking submissions from CA. • We encourage participation by per-

formers of all races and ethnicities. We celebrate opportunities for non-traditional, diverse, and inclusive casting • For consideration, submit headshot,

resume, and a link (unlisted YouTube links are preferred) to your video (side available at tinyurl.com/2p8tjpu2) to jlee@sierrarep.org. Submission deadline is Feb. 11.

Round-trip airfare and hosted housing. Equity SPT (Tier 6) Agreement.

National/ Regional Plays ‘A Bold Stroke For A Wife’

• Seeking video submissions from Equity

actors for “A Bold Stroke For A Wife,” a one-week staged reading by Susanna Centilivre. Note: Pittsburgh locals encouraged to submit. Celebrating 25 years in Pittsburgh, PICT Classic Theatre is Pittsburgh’s home for classic and Irish productions. PICT is committed to a casting focus that is intentionally inclusive and local to the Greater Pittsburgh Area. All are welcome.

• Company: PICT Classical Theatre. Staff:

Alan Stanford, artistic-exec. dir.; Sharon McCune, assoc. prod.; Catherine Kolos, general operations manager; Elena Alexandratos, dir. • Rehearsals May 3-7; two performances

of the reading Sunday, May 8 at 2 p.m. and 7 p.m. in Pittsburgh, PA. • Seeking—Modellove: male, 50-60.

Periwinkle: male, 50-60. Tradelove: male, 50. Obediah: male, 50. Fainwell: male, 20-30. Freeman: male, 30. Simon Pure: male, 20-30. Sackbut: male, 50-60. Mrs. Lovely: female, 20-30. Mrs. Prim: female, 40-50. Betty: female, 20. • Seeking submissions from PA.

02.03.22 BACKSTAGE

casting National/Regional • Prepare one brief monologue of the

period (Goldsmith, Sheridan, Goldoni, Moliere, etc. No Shakespeare, please). Callbacks will be a cold read from the script. Videos should begin with a slate of your name and home city and should be no longer than two minutes in length. • For consideration, submit your audition

along with your current headshot and resume to the audition link at: https:// www.picttheatre.org/participate/ . Submission deadline is Feb. 4 at 9 a.m. ET. Callbacks will be held over zoom at the director’s discretion. All rehearsals and performances are held in person at WQED Studios in Oakland (Pittsburgh, PA). • Pays $318/wk. Equity SPT Tier II

Agreement.

‘Appropriate’

• Seeking video submissions from Equity

actors for “Appropriate.” Synopsis: Every estranged member of the Lafayette family has descended upon the crumbling Arkansas homestead to settle the accounts of the newly dead patriarch. As his three adult children sort through a lifetime of hoarded mementos and junk, they collide over clutter, debt, and a contentious family history. But after a disturbing discovery surfaces among their father’s possessions, the reunion takes a turn for the explosive, unleashing a series of surprises and confrontations.

• Company: Profile Theatre Project. Staff:

Branden Jacobs-Jenkins, playwright; Josh Hecht, artistic dir.; Jamie Rea, line prod.; Jerry Ruiz, stage dir.; Caleb Bourgeois, company mgr.

• Rehearsals Apr. 4-May 7; runs May 5-22

or 29 in Portland, OR.

• Seeking—Antoinette “Toni” Lafayette:

female, 45-55, White / European Descent. Rhys Thurston: male, 18, White / European Descent. Beauregarde “Bo” Lafayette: male, 45-55, White / European Descent. Rachael KramerLafayette: female, 45-49, White / European Descent. Cassidy “Cassie” Kramer-Lafayette: female, 18, White / European Descent. Ainsley KramerLafayette: male, 8, White / European Descent. Francois “Franz/Frank” Lafayette: male, 35-45, White / European Descent. River Rayner: female, 20-25, White / European Descent. • Seeking submissions from OR. • Prepare a video recording of a contem-

porary monologue no longer than two minutes. Upload and provide the link (youtube, vimeo, etc) in your submission via the following form: https://profiletheatre.org/casting Submission deadline is Feb. 7. Callbacks will take place on Feb. 10.

• Pays $510/wk. (SPT 5.) Equity SPT

‘As You Like It’

• Seeking video submissions from Equity

actors for roles in “As You Like It.” Oklahoma based actors are encouraged to submit.

the Park. Staff: Erin Sloan, dir.; Kathryn McGill, artistic dir. • Rehearsals begin Apr. 4; runs Apr.

29-May 14 at Oklahoma Shakespeare in the Park in Oklahoma City, OK.

• Seeking—Duke Senior: all genders, 18+,

all ethnicities. Duke Frederick: all genders, 18+, all ethnicities. Amiens: all genders, 18+, all ethnicities. Jaques: all genders, 18+, all ethnicities. Le Beau: all genders, 18+, all ethnicities. Charles: all genders, 18+, all ethnicities. Oliver: all genders, 18+, all ethnicities. Orlando: all genders, 18+, all ethnicities. Adam: all genders, 18+, all ethnicities. Denis: all genders, 18+, all ethnicities. Touchstone: all genders, 18+, all ethnicities. Sir Oliver Martext: all genders, 18+, all ethnicities. Corin: all genders, 18+, all ethnicities. Silvius: all genders, 18+, all ethnicities. William: all genders, 18+, all ethnicities. Hymen: all genders, 18+, all ethnicities. Rosalind: all genders, 18+, all ethnicities. Celia: all genders, 18+, all ethnicities. Phebe: all genders, 18+, all ethnicities. Audrey: all genders, 18+, all ethnicities. Jaques de Boys: all genders, 18+, all ethnicities. First Lord at Court: all genders, 18+, all ethnicities. Second Lord at Court: all genders, 18+, all ethnicities. First Lord in Arden: all genders, 18+, all ethnicities. Second Lord in Arden: all genders, 18+, all ethnicities. First Page: all genders, 18+, all ethnicities. Second Page: all genders, 18+, all ethnicities.

Nothing” are expected to be conducted in-person, both indoors and outdoors, with outdoor performances. Rehearsals for “World Builders” are expected to be conducted in-person, with indoor performances.

