Backstage 2016 09 29 by Mark Stinson

09.29.16 • BACKSTAGE.COM

Meet the Whizz ANDREW RANNELLS RETURNS TO BROADWAY IN A REVIVAL OF “FALSETTOS”

Plus 8+ PAGES OF CASTING NOTICES!

Oh, Hello! OUR BROADWAY PREVIEW INCLUDES EVERYONE’S FAVORITE UPPER WEST SIDERS, DIRECTOR EXTRAORDINAIRE JACK O’BRIEN, AND MORE!

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CONTENTS vol. 57, no. 39 | 09.29.16

NEWS 6 9 plays and musicals opening this fall on the Great White Way

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

9 6 fascinating facts about Broadway’s Belasco Theatre

ADVICE 11 NOTE FROM THE CD To tweet or not to tweet

11 #IGOTCAST Lisa Tobias

12 SECRET AGENT MAN Sartorial excellence

13 #IGOTCAST Zoe Lau

FEATURES 4 BACKSTAGE 5 WITH... Riley Smith

10 MEET THE MAKER Jonathan Ames, “Blunt Talk”

12 SPOTLIGHT ON... Hannah Kasulka

13 INSIDE JOB James Marion, creator of Peter Panic

18 BROAD APPEAL Experts and fans from the Broadway community weigh in on the thrilling 2016–17 season

20 OF ALL TRADES Is there nothing Tony-winning director Jack O’Brien can’t do?

32 LEAGUE OF RESIDENT THEATRES Yale Repertory Theatre

CASTING 21 New York Tristate 26 California 28 National/Regional

IN THE FAMILY

Andrew Rannells reflects on his New York theater roots while preparing to star in a revival of “Falsettos”

CHAD GRIFFITH

Andrew Rannells photographed by Chad Griffith in NYC on Aug. 8. Cover designed by Jessica Balaschak.

COVER STORY page 14

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Chief Executive Officer Peter Rappaport

President & Chief Operating Officer Joshua Ellstein

Chief Financial Officer Michael Felman

Chief Technology & Product Officer James G. Reynolds

Vice President, Casting Luke Crowe

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EDITORIAL Editor-in-Chief Mark Peikert

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CASTING Managing Casting Editor Melinda Loewenstein

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PRODUCTION Production Manager Mark Stinson

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BACKSTAGE, vol. 57, no. 39 (ISSN#53635 USPS#39740) IS PUBLISHED WEEKLY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201.Publication Mail Agreement No. 40031729. ÂŠ2016 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Peter Rappaport, Chief Executive Officer; Joshua Ellstein, President and Chief Operating Officer.

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BAC KS TAG E 5 W ITH . . .

Riley Smith By Mark Peikert

Tell us about ‘Frequency.’ I’m really excited about it. It’s a story about an ordinary father and his daughter, and they’re bound together in extraordinary circumstances nobody knows about but them. Through the season you’ll see them reconcile and work together over this 20-year time period to stop a horrible event that was triggered by their reconnection. At the heart of it, it’s a show about second chances. It’s a cool story and it’s got a lot of layers to it. I couldn’t be more proud of it, the way it turned out. Have you ever used Backstage in the past? I was telling a friend I was doing this interview, and back in the day I had an agent but you had to hustle. And me and my group of actor buddies would look at Backstage every single day. We used Backstage as our tool to find independent films, student films, anything. How did you get your SAG-AFTRA card? With a Wendy’s 99-cent chicken nugget commercial. It was my very first audition ever, and my very last commercial I ever did. I probably went on 300 commercial auditions after that, thinking it was so easy.

How do you typically prepare for an audition? Time. I spend so much time with auditions. Peyton List, who plays my daughter in the series, and I have been acting partners for over a decade and we put in so many hours together. I had a friend over one day when Peyton came over to work with me for her test on the pilot, and we probably worked three hours just on her network test. And that was after we’d worked with her on the other rounds it took to get her there. Afterward, my buddy said, “God, you practice this long every time?” If you practice that hard, you don’t have to audition too often. In the last three or four years I haven’t had to audition as much, but when I do get them I drop everything. •

A self-described journeyman actor, Riley Smith has been in everything from “True Blood” to “Nashville.” This season he’s taking on a brandnew series: the CW’s highly anticipated adaptation of the 2000 film “Frequency.” In this version, a father and daughter (played by Smith and Peyton List) reconnect over a ham radio separated by 20 years—and inadvertently create a new tragedy that they must fight to rectify. We spoke to Smith about working with List on the series (premiering Oct. 5) and why he works so hard on auditions.

“THE ACTING IN ‘GLENGARRY GLEN ROSS’ FROM EVERYBODY, ALL THE GREATS IN THAT MOVIE—THAT THING JUST HOLDS UP.” 4 backstage 09.29.16

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JOEL KIMMEL

What advice would you give your younger self? I would say enjoy the journey. It’s really about the journey and not the destination. I did a good job of that, I think. I’ve been a journeyman actor and I like that about myself. Now! At the beginning and the middle, you just want it to happen faster. But looking back on it, I wouldn’t want it to happen any other way. Those years of other jobs and the pilots that I wish went but didn’t go, I kept thinking that was a negative thing, but really [it was] a positive thing for my development as an actor.

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Chuck Cooper, Celia Keenan-Bolger, and the magnificent Diane Lane in this Roundabout Theatre Company revival. “Falsettos” (Opens Oct. 27) It’s about time William Finn and James Lapine’s 1992 musical dramedy about unconventional families, HIV/AIDS, and bar mitzvahs came back to Broadway. Tugging your heartstrings will be Christian Borle, Andrew Rannells, Stephanie J. Block, and other pros. We can’t wait.

N.Y. THEATER

A New Day for B’way 9 PLAYS AND MUSICALS OPENING THIS FALL

BY JACK SMART he Broadway plays and musicals on offer in the Fall 2016 season are worth their exorbitant ticket prices! Here’s a list of the unmissable shows opening between now and the end of the year. “The Encounter” (Opens Sept. 29) A solo show about the real-life story of a photographer lost among a remote group of South American people sounds like unusual fare for the Great White Way. But the buzz surrounding Simon McBurney’s Edinburgh International Festival favorite is simply sensational. “Holiday Inn, The New Irving Berlin Musical” (Opens Oct. 6) Like “An American in Paris” before it, this

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adaptation of the beloved 1942 film puts Berlin’s classic tunes center stage. Starring Bryce Pinkham and Corbin Bleu, with direction from Gordon Greenberg, it’s sure to put a spring in your step. “Oh, Hello on Broadway” (Opens Oct. 10) Oh, you’ve never met Gil Faizon and George St. Geegland (comedians Nick Kroll and John Mulaney, respectively), crotchety Upper West Siders? Check out some of their popular sketches online and settle in for a night of halfimprovised hilarity. “The Cherry Orchard” (Opens Oct. 16) If anyone can bring the subtle comedy and tragedy of Anton Chekhov’s words (here adapted by Stephen Karam) to new life, it’s Joel Grey,

“A Bronx Tale” (Opens Dec. 1) Co-directed by Robert De Niro and Jerry Zaks, this musical version of Chazz Palminteri’s solo show uses the talents of Alan Menken and Glenn Slater to tell the story of Calogero Anello, a working-class boy caught up in organized crime. “Dear Evan Hansen” (Opens Dec. 4) Benj Pasek, Justin Paul, and Steven Levenson’s new musical, fresh from an OffBroadway run that earned nothing but raves, has Michael Greif at the helm and a star-making turn by Ben Platt as the titular high school boy. It’s a guaranteed hit. “In Transit” (Opens Dec. 11) How has there never been a completely a capella musical on Broadway? Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, Sara Wordsworth, and director Kathleen Marshall are set to change that, plus a cast including Telly Leung and Erin Mackey. • BACKSTAGE.COM

R O B B I E J AC K

Simon McBurney in “The Encounter”

“Natasha, Pierre & the Great Comet of 1812” (Opens Nov. 14) Perhaps the season’s most anticipated musical, “Natasha, Pierre” had audiences raving during its Off-Broadway run starring Phillipa Soo. Now led by Josh Groban and Denée Benton in their Broadway debuts, this “War and Peace”– inspired, cabaret-like show from Dave Malloy is ready to steal everyone’s hearts.

news Subscribe to our YouTube channel for more news and advice at youtube.com/user/backstagecasting

INDUSTRY NEWS

‘THE OFFICE’ IS OPEN SERIES ALUM JOHN KRASINSKI TAKES ON A NEW CHARACTER FOR AMAZON

FOR MORE UPCOMING productions and casting news, visit backstage.com/resources.