• For more info, visit operahousearts.org.

Full vaccination against COVID-19 by the time of first rehearsal is required except for those with a documented medical exemption or sincerely held religious belief. • Pays $451/wk. (SPT 5.) Equity SPT

Agreement.

‘Rachel’

• Seeking video submissions from Equity

actors for roles in a one-week staged reading of “Rachel.”

• Company: PICT Classical Theatre. Staff:

Alan Stanford, artistic dir.-exec. dir.; Sharon McCune, assoc. prod.; Catherine Kolos, general operations mgr.; Raecine Singletary, dir.

• Callbacks TBD over Zoom; Rehearses

May 3-7; runs May 8 (2 p.m. and 7 p.m.) at WQED Studios in Oakland, Pittsburgh, PA.

• Seeking—Equity Actors: 18+. • Seeking submissions from PA. • For consideration, submit a video audi-

org.

tion, headshot and resume to the audition link at: www.picttheatre.org/ participate/ Audition Video Instructions: Prepare a brief contemporary monologue of your choosing. Slate your name and home city, and should be no longer than two minutes in length. Submission deadline is Feb. 4 at 9 a.m. ET.

• For consideration, tape two contrasting

classical monologues, no more than three minutes total, and upload to YouTube or Vimeo. Attachments or links to shared drives will not be opened. Invited callbacks will be held virtually or in- person • Equity’s contracts prohibit discrimina-

• Pittsburgh locals encouraged to submit.

PICT is committed to a casting focus that is intentionally inclusive and local to the Greater Pittsburgh Area. All are welcome.

• Equity’s contracts prohibit discrimina-

• Pays $271/wk. Equity SPT (SPT 1)

Agreement.

Profile Theatre requires documentation of vaccination. Testing: If you are offered a role, you must be willing to take a COVID test as documentation of a negative test result is required 72 hours prior to first rehearsal. Additional testing may be required as needed. Profile will provide and/or pay for this and any additional tests necessary to the scope of participation.

actors and actor-musicians for roles in Opera House Arts 2022 Season, Season includes: “Much Ado About Nothing” (William Shakespeare, playwright. Emma Went, dir. Rehearsals begin June 7; runs June 29-July 17) and “World Builders” (Johnna Adams, playwright; Cait Robinson, artistic dir.-dir. Rehearsals begin July 19; runs Aug. 12-28.).

BACKSTAGE 02.03.22

• Rehearsals for “Much Ado About

• Seeking submissions from OK. • Send submissions to info@okshakes.

org.

• COVID-19 Compliance: Vaccination:

TBD following an open call for video auditions. • For consideration, submit a 90 second video of a contemporary or classical monologue, a headshot, and a resume to casting@operahousearts.org with the subject line including your name, union status, and the title of the production(s) you are submitting for. Submission deadline is Feb. 8. Note:

• Company: Oklahoma Shakespeare in

Opera House Arts 2022 Season

• For more info, visit www.profiletheatre.

• Company: Opera House Arts. • Season runs in Stonington, ME. • Seeking—Equity Actors: 18+. • Seeking submissions from ME. • Zoom auditions for each production

Agreement.

• Seeking video submissions from Equity

• Pays $318/wk. Equity SPT (Tier II)

Contract.

Round House Theatre 20222023 Season • Seeking video submissions from Equity

actors for the Round House Theatre 2022-2023 Season. Season includes: “Nine Night” (American Premiere; rescheduled from ’21-’22 season due to

Covid-19 cancellation; Natasha Gordon, playwright; Timothy Douglas, dir.; Rehearsals begin Aug. 30; runs Sept. 14-Oct. 9), “The Tempest” (William Shakespeare, playwright; Aaron Posner & Teller, adapted by-dir.; Teller & Johnny Thompson, magic by; Tom Waits & Kathleen Brennen, music by; Matt Kent, CoArtistic Director of Pilobolus, movement by. Rehearsals begin Oct. 11; runs Nov. 23-Jan. 29, 2023), “Jennifer, Who Is Leaving” (Presented in rep with On The Far End; Morgan Gould, writer-dir. Rehearsals begin Feb. 21, 2023; runs Mar. 30-May 7, 2023), “On The Far End” (Presented in rep with Jennifer, Who Is Leaving; Mary Kathryn Nagle, playwright; Rehearsals begin Feb. 21, 2023; runs Mar. 28-May 7, 2023), and “Slave Play” (Jeremy O. Harris, playwright; Reginald L. Douglas, dir. Rehearsals begin May 2, 2023; runs June 7-July 2, 2023.). • Company: Round House Theatre. Staff:

Ryan Rilette, artistic dir.; Ed Zakreski, managing dir.; Sarah Cooney, casting dir.; assoc. artist casting and producing. • Season runs in Bethesda, MD. • Seeking—Equity Actors: 19+. • Seeking submissions from MD. • For consideration, email your submis-

sion to casting@roundhousetheatre. org with the subject line “EPA submission – DMV Local” or “EPA submission – Out of Town”, accordingly. Submission deadline is Feb. 7. • Preparation Instructions: Self-tape a

one-to-two-minute monologue (classical if submitting for “The Tempest,” contemporary if submitting for any other production in the season). Slate with the following information: Name. Pronouns, and any other way that you wish to self-identify. The name of your audition piece. Any specific roles which you are interested in being considered for. Indicate if you would like to be considered as a local or out of town actor. • For more info, visit www.roundhouse-

theatre.org.

• Pays $739/wk. Equity LORT DNon-Rep

Agreement.

Saco River Theatre 2022 Season

• Seeking video submissions from Equity

actors for the Saco River Theatre 2022 Season. Season includes: “Humble Boy” (Charlotte Jones, playwright. Rehearsals begin Feb. 28; runs Apr. 22-30) and “To Fool The Eye” (Jeffrey Hatcher, playwright. Rehearsals begin May 30; runs July 22-30.). • Company: The Saco River Theatre.