Sharon Stone is also lining up her next project and she wants to get you “A Little Something for Your Birthday.” The actor will be joining Hollywood darlings Tony Goldwyn and Ellen Burstyn on her new film plucked from the 2008 Black List. The project will follow a fashion designer as she tries to find romance and success while

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Get Resourceful THERE’S SO MUCH MORE TO BACKSTAGE THAN THE LATEST industry news or profiles of your favorite (or soon-to-be favorite) actors. Visit backstage.com/resources, and there you’ll find a wealth of industry information that you can leverage to take your career to the

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attempting to shake her codependent mother. The film, directed by screenwriter Susan Walter and assembled by Rising Phoenix Casting, will begin production in October in what is expected to be New York or Los Angeles. Bodies are about to drop just in time for Halloween, and “Cadaver” is ready to prove that you can’t keep a good corpse down. The horror film follows an officer recovering from post-traumatic stress disorder who takes on a calming job as an intake nurse for a hospital. But the side profession

soon turns deadly when one of the corpses seems hell-bent on reviving herself. Murders abound as the former cop tries to kill what’s already dead. The film begins shooting at the beginning of November in Los Angeles. Nancy Nayor Casting is still in the process of announcing talent but has attached Shay Mitchell for an undisclosed role. For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more! •

next level. Want to land an agent? Browse our listings and find one in your area! Curious about what projects might be filming nearby? Check out our Production Listings. We even provide a list of casting offices and their submission regulations! Taking the time to explore the carefully curated content on backstage. com may mean the difference between struggle and success—so go check it out now! BACKSTAGE.COM

J OA N M A R C U S

be flipping her fins around these waters as the project follows a sleepy, coastal town whose new resident, a mermaid, brings about a vicious battle between inhabitants of land and sea. The drama has already acquired a few actors— Rena Owen, Ian Verdun, and Eline Powell—who will be taking on various lead roles. The pilot will shoot in the ever-popular Vancouver, British Columbia, at the end of September. Casting for the mermaid tale are Elizabeth Barnes and Tannis Vallely.

SPENCER ALEXANDER

BY REBECCA WELCH arrison Ford, Ben Affleck, Alec Baldwin, and Chris Pine have all played Jack Ryan in one incarnation or another and “The Office” alum John Krasinski wants to add his name to the list of actors who’ve donned the iconic moniker. Amazon is teaming up with TV mastermind Carlton Cuse for a new series about the CIA analyst. “Tom Clancy’s Jack Ryan,” a title that’s sure to undergo tweaks, is setting up for a series run with Krasinski in the lead position. The drama will follow the origin story of Jack Ryan as he uncovers a new terrorist sector determined to incite global catastrophe. The series is currently attaching cast with the help of April Webster and Associates. The series will begin shooting at an undisclosed location in January, just in time for Cuse’s “Bates Motel” to close out its final season. Steer clear of the sushi lovers of Bristol Cove. Freeform is going deep into the watery depths of mermaid lore with its new pilot pickup “The Deep.” Ariel won’t

news Check the Casting section for full details on upcoming stage and screen roles, or visit casting.backstage.com

BROADWAY

THE THEATER’S THE THING EXPLORING THE BELASCO WITH JENNIFER ASHLEY TEPPER BY BACKSTAGE STAFF ew York theater historian, producer, and director of programming at Feinstein’s/54 Below Jennifer Ashley Tepper is shining the spotlight on Broadway’s secrets once again. “The Untold Stories of Broadway, Volume 3,” the latest installment of her acclaimed book series through Dress Circle Publishing, will hit bookstores Nov. 15. We asked the Backstage Future Broadway Power Player to share some of the stories and tidbits she gathered from her hundreds of interviews with Broadway professionals. Check out highlights from Tepper’s new book below.

Haunted Theater More ghost sightings happen at the Belasco than at any other Broadway house. Among the ghosts is a woman in a tattered blue gown who has been glimpsed for decades. Everyone from Laura Linney to Patti LuPone told me their ghost stories about the spookiest theater in New York City.... The Belasco Apartment David Belasco built a 10-room

apartment above his theater on 44th Street and lived there from 1909 to 1931. A small, rickety elevator brought guests up to this lavish abode that included a bedroom, a dance floor, a steam room, a library, and even a water fortress called the Grotto. There was a peephole so Belasco could spy on shows downstairs; Japanese wall panels that hid pornography; a pew from Shakespeare’s church; and a chair that once belonged to Napoleon. After Belasco died in 1931, the apartment fell into disuse and was abandoned. In 1955, the Shuberts rescued a large amount of décor and used it to create the “Belasco Room” in the Sardi’s building. Today, the space sits empty. Except for the ghosts.... Husband-and-Wife Flops In 1946, three back-to-back plays written by husband-and-wife teams ran a total of only 15 performances at the Belasco! During this season, theatergoers in the know nicknamed the house “The Fiasco.” Musicals Are Rare Only 19 musicals have played the Belasco in its 109-year history. When his theater first opened,

J OA N M A R C U S

SPENCER ALEXANDER

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Have You Seen? DON’T JUST READ ALL ABOUT IT—NOW YOU CAN WATCH, TOO! Backstage’s YouTube channel, BackstageCasting, has even more great advice and tips on how to build (and sustain!) an acting career as part of our Set the Scene series. From casting directors to agents to BACKSTAGE.COM

Neil Patrick Harris in “Hedwig and the Angry Inch” David Belasco declared that it was a place for drama and that “musical comedies” would not be done there. Its musical productions since have included “Oh! Calcutta!” (during which time the ghosts disappeared and house staff hypothesized that the nudity scared them away), the original Broadway production of “The Rocky Horror Show” (which closed after only one month and caused the theater’s boxes and orchestra section to be destroyed), and the recent hit revival of “Hedwig and the Angry Inch.” Cavernous Subbasement Because Belasco’s Broadway theater on 42nd (the New Victory today) had a giant elevator and subbasement that could accommodate a surprise appearance by Houdini and his elephant, the 44th Street theater was equipped with the same. Over the years, the humongous space has been used as everything from an

orchestra pit to a recreation area with table tennis to an inventor’s lab for Belasco. Separate Entrance The Belasco was the last Broadway theater to have a separate entrance in use that was originally intended for lower classes to reach the balcony section. Many historic theaters were built with these in place to encourage segregated seating, and so that black audience members would not mingle with white audience members. Shortly after being elected president of the United States, Barack Obama brought Michelle Obama to a performance of “Joe Turner’s Come and Gone” by August Wilson at the Belasco. This fulfilled a promise he had made to her that when the election was over, he would take her to a Broadway show. Immediately after this production, the last separate entrance on Broadway was permanently closed. •

dance instructors, we talk to the people in the know about an actor’s need to know. New videos are posted twice weekly, on Tuesdays and Thursdays, so be sure to keep an eye out on Youtube.com/BackstageCasting and also on Backstage.com. Even better, subscribe to our YouTube channel! And let us know what else you’d like to see from us—your suggestion might become a new video series! 09.29.16 backstage

ACTOR 101

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characters were in the first season and kind of discovered them, and saw where the actors took things or where there was chemistry. The second season was, OK, what could be a fun storyline for each character? Who do we want to pair them with? It’s kind of a big hodgepodge of notions. Then I meet with the writers and start carving that all up into stories and episodes.”

[Meet the Maker]

Jonathan Ames, “Blunt Talk” BY JACK SMART

CAREER OPPORTUNITIES CAN surface at the most unexpected times and places; so it was for author and TV writer Jonathan Ames, who experienced one of the biggest shifts in his career path by way of one exchange. “I got an email from my agent asking the following question: Did I want to get on the phone with Seth MacFarlane?” he remembers. “Of course I would. He said, ‘Seth is looking to do a comedy with Patrick Stewart but needs a writer, needs somebody to come up with an idea.’ ” Ames had to come up with that idea in a day. That evening, he was both channel surfing and brainstorming when he came across a well-known cable news show. “I saw Piers Morgan on CNN with this electric blue