Staff: Jennifer Porter, artistic dir.; Dana Packard, dir. • Season runs at Saco River Theatre, 29

Salmon Falls Rd. in Buxton, ME.

• Seeking—Equity Actors: 18+. • Seeking submissions from ME. • Read from the sides provided at https://

drive.google.com/drive/folders/1Q661YWOv-VMe2F6S2AG8a-YlaUmGI5c . If a reader is not accessible to you, prepare a brief monologue. Deadline: Feb. 3. • Pays $279/wk. Equity SPT (Tier I)

Agreement.

‘The Black Eyed’

• Seeking video submissions from Equity

actors for roles in the one-week staged backstage.com

National/Regional casting reading of “The Black Eyed” Note: Pittsburgh locals encouraged to submit. Celebrating 25 years in Pittsburgh, PICT Classic Theatre is Pittsburgh’s home for classic and Irish productions. PICT is committed to a casting focus that is intentionally inclusive and local to the Greater Pittsburgh Area. All are welcome.

• Company: PICT Classical Theatre. Staff:

Alan Stanford, artistic-exec. dir.; Sharon McCune, assoc. prod.; Catherine Kolos, general operations mgr.; Ingrid Sonnichson, dir. • Rehearsals May 24-28, 2022; two per-

formances of the reading Sunday, May 29 at 2 p.m. and 7 p.m. in person at WQED Studios in Oakland (Pittsburgh, PA). • Seeking—Aiesha: female, 20-39,

Middle Eastern. Architect: female, 40-59, Middle Eastern. Delilah: female, 20-25, Latino / Hispanic, Middle Eastern. Tamam: female, 18-25, Middle Eastern. • Seeking submissions from PA. • Prepare a brief contemporary mono-

logue of your choosing. Videos should begin with a slate of your name and home city and should be no longer than two minutes in length.

• For consideration, submit your audition

along with your current headshot and resume to the audition link at: https:// www.picttheatre.org/participate/ Submission deadline is Feb. 4, 2022 at 9 a.m. ET. Callbacks will be held over zoom at the director’s discretion. • Pays $318/wk. (SPT Tier II.) Equity SPT

Agreement.

Musicals ‘Choir Boy’

• Seeking submissions from Equity

actors for roles in “Choir Boy.”

• Company: Denver Center for the

Performing Arts. Staff: Tarell Alvin McCraney, playwright; Jamil Jude, dir.; Paige Hernandez, choreo.; Harriet Bass and Gama Valle, casting dirs. (NYC Casting: Bass/Valle Casting); Grady Soapes, SCPA dir. of casting. • Rehearsas beginl Mar. 22; runs Apr.

22-May 29 in Denver, CO.

• Seeking—Pharus Jonathan Young: male,

14-19, Black / African Descent. Anthony Justine “AJ” James: male, 14-19, Black / African Descent. David Heard: male, 14-19, Black / African Descent.

• Seeking submissions from CO. • For consideration for the opportunity to

submit a video audition, email a digital copy of headshot and resume to bassvallecasting@gmail.com. Submissions deadline is Feb. 8. Callbacks will be held Feb. 15-16.

• Bass/Valle Casting encourages people

of all races, ages, ethnicities, abilities and gender identities to apply. All performers must be fully vaccinated against COVID-19 as defined by the CDC (i.e., more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine) by March 8. Any actor requiring a medical or religious exemption must provide backstage.com

written documentation for the exemption during the hiring process.

casting dir.; Kevin Metzger-Timson, casting assoc.

• Equity’s contracts prohibit discrimina-

• Rehearsals and performs in the fall. • Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from GA. • Auditions will be held in February. • For consideration, submit a video audi-

tion (via Vimeo, Google Drive, or Drop Box only If via Google Drive, make sure the privacy settings are set access to view), headshot and resume using this form: https://tinyurl.com/ PrincipalSubmissions .

• Pays $1,050/wk. Equity LORT Non-Rep

(LORT D) Contract.

• Audition Video Instructions: Prepare a

‘Cinderella’

• Seeking video submissions from Equity

actors for principal roles in “Cinderella.” • Synopsis: Welcome to Belleville - a

town whose financial solvency depends on remaining the most aggressively picturesque town in the history of the world, populated exclusively with gorgeous townsfolk who stop at nothing to achieve perfection. Belleville is fairy tale come to life: a place where you can’t move without falling over a wishing well or a quivering milkmaid. Maintaining this façade is a full-time job, and one that is enforced very seriously indeed. The only person steadfastly refusing to live in the fairy tale is Cinderella, loud-mouthed, dripping with disdain, and more likely to roast Hansel and Gretel for dinner than play the demure and downtrodden maid, Cinderella is desperate to escape the superficiality of the town. But underneath it all, the loneliness that comes with being the town pariah is wearing on her. It doesn’t help that her only friend, Prince Sebastian, has suddenly become the heir to the throne after the mysterious disappearance of his elder brother: sex god and charisma machine, Prince Charming. Suddenly thrust into the spotlight, the formerly shy and somewhat-less-sex-goddish Sebastian seems to be quickly growing into his brother’s enormous britches, and out of his friendship with Cinderella. But this change of circumstances also introduces something else to the relationship, a new spark which neither of them quite know what to do with. Could it be that these two old friends mean more to one another than they are willing to let on? After a devastating PR disaster for Belleville, and with the threat of the guillotine glinting on the horizon, the Queen decides that the only thing to save the town (and her pretty neck) is a Royal Wedding: something colorful and distracting so the peasants don’t get too revolution-y. All looks lost for the blossoming romance, until Cinderella meets The Godmother, who can fix any problem with a little incision and a couple of broken ribs. Maybe the answer lies where Cinderella has been refusing to look: in conforming to the town’s ideals about beauty and identity. • Staff: Andrew Lloyd Webber, music;

David Zippel, lyrics; Emerald Fennell, book; Laurence Connor, dir.; Joann M. Hunter, choreo.; Kristen Blodgette and David Wilson, music supervisors; The Really Useful Group, Ltd, prod.; Wagner Johnson Productions, general management; Tara Rubin, casting; Claire Burke,

video of a brief contemporary musical theatre pop song or one of selections provided here: https://tinyurl.com/ CinderellaPrincipals. Include a full-body slate at the beginning of your video and film your audition in front of a clean background, with no backlighting. As much as possible, limit ambient noise including air conditioners and other electronics. It’s recommended that you do not use Bluetooth headphones, as it can sometimes cause a delay in the audio. Use a secondary audio source to play the accompaniment music so that it is audible in the tape. submissions deadline is Feb 3. • Equity’s contracts prohibit discrimina-

(League) Contract.

‘Henry IV Part I’

• Seeking video submissions from Equity

actors for roles in “Henry IV Part I.”

• Company: Shakespeare Festival at

Tulane. Staff: Burton Tedesco, dir.; Martin Sachs, artistic dir.

• Rehearses June 14-July 14 (Tues.-Fri. at

6-10 p.m., Sat.-Sun. at 12-5 p.m.); runs July 15-30 (15-16, 22-23, 28-30 at 7:30 p.m., 17, 24, 30 1:30 p.m.) in New Orleans, LA. • Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from LA. • For consideration, prepare a one-min-

ute Shakespeare monologue in verse to shakespearecasting@tulane.edu. Submission deadline is Feb. 5 at 5 p.m. CT. • For more info, visit https://neworleans-

shakespeare.org/pages/auditions. Callbacks Feb. 6 over Zoom. • Pays $450/wk. Equity Special

Appearance Contract.

‘Land Of Oz’

• Seeking video submissions from Equity

actors for roles in “Land Of Oz.” Synopsis: Tip was raised by an evil witch but manages to escape with the help of his new friend Jack the Pumpkinhead. Together they journey to the Emerald City to save it from a rebel army. With the help of our old friends the Scarecrow, the Tin Man, and the Lion they must save Oz and set the rightful heir to the throne! Production states:

“Based on the second book in L. Frank Baum’s Oz series, this world-premiere musical is adapted by the award-winning playwright of ‘Grounded,’ ‘Marie and Rosetta,’ and ‘Into the Breeches.’” • Company: Dobama Theatre. Staff:

George Brant, book and lyrics; Nathan Motta, lyrics; Nathan Motta, dir.; Matthew Dolan, music dir. • Rehearsals begin Oct. 22; runs Dec.

2-31 (possible development workshops runs June 19-26) in Cleveland Heights, OH. • Seeking—Equity Actors: 18+. • Seeking submissions from OH. • For consideration, submit the Unlisted

YouTube link in an email along with an attached: completed audition form, résumé, and headshot to auditions@ dobama.org . Production states: “The video should be uploaded to YouTube and set to ‘Unlisted.’ Audition forms and instructions for uploading an Unlisted YouTube link can be found at: https:// www.dobama.org/workingatdobama#audition . Submissions deadline is Feb. 5. Callbacks will be held Feb. 20 (5 p.m.-10 p.m.), and 21 (6 p.m.10 p.m.) • Preparation instructions: Record one

monologue 60-90 seconds in length and 30-60 seconds of a song that are both generally in the general style of an Oz-based musical theatre piece (“The Wizard of Oz,” “The Wiz,” or “Wicked”). If you would like to use the accompaniment at https://www.dobama.org/ working-atdobama#audition please record both songs Feel free to take notes or sections up or down an octave if that makes them more comfortable for you. Slate at the beginning of the video (state your name and what you’re performing). We ask that the camera show as much of the actor’s body as possible in order to replicate a live theatre audition. • Equity’s contracts prohibit discrimina-

4) Contract.

‘Legally Blonde’ & ‘Little Shop Of Horrors’

• Casting Equity actors “Legally Blonde”

(Kurt Stamm, dir.; Tom Vendafreddo, musical dir. Rehearsals begin May 31; runs June 24-July 17) and “Little Shop Of Horrors” (Kurt Stamm, dir.; Joshua Keller, musical dir. Rehearsals begin July 26; runs Aug. 12-28.) Note: Any ethnicities encouraged to submit for all roles. • Company: Mason Street Warehouse.

Staff: Kurt Stamm, artistic dir.; Maribeth Van Hecke, prod.; Liz Frasier, casting dir. • Productions runs at The Saugatuck

Center for the Arts in Saugatuck, MI.

• Seeking—Equity Actors: 18+. • Seeking submissions from MI. • Prepare two short songs in the style of

the show(s) and record them in .mov format. Files maybe uploaded to this

02.03.22 BACKSTAGE

casting National/Regional link: https://www.dropbox.com/ request/ID5uWbQOQZNUBEpGmEAb Slate your audition. Deadline: Feb. 5. Prepare two short songs in the style of the show(s) and record them in .mov format. Slate your audition. You may also use the accompaniment provided at https://www.dropbox.com/ sh/tramolucsitwkwu/ AABcM0Tctix47gLo_0WXwpdoa?dl=0.

• Seeking—Equity Stage Manager: 18+. • Seeking submissions from NC. • For consideration, submit a résumé

Agreement.

• Complying with all COVID guidelines,

• Pays $657/wk. (SPT 8.) Equity SPT

‘Natasha, Pierre, and the Great Comet of 1812’ • Seeking video submissions from

Equity actors for roles in “Natasha, Pierre, and the Great Comet of 1812.”

• Company: Capital City Theatre. Staff:

Andrew Abrams, dir.-artisitc dir.; Sabra Michelle, choreo.; Evan Lange, musical dir. • First rehearsal May 10, 2022 at the

Capital City Theatre in middleton, WI; runs June 3-12 at Four Winds Farm, WI. The show will be performed in person and fully immersively indoors. • Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from WI. • For consideration, submit a video

audition to info@capitalcitytheatre. org. Auditon instructions: Prepare a one minute contemporary musical theatre piece of your own choosing that is as close to the style of the show as possible and that shows the unique character of your voice. You may also use the accompaniment provided at https://www.dropbox.com/ sh/xhlk1kiltjk8wpa/A ADOfoDVyHiOfaXc5JwlaRTla?dl=0. Slate your name and title of song. Submission deadline is Feb. 28, 2022. • Audience will be masked and all rele-

vant Equity COVID 19 safety protocols in effect at the time of production will be adhered to as well as a Covid Compliance Officer being present if still required. All cast, crew, designers, etc will be required to be vaccinated for COVID-19 at least 3 weeks prior to May 10, 2022. • 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 $600/wk. Equity SPT 5 contract.