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backdrop behind him. And I suddenly imagined Patrick Stewart behind such a desk. I thought, well that could be a show.” “Blunt Talk,” an original Starz series featuring Stewart as a troubled British newscaster attempting to make it in America, has developed a devoted following since its Season 1 premiere in August 2015 (the sophomore season begins Oct. 2). Co-starring Jacki Weaver, Adrian Scarborough, Dolly Wells, and Timm Sharp as the various producers and assistants to Stewart’s Walter Blunt, the sitcom contrasts the distinct gravitas of its lead with outrageously goofy situations. The character of Walter is built upon such contradictions, says Ames. He’s “a cable news host, in the old-fashioned, Walter Cronkite

sort of model,” but also behaves like an arrogant man-child, able to get away with anything. The pilot episode, for example, involves Walter being arrested after picking up a hooker and climbing atop his car to drunkenly recite Shakespeare. (Sir Walter Blunt is also the name of a character in Shakespeare’s “Henry IV, Part 1.”) “He’s just a very gifted artist and actor who can take the words and make them sound real and interesting, and bring all this depth to every scene,” Ames says of his star and muse. “I wrote it for him, with him in mind. Patrick kind of vetted me, got a feel for me, and away we went.” Season 2 will find “Blunt Talk” in more serialized territory, with plenty of cliffhangers to keep viewers on their toes. “I learned who all the

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I L L U S T R AT I O N : N I C K B E R T OZ Z I ; T O B I A S : M A N DY L I T T L E AT B O M B S H E L L P I N U P S

Erik Griffin and Patrick Stewart on “Blunt Talk”

Ames’ previous series, HBO’s “Bored to Death,” came from an autobiographical place, inspired by the writer’s own stories of struggling for his art in New York. It’s not lost on him that television is seldom created the way “Blunt Talk” was. “In some ways it’s almost like it began as an assignment: ‘Come up with a project for Seth MacFarlane and Patrick Stewart.’ And I did!” How did Ames get to the point where comedy greats are banging down his door? Years of hard work and perseverance. “My advice to any young writer or artist is you just have to put yourself out there,” says Ames. “Learn to make things. You don’t know what you do that might lead to something else, or someone you might meet, a collaborator, someone who appreciates what you do and helps bring you an opportunity.” Performing material in downtown Manhattan for years, Ames yearned to be “discovered” without ever coming close. Then—10 years later—a regular at his shows became the booker for the “Late Show With David Letterman,” leading to an appearance on the show and many opened doors. “There’s always going to be more rejection than acceptance,” says Ames. “Nothing happens overnight. And you never know the ripple effect.” •

JUSTINA MINTZ

“My advice to any young writer or artist is you just have to put yourself out there.”

actor 101

For more advice from industry professionals, visit backstage.com/advice-for-actors

out to filmmakers whose work she respected while at the festival. The master delegates contact list from TIFF provided contact info, and she emailed them directly and asked to meet them to discuss their work.

One of the actors felt that as an artist and storyteller, he’s not compelled to work the social media angle.

[Note From the CD]

To Tweet or Not to Tweet I L L U S T R AT I O N : N I C K B E R T OZ Z I ; T O B I A S : M A N DY L I T T L E AT B O M B S H E L L P I N U P S

JUSTINA MINTZ

BY MARCI LIROFF

AT THIS YEAR’S TORONTO International Film Festival, casting director Heidi Levitt and I were asked to talk about social media to six Rising Stars chosen from around the globe. And because the group of actors had varying degrees of interest in social media, we had a very lively discussion when I asked if they used it in their daily lives and to help boost their career. One of the actors felt that as an artist and storyteller, he’s not compelled to work the social media angle because he wants to concentrate on his work and not fall down the rabbit hole. I noted that most of the television shows in America contractually require the actors to participate in “live-tweeting” during the show. He was grateful his Canadian series didn’t ask that of him as it felt BACKSTAGE.COM

inauthentic to be pushing and selling. The moderator, Shannon Kook, a Rising Star alum, actively participates in most social media platforms and has seen a very large uptick in support from his fan base. He’s found a comfortable zone in which he can separate his personal from his work social media, and has used Indiegogo to fund an indie project in which he participated. Another actor had been on Facebook, Twitter, and Instagram and came to the decision that she needed to delete all of her accounts and concentrate on her work as an actor. She felt that she wasn’t authentically communicating with people through social media and much preferred face-to-face, real-world encounters. She was being very proactive in reaching