‘Ring Of Fire,’ Stage Manager

• Seeking Equity stage managers for

future consideration for “Ring of Fire.” Note: All stage managerial positions in “Ring Of Fire” have been filled. • Company: North Carolina Theatre.

Staff: Johnny Cash, music and lyrics; Richard Maltby, Jr, creator; William Meade, conception; Eric Woodall (CSA), producing artistic dir.-casting dir.; Lauren Juengel, production mgr.assoc. prod.; Randy Redd, dir.-music dir. • Rehearsals begin May 18; runs Apr.

29-May 8 in Raleigh, NC.

BACKSTAGE 02.03.22

Scripted TV & Video

for future consideration to LJuengel@ nctheatre.com . Submissions deadline is Feb. 3.

‘Blindsided’

• In-person rehearsals inside of North

• Casting visually impaired actresses

Carolina Theatre’s rehearsal Studios. In-person performances inside the A.J. Fletcher Theater in Duke Energy Center for the Performing Arts.

only for a lead role in “Blindsided,” a two hour pilot with an eight episode guarantee. Synopsis: Injured and permanently blinded during the course of a police action, Emma Bardovi now working as a civilian liaison for some difficult, high profile cases, where her excellent brain and superb detective skills more than make up for her lack of sight...

restrictions, and regulations from CDC, the state of North Carolina, and Actors’ Equity Association. In-person rehearsals inside of North Carolina Theatre’s rehearsal Studios. In-person performances inside the A.J. Fletcher Theater in Duke Energy Center for the Performing Arts.

• Company: Johnson Production Group.

Staff: Jeff Sagansky, Scott Siegler, exec. prods.; David Weaver, dir.; Joseph Schneider, SAG-AFTRA writer; Lindsay Chag, US casting dir.; Brad Clark, casting assoc.

• Equity’s contracts prohibit discrimi-

• Shoots TBD in Vancouver, Canada and

Los Angeles, CA.

• Seeking—Emma Bardovi: female,

35-45, any ethnicity, visually impaired, very intelligent, with alogical, scientific mind, wry-humored, confident, strongwilled (possibly to a fault), stubborn, Emma Bardovi was a first-rate Los Angeles police detective who excelled at finding a way into a case when no one else could; now permanently blinded from a police action that’s still unsolved, Bardovi has acclimated herself amazingly to livingas a blind person: she uses a dog clicker for echolocation, has honed her other senses (smell, hearing, touch) to a high level, and is fearless at venturing out into the world, despite the total blackness around her; while struggling to figure out the strange sequence of events that lead to her injury, Bardovi has been given the job of a sort ofcivilian consultant by her captain, who values her mind and skill set; now working on solving the murder of a young woman, partnered with the rookie Tyler Knappe and just getting used to having a service dog, Bardovi puts her unique talents into play to solve an apparently dead-end case-and it clearly won’t be the last...lead; salary negotiable.

• Pays $1,007/wk. Equity LOA ref. COST

Contract.

‘Rock of Ages’

• Seeking video submissions from

Equity actors for principal roles in “Rock of Ages.” • Company: Arts Center of Coastal

Carolina. Staff: Richard Feldman, vice president-general mgr.; Sara Brians, dir.-choreo.; Dan Gibson, musical dir. • First reharsal June 7; first preview

June 29; runs July 1-Aug. 14 in Hilton Head Island, SC.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from SC. • For consideration, submit a video

audition at (www.artshhi.com/auditions) or by emailing your audition materials with the subject line: “Rock of Ages, [Your Name]” and upload your video audition to Youtube as unlisted. Audition Video Instructions: Prepare the sides and tracks for the character you are interested in at (www.artshhi.com/auditions). If a reader is not accessible to you, you may perform a monologue in the style of the show. Submissions deadline is Feb. 7. • All Actors must be fully vaccinated

• Seeking submissions nationwide. • Submissions to AuditionsLCC@gmail.

com.

• Pays TBD. SAG-AFTRA.

against COVID-19. Equity approved the fully vaccinated company for this production rehearsals and performances held indoors at The Arts Center. We are working with an Equity-approved safety plan that includes vaccination, testing, masking, cleaning and distancing protocols. Pursuant to current Equity guidelines, proof of full vaccination no later than two weeks prior to in-person work. • Pays $579/wk. Equity SPT (SPT 7)

contract.

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

National Commercials Wayfair Outdoor 2022 Commercial

• Casting “Wayfair Outdoor 2022” a

commercial for Wayfair.

• Staff: Fatima Litim and Nicol Zaino,

prods.; Junhee Chung, dir.; Barbara Stordahl & Jason Crow, casting dirs.

• Shoots Feb. 28-Mar. 5 (1-2 shoot days

per actor) in Austin, TX. COVID-19 Notice: Production will comply with applicable health and safety laws and regulations relating to the COVID-19 pandemic. Actors will be required to comply with Production’s then-applicable COVID-19 protocols, including any

advance testing and negative test result requirements. Employment will be contingent upon receiving a negative preemployment test result. Current protocols require testing approximately 48hrs prior to the start of services. In addition, as a condition of filming at locations that require all Cast & Crew must be fully vaccinated to be eligible to work at their location, subject to applicable laws and requirements, and you will be asked to complete form and to prove vaccine status. All protocols, including timing and frequency of any required testing, are subject to change. • Seeking—Kiera (Rug Couple): female,

20-39, all ethnicities, open to all shapes and sizes. Ability to do subtle comedy, should be able to make us laugh with just a facial expression. Ability to ad lib. Recently married to Rodney. They are a happy couple with a lot of chemistry. When it comes to furnishing their home, Kiera makes most of the decisions, but their outdoor space is one they are tackling together. Kiera is shopping on the Wayfair app. for a rug for the deck (because that deck is hot!). This role will be a Principal Speaking Role ($800/day, possible 1-2 shoot days). Rodney (Rug Couple): male, 20-39, all ethnicities, open to all shapes and sizes. Ability to do subtle comedy, should be able to make us laugh with just a facial expression. Ability to ad lib. Recently married to Kiera. They are a happy couple with a lot of chemistry. When it comes to furnishing their home, Kiera makes most of the decisions, but their outdoor space is one they are tackling together. Kiera is shopping on the Wayfair app. for a rug for the deck (because that deck is hot!). This role will be a Principal Speaking Role ($800/day; possible 1-2 shoot days). Michelle (Grilling Mom and Son): female, 30-49, Asian, Latino / Hispanic, Latinx or Asian but open to all ethnicities. Single Mom raising Julio, her six years old son. With a single income, Michelle knows how to shop smarter, not harder and the women in her neighborhood are always asking where she got her stuff. (Wayfair, of course). Her style is classic with a twist, put-together, economical but elegant, stylish and kid-friendly. Needs a good sense of comedy. She’s outdoors grilling steaks, trying not to burn them, while on the phone with her sister and keeping an eye on her mischievous young son. Scene involves a dog, must be comfortable working with a trained dog. This role will be a Principal Speaking Role ($800/ day, possible 1-2 shoot days). Julio (Grilling Mom and Son): male, 4-6, Asian, Latino / Hispanic, Latinx or Asian but open to all ethnicities. Outgoing. Mischievous energy. Silly. He is a funny kid, makes us laugh (driving force of comedy in scene). He keeps his mom on her toes. Scene involves a dog, must be comfortable working with a trained dog. This role will be a Principal Non-Speaking Role – may include some laughter. ($600/day, possible 1-2 shoot days). Char (Rooftop Girls): female, 20-29, all ethnicities, open to all shapes and sizes. She is suntanning, will require filming in a bathing suit. Modern, real, not cynical. Char and Camila have been roommates since college and just got their first ‘big girl’ apartment. Great friends, great chemistry, backstage.com

National/Regional casting they are opposites that complement each other. They have created a dope rooftop hangout so they have a great space to be social and have the most Instagrammable rooftop in the feed. This role will be a Principal Speaking role ($800/day, possible 1-2 shoot days). Camilla (Rooftop Girls): female, 20-29, all ethnicities, all shapes and sizes. Tans easily, could spend all day in the sun. She is suntanning, will require filming in a bathing suit. Modern, real, not cynical. Camila and Char have been roommates since college and just got their first ‘big girl’ apartment. Great friends, great chemistry, they are opposites that complement each other. They have created a dope rooftop hangout so they have a great space to be social and have the most Instagrammable rooftop in the feed. This role will be a Principal Speaking role ($800/day, possible 1-2 shoot days). Jeannie (Firepit Couple): female, 60-69, all ethnicities, all shapes and sizes. Energetic, youthful, fun loving and vibrant. A bit of a wild card. She’s been happily married to Harold for 30 years, they have retired to Florida from New Jersey. They now love to entertain at their poolside bungalow and Jeannie makes a mean margarita. Able to banter and ad lib. This role will be a Principal Speaking role ($800/day, possible 1-2 shoot days). Harold (Firepit Couple): male, 60-69, all ethnicities, all shapes and sizes. Energetic, youthful, fun loving and vibrant, although a bit stoic. Married to Jeannie for 30 years, they have retired to Florida from New Jersey. They now love to entertain at their poolside bungalow. His wife makes a mean margarita but he’s more of a beer guy. Role is likely a Principal Nonspeaking Role but may need to ad lib. ($800/day, possible 1-2 shoot days).

• Video will be recorded remotely with

resume, and demo reel (if available) to sandtcasting@gmail.com. Note if you are local to Austin, TX.

LOA Agreement.

• Seeking submissions from TX. • For consideration, email headshot,

• Pays $800/day plus 10% agency fee

(principal rate, adults); $600/day plus 10% agency fee (principal rate, child). Principal Usage rate: TV/Online/Stills) $2,000 total +20% agency fee. Renewals will not exceed 10% increase for the next 3 renewal cycles. Usage: 2 years -TV/Online/Stills (US & CA)

Online Commercials & Promos UGC Dog Commercial For Online Insurance Company (Can) • Seeking a UGC talent/ influencer to

talk about their experience with our client who is a pet insurance company. Note: You will read a provided script and capture additional b-roll footage of you and your dog! Looking for fun and energetic talent who has experience with UGC video work! • Company: Grow With Bamboo. Staff:

Stavro Victor, content prod. backstage.com

1-July 10), “Fun Home” (Jeanine Tesori, music; Lisa Kron, book and lyrics; Alison Bechdel, graphic novel; Marti Lyons, dir.; Ariel Triunfo, choreo.; Kory Danielson, music dir.; Pre-production begins June 27, rehearsal begin July 4; runs Aug. 10-Sept. 18), and “BULL: a love story” (Nancy García Loza, writer; Laura Alcalá Baker, dir.; Pre-production begins Aug. 29; rehearsal begins: Sept.5; runs Oct. 12-Nov. 20). The upcoming season of the Broadway Series in the 1,843 seat Paramount Theatre includes: “Dreamgirls” (Tom Eyen, book and lyrics; Henry Krieger, music; Christopher D. Betts, dir.; Pre-production begins July 25; rehearsal begins Aug. 1; runs Sept. 9-Oct. 16), “Sound of Music” (Richard Rodgers, music; Oscar Hammerstein II, lyrics; Howard Lindsay and Russel Crouse, book; Amber Mak, dir.; Pre-production begins Oct. 3; rehearsal begins Oct. 10; runs Nov. 18-Jan. 8, 2023), “Into the Woods” (James Lapine, book; Stephen Sondheim, music and lyrics; Jim Corti, dir.; Pre-production begins Late December; rehearsal begins: January 2023; runs February-March 2023), and “School of Rock” (Mike White, Paramount movie; Julian Fellowes, book; Glenn Slater, lyrics; Andrew Lloyd Webber, new music; Trent Stork, dir.; Pre-production begins March 2023; rehearsal begins March 2023; runs April-Late May/Early June 2023).

your own high-quality phone camera. • Seeking—UGC Talent: 21-50, all

ethnicities.