Another actor fully embraced several of the platforms and had hired a social media consultant to keep him operating at a high level. Because both Heidi and myself are heavily involved in social media and have seen quite a bit of success from actors who use it correctly, we encouraged everyone to grab their names in all the platforms (including the domain name for their websites) as a placeholder until they are ready to jump back in. An interesting discussion occurred when we spoke about whether casting directors, studios, and networks cast their projects based on social media numbers. It became apparent that it’s project-driven in terms of who pays attention to these numbers. The landscape is shifting and things are changing on a daily basis. Heidi and I agreed that for the kind of projects we cast, the social media following doesn’t really come into play. Casting director Matthew Lessall pointed out that when he was a consultant at a studio, its marketing department was definitely paying attention to social media following. Many talked about the need to protect their privacy and though they felt it was a time suck, most acknowledged the need to do it to remain current. •

#IGOTCAST. Lisa Tobias By Casey Mink LISA TOBIAS first became familiar with Backstage in the ’80s when she was trying to break into the business. When she decided to give acting another go years later, she knew just where to begin. “When I decided to return to acting last year as an over-40, plus-size actress, I was a bit nervous,” says Tobias. “But I knew that Backstage was the place to start.” In the year since reimmersing herself into the acting world, Tobias has booked supporting roles as well as background and industrial gigs. And she even nabbed an agent, all of which she credits to Backstage. “I trust Backstage, from the casting notices to the great advice,” she explains. “It has been instrumental in my acting career.” For Tobias, finding worthwhile roles is just as crucial as overall experiences. “I look for people who I would like to work with,” she says. “I look at the project as a whole.” As an actor who left and returned to the craft, Tobias is simply grateful to be able to pursue her passion on a second goaround. Beyond that, she’s excited to keep going and “can’t wait to see what year two on Backstage has in store!”

GET ANSWERS! FOLLOW PRODUCER AND casting director Marci Liroff on Twitter @marciliroff, or visit

TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast.

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actor 101 Find representation at backstage.com/callsheet

If you want clients to trust you with their careers, you have to dress like someone who is reliable and successful.

[ Secret Agent Man ]

Sartorial Excellence

few weeks ago, I attended an acting school’s showcase being held on a Saturday afternoon. That’s not the sort of thing I normally do, because my weekends are precious. Trust me. Agents need their downtime. But in this case, my girlfriend was in Maui on a modeling assignment and I was on my own, so I agreed to be there. The showcase went well. The space was comfortable. And the actors did a nice job. But something was off about the whole thing, and that something was me. I just couldn’t get into it. Everything felt wrong. The question is why? At the time, I had no idea. But then, just as the showcase was ending, it hit me: I didn’t feel like an agent because I wasn’t dressed like one. You see, it was a Saturday

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afternoon, so I had shown up at the showcase wearing jeans, sneakers, and an old bowling shirt. It turns out that was a bad move. Without dressy duds, I just couldn’t find my groove. All the agents at my office wear a suit. That’s every Monday, Tuesday, Wednesday, and Thursday. Friday is a casual day, but that doesn’t mean we can dress like bums. Jeans are fine but we still have to wear collared shirts or polo tops. T-shirts are a major no-no and would be considered a freshman mistake. (I remember this one time when a young agent showed up on Friday wearing cargo shorts. That poor bastard disappeared faster than Val Kilmer’s career.) I’m fine with this setup because, frankly, wearing a suit puts me in a stronger mindset. It might seem trivial, but dressing

Last night, I attended a workshop with another 10 percenter who showed up looking like a badly packed suitcase. He had on dirty hiking boots, wrinkled khakis, and a stained shirt. During the Q&A, I found most of the actors directing their questions at yours truly. Were my answers better? Nope. The other agent knew his stuff too, but he also looked like someone’s drunk uncle and I looked like the kind of guy who can make things happen. Think about it: Can you imagine James Bond without his tux? Or how about Han Solo without that cool vest? Or even worse, Ari Gold without a suit? For the record, there are five suits hanging in this guy’s closet. Two of them were super expensive and tailored to my finely honed body, but the other three are off the rack; I’m talking Men’s Wearhouse, people. As for my shirts, I buy them online at a discount and I pick up ties during the holiday sales at Macy’s. So this isn’t about money. It’s about common sense. I honestly believe that if you want to be a talent agent and you want clients to trust you with their careers, you have to dress like someone who is reliable and successful. In other words, like a professional. Would you like to know why they say clothes make the man? Because it’s true! •