• Seeking submissions nationwide. • For consideration, submit a sample UGC

video of you and your dog telling us a story about you and your dog so the team can get to know you better to stavro@growwithbamboo.com.

• Pays $150-$250 for video footage use in

perpetuity.

Stage Staff & Tech Arrow Rock Lyceum 2022 Season, Equity Stage Manager Submissions

• Seeking Equity stage manager for future

consideration for Arrow Rock Lyceum 2022 Season. Season includes: “Shrek” (Rehearsals begin May 17; runs June 2-12), “Jersey Boys” (Rehearsals begin June 5; runs June 23-July 3), “Dreamgirls” (Rehearsals begin June 26; runs July 14-24), “Clue” (Rehearsals begin July 28; runs Aug. 12-21), “Sherwood” (Rehearsals begin Aug. 14; runs Sept. 2-11), “A Grand Night For Singing” ((Rehearsals begin Sept. 4; runs Sept. 23-Oct. 2), and “A Christmas Carol” (Rehearsals begin Nov. 29; runs Dec. 14-23.).

• Company: Aurora Civic Center Authority.

Staff: Tim Rater, president-CEO; Jim Corti, artistic dir.; Rose Quealy, VP of productions; Jonathan Allsup, production dir.; Yesenia Esparza, assoc. prod. mgr.

• Company: Arrow Rock Lyceum Theatre.

Staff: Arrow Rock Lyceum Theatre. prod.; Quin Gresham, artistic dir.; Jason Styres / The Casting Collaborative, casting dir.

• Rehearses and runs in Copley Theatre

and Paramount Theatre in Aurora, IL.

• Season runs in Arrow Rock, MO. • Seeking—Equity Stage Manager: 18+. • Seeking submissions from MO. • Submit for future consideration. • Pays $911/wk. (LOA ref LORT D.) Equity

• Seeking—Equity Stage Manager: 18+.

Assistant Stage Manager: 18+.

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

ProductionJobs@paramountarts.com with the subject line: ACCA Stage Mgmt. or mail to Yesenia Esparza, 8 E. Galena Blvd. Ste. 230, Aurora, IL 60506. Applicants should indicate city and state of residency in their submission. Submission deadline Feb. 4.

‘Cinderella,’ B’way

• Seeking Equity Stage Manager for the

Broadway production of ‘Cinderella.’

• Company: Producing Org TBD. Staff:

Andrew Lloyd Webber, music; David Zippel; lyrics; Emerald Fennell, book.; Laurence Connor, dir.; Kristen Blodgette and David Wilson, music supervisors; The Really Useful Group, Ltd. prod; Wagner Johnson Productions; general management; Tara Rubin, casting; David Wilson, music sup.; JoAnn M. Hunter, choreo.

• For more info, visit https://paramoun-

taurora.com/

to admin@wagnerjohnson.com. Submission deadline is Feb. 4.

Staff: Kenneth Roberson, dir.-choreo.; Christie Chiles Twillie, music dir.; Morgan Williams, assoc. choreo.; Michael Unger, artistic dir.; Susan Varela, dir. of Artistic Operations; Joel Kipper, dir. of production and facilities; Kate Ferdinandi, asst. dir. of production and facilities. • Prep week begins Mar. 7; rehearsals begin Mar. 15; runs Apr. 2-24 in Milwaukee, WI. Note: Fully vaccinated staff, must be able to provide proof of vaccination.

• Seeking Equity stage managers and

assistant stage managers for Paramount Arts Center 2022-23 Season. The inaugural Bold Series season in the newly renovated, 165 seat Copley Theatre includes: “Hand to God” (Robert Askins, writer; Trent Stork, dir.; Pre-production begins Apr. 18; rehearsal begin Apr. 25; runs June

• Pays $867/wk. Equity SPT 8 Agreement.

Round House Theatre 20222023 Season • Seeking Equity Stage Managers for

future consideration for the Round House Theatre 2022-2023 Season. Note: All stage managerial positions in Round House Theatre 2022-23 Season have been filled. Season includes: “Nine Night” (American Premiere; rescheduled from ’21-’22 season due to Covid-19 cancellation; Natasha Gordon, playwright; Timothy Douglas, dir.; Rehearsals begin Aug. 30; runs Sept. 14-Oct. 9), “The Tempest” (William Shakespeare, playwright; Aaron Posner & Teller, adapted by-dir.; Teller & Johnny Thompson, magic by; Tom Waits & Kathleen Brennen, music by; Matt Kent, CoArtistic dir. of “Pilobolus,” movement by. Rehearsals begin Oct. 11; runs Nov. 23-Jan. 29, 2023), “Jennifer, Who Is Leaving” (Presented in rep with On The Far End; Morgan Gould, writer-dir. Rehearsals begin Feb. 21, 2023; runs Mar. 30-May 7, 2023), “On The Far End” (Presented in rep with Jennifer, Who Is Leaving; Mary Kathryn Nagle, playwright; Rehearsals begin Feb. 21, 2023; runs Mar. 28-May 7, 2023), and “Slave Play” (Jeremy O. Harris, playwright; Reginald L. Douglas, dir. Rehearsals begin May 2, 2023; runs June 7-July 2, 2023.). • Company: Round House Theatre. Staff:

Ryan Rilette, artistic dir.; Ed Zakreski, managing dir.; Sarah Cooney, casting dir.; assoc. artist casting and producing. • Season runs in Bethesda, MD. • Seeking—Equity Stage Manager: 19+. • Seeking submissions from MD. • For future consideration, email resume

to casting@roundhousetheatre.org. Submission deadline is Feb. 7.