SPOTLIGHT ON… HANNAH KASULKA By Benjamin Lindsay The Rance family falls victim to a possession and calls on the help of two priests in Fox’s 10-episode modern reboot of “The Exorcist.” Georgia native HANNAH KASULKA stars as the introverted Rance daughter with a secret. On her character, Casey. “Casey is the wallflower of the [Rance] family…. Which is me, Brianne Howey [who plays Kat], Geena Davis as our mom, and Alan Ruck as our dad. Casey’s the anchor of the family and kind of the sturdy [one]—doesn’t need much attention, doesn’t have much going on. [There’s] a fun surprise, and I think you’ll come to see that Casey is dealing with her own set of problems that she’s been hiding.” On reading Backstage. “I definitely read [Backstage’s] articles. When I first moved to L.A., I just Googled ‘how to find an agent.’ I had no idea. There’s no blueprint for [acting]; everybody’s just figuring it out. So it’s nice to have a little guideline or at least words of advice from people who’ve done it before.” On improv at UCB. “[Improv] helps you trust your instincts and be fearless. It definitely helps to not be afraid to go off the page. Especially for auditions, I used to be so afraid I would mess up a word or whatever. You learn that [casting directors] don’t care. If you do go off or change the words a little, for the most part, it’s OK. Just stay in the scene—that’s the most important thing.”

FOR THE FULL Q&A, visit backstage.com.

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M A R I O N : B EC K Y B A S T I E N ; L AU : LY M A N H E U N G

up brightens my mood and makes me feel more like an agent. Also, the clients dig the vibe. They want to be represented by men and women who look like they know what they’re doing.

I L L U S T R AT I O N : S P E N C E R A L E X A N D E R ; K A S U L K A : M A R T I N A T O L O T

actor 101

Find answers to your industry questions at backstage.com/resources

characters are just digital. People went crazy over “Sleep No More” because it introduced player agency to theater, and games do that really well. The best theater is participatory; you feel like you’re part of the show.

James Marion

[Inside Job ]

James Marion BY MOLLY EICHEL JAMES MARION NEEDED A CHANGE. AFTER WORKING IN THEATER for eight years, he decided to go to grad school and learn how to design games. But he could never really abandon the theater. So Marion created Peter Panic, billed as “the world’s first mini–mobile musical.” Adult Swim Games released Act 2 and its Android version, which feature the voice work of Tony nominees and a score from Benjamin Bonnema, Sept. 27.

M A R I O N : B EC K Y B A S T I E N ; L AU : LY M A N H E U N G

I L L U S T R AT I O N : S P E N C E R A L E X A N D E R ; K A S U L K A : M A R T I N A T O L O T

CREATOR OF PETER PANIC

Why did you decide to make the career transition? The thing I was best at in theater was stage management, which wasn’t super creatively fulfilling. I wasn’t good enough to be an actor or a set designer. I saw an ad for the game design department at NYU. I will never leave theater behind, but games are special. It’s the opposite of theater.

Theater has this storied history and video games are brand-new. What are some similarities between the two worlds? It’s the two media that are the most audience-centric. Theater wouldn’t be the same if you were watching it on a screen. Games are performed in front of you live, as well. The

Why did you create Peter Panic? I wanted to make the biggest impact. I could have been successful enough in theater and made a living. But I could affect people in games. I have people sending me videos of themselves singing these songs, and I would do that with Broadway actors. In games, storytelling could be improved. We have a dearth of great acting in video games. Three actors have 60 percent of the roles. There’s so much opportunity. Do you have any advice for actors who want to break into video game voiceover? Make sure people pay you. That was really important to me. My opinion is if you don’t have the money, you can’t hire people. With Peter Panic, we were lucky because everyone was so talented. [“Fun Home” star] Emily [Skeggs] sang everything once and we were like, “We have an extra hour, let’s go to dinner.” But video game acting can be really strenuous. Take care of your voice. A big part of it is also the collaborative process. The guy who played Peter, Gideon [Glick], and Emily played the game a lot, which informed the way they worked and engaged with that platform. Be curious. We had actors who hadn’t played a game in 20 years but were still interested. I wouldn’t have hired someone who looked down their nose at games. •