• For more info, visit www.roundhouse-

theatre.org.

• Pays $911/wk. Equity LORT DNon-Rep

Agreement.

‘Raisin’

• Company: Skylight Music Theatre.

Paramount Arts Center 2022-23 Season, Stage Manager

atre.org.

“Weathering,” by Harrison David Rivers. Note: Prior experience as an Equity stage manager is required. Must have strong communication skills, be familiar with Outlook365 and Microsoft Word, and be able to lift 25-30 lbs. periodically. Cast is comprised of seven adults and one child.

manager for “Raisin.”

(League) Contract.

• For more info, visit skylightmusicthe-

‘Weathering’

• Seeking an Equity production stage

• Pays $3,816/wk. Equity Production

KateF@skylightmusictheatre.org. Submission deadline is Feb. 14.

• Bold Series pays $35/hr. for 5-day

rehearsal week; $780/wk. (Stage Manager), $715/wk. (ASM) and $42/hr. for 6-day rehearsal week; $864/wk. (Stage Manager), $792/wk. (ASM). Broadway series pays $1141/wk. (Stage Manager) and $840 (ASM). Equity LOA Contract.

• Rehearses and performs fall 2022. • Seeking—Equity Stage Manager: 18+. • For consideration, submit your resume

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

• Seeking Equity stage manager for

• Company: Penumbra Theatre. Staff:

Colette Robert, dir.; Sarah Bellamy, president of Penumbra Theatre Company; Ron Schultz, senior prod. mgr. • Stage manager prep week begins Mar.

22; rehearsals begin Mar. 29; runs Apr. 26-May 22 in Saint Paul, MN. • Seeking—Equity Stage Manager: 18+. • Seeking submissions from MN. • For consideration, submit resume to

ron.schultz@penumbratheatre.org. Submissions deadline is Feb. 7.

• For more info, visit www.penumbrathe-

atre.org.

• Pays $842/wk. Equity SPT 9

Agreement.

02.03.22 BACKSTAGE

The 28th Annual Screen Actors Guild Awards Outstanding Performance by a Cast in a Motion Picture

Outstanding Performance by an Ensemble in a Comedy Series

Outstanding Performance by a Male Actor in a Drama Series

n “Belfast”

n “The Great”

n Brian Cox, “Succession”

n “CODA”

n “Hacks”

n Billy Crudup, “The Morning Show”

n “Don’t Look Up” n “House of Gucci” n “King Richard”

Outstanding Performance by a Female Actor in a Leading Role n Jessica Chastain, “The Eyes of Tammy Faye”

n Olivia Colman, “The Lost Daughter” n Lady Gaga, “House of Gucci” n Jennifer Hudson, “Respect”

n “The Kominsky Method” n “Only Murders in the Building”

n Kieran Culkin, “Succession” n Lee Jung-jae, “Squid Game”

n “Ted Lasso”

n Jeremy Strong, “Succession”

Outstanding Performance by Female Actor in a Comedy Series

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

n Elle Fanning, “The Great” n Sandra Oh, “The Chair” n Jean Smart, “Hacks” n Juno Temple, “Ted Lasso”

n Jennifer Coolidge, “The White Lotus” n Cynthia Erivo, “Genius: Aretha” n Margaret Qualley, “Maid” n Jean Smart, “Mare of Easttown”

n Nicole Kidman, “Being the Ricardos”

n Hannah Waddingham, “Ted Lasso”

Outstanding Performance by a Male Actor in a Leading Role

Outstanding Performance by a Male Actor in a Comedy Series

n Javier Bardem, “Being the Ricardos”

n Michael Douglas, “The Kominsky Method”

n Benedict Cumberbatch,

n Brett Goldstein, “Ted Lasso”

n Murray Bartlett, “The White Lotus”

n Steve Martin,

n Oscar Isaac, “Scenes From a Marriage”

“The Power of the Dog”

n Andrew Garfield, “Tick, Tick...Boom!” n Will Smith, “King Richard” n Denzel Washington, “The Tragedy of Macbeth”

Outstanding Performance by a Female Actor in a Supporting Role n Caitríona Balfe, “Belfast” n Cate Blanchett, “Nightmare Alley” n Ariana DeBose, “West Side Story” n Kirsten Dunst, “The Power of the Dog” n Ruth Negga, “Passing”

Outstanding Performance by a Male Actor in a Supporting Role

“Only Murders in the Building”

n Martin Short, “Only Murders in the Building”

n Jason Sudeikis, “Ted Lasso”

Outstanding Performance by an Ensemble in a Drama Series n “The Handmaid’s Tale” n “The Morning Show” n “Squid Game” n “Succession” n “Yellowstone”

n Kate Winslet, “Mare of Easttown”

Outstanding Performance by a Male Actor in a Television Movie or Limited Series

n Michael Keaton, “Dopesick” n Ewan McGregor, “Halston” n Evan Peters, “Mare of Easttown”

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture n “Black Widow” n “Dune” n “The Matrix Resurrections” n “No Time to Die” n “Shang-Chi and the Legend of the Ten Rings”

Outstanding Performance by a Female Actor in a Drama Series

Outstanding Action Performance by a Stunt Ensemble in a Television Series

n Bradley Cooper, “Licorice Pizza”

n Jennifer Aniston, “The Morning Show”

n “Cobra Kai”

n Troy Kotsur, “CODA”

n Jung Ho-yeon, “Squid Game”

n “The Falcon and the Winter Soldier”

n Jared Leto, “House of Gucci”

n Elisabeth Moss, “The Handmaid’s Tale”

n “Loki”

n Kodi Smit-McPhee,

n Sarah Snook, “Succession”

n “Mare of Easttown”

n Reese Witherspoon, “The Morning Show”

n “Squid Game”

n Ben Affleck, “The Tender Bar”

“The Power of the Dog”

BACKSTAGE 02.03.22

backstage.com

Backstage Magazine, Digital Edition: February 3, 2022

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