“It’s hard to break new ground in an art form that’s been out for millennia [like theater], but it’s hard not to stumble onto new ground in games.” BACKSTAGE.COM

#IGOTCAST. Zoe Lau By Casey Mink Actress ZOE LAU does it all: theater, film, and commercial acting, a diversity that is very intentional. “You learn the most by doing,” insists Lau. “In every rehearsal, no matter if it’s for film or theater, I always pick up new things.” To find jobs in all mediums, Lau has used Backstage on a neardaily basis for two years. In fact, she estimates that a third of her credits have been booked thanks to Backstage. For Lau’s most recent gig, a play entitled “The Pearl Diver,” her versatile skill set was invaluable to the play’s incorporation of poetry, song, dance, and live music. “I played the wind with the use of fabric and dance,” she explains of the eccentric piece. “I had to use a range of weird movements together with constant facial expression, which is rather challenging.” Still, Lau does not shy away from work that pushes her as an actor, another reason she continually relies on Backstage. “All types of casting notices can be found here,” she says. “I look for all types of roles, ranging from roles that I am comfortable with to challenging roles to expand my realm.”

TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast.

09.29.16 backstage

IN THE FAMILY

Andrew Rannells reflects on his New York theater roots while preparing to star in a revival of “Falsettos” By Benjamin Lindsay Photographed by Chad Griffith

BACKSTAGE.COM

09.29.16 backstage

“FALSETTOS” MARKED A FIRST

of its kind. James Lapine and William Finn’s musical about marriage, parenthood, and the nature of a modern family premiered on Broadway in 1992 and took home two Tony Awards for best book of a musical and best original score. This was the same year that saw the first clinical trials of “cocktail” combination drug therapies for those suffering from HIV/AIDS, momentously hinting that an end to the epidemic may be in sight. By that time, AIDS had claimed hundreds of thousands of American lives and forever altered the landscape of sexual freedom and, specifically, gayness. While Lapine and Finn’s early-’80sset “Falsettos” is not limited to a “gay” musical or an “AIDS” musical, it was among the first major stage productions (along with “Angels in America”) to take the tragedies of the era and place them center stage. Here, the disease is shown in New York City through the experiences of gay lovers Marvin and Whizzer. “I remember seeing ‘Falsettos’ on the Tonys in ’92 and being like, ‘What the hell was that show?’ ” Andrew Rannells recalls over lunch in Manhattan’s Financial District. “I was a gay kid in Nebraska, [and] it was talking about gay issues. It was very exciting and unlike anything I had seen before.” Getting to the Great White Way to see the live show as a young Nebraskan teen was not in the cards, however; Rannells’ first experience with “Falsettos” in full came several years later, by way of the Nebraska AIDS Project’s community theater production. “I fell in love with the show and fell in love with the score,” Rannells says. “I had the CDs and just wore them out.” Rannells himself may well invoke similar resonance with today’s young LGBTQ theatergoers when he brings this groundbreaking musical back to the New York stage in Lincoln Center Theater’s anticipated Broadway revival. Sharing the spotlight with two-time Tony winner Christian Borle as the Marvin to his Whizzer, Rannells begins his first full Broadway run since starring as Elder Price in “The Book of Mormon” when “Falsettos” opens

“Falsettos” examines the nature of the modern family in an urban setting through these characters. Despite the messiness that comes with adultery, divorce, and remarriage—particularly related to Marvin and Trina’s young son, Jason— “Falsettos” is about “rearranging their family dynamic to make everything OK,” Rannells says. And as for the supporting players, “They all sort of become a family, and they all take care of each other,” Rannells continues. “Those final moments of the show are so—I could cry just thinking about it right now. They’re so beautiful, how they all come together in this moment of real tragedy. I think that’s really universal.” Rannells relates to this idea of finding his “family” not just as a gay man, but as a small-town boy who moved to the big city. “Being in New York and needing With Christian Borle and Stephanie J. Block in “Falsettos” to sort of make up your own family is something that we can all relate to,” he says. “You’re not always with your immediate family. You look outside into your friend circle, which is very much what these characters do together.” While Rannells first saw “Falsettos” on the Tonys telecast in 1992, it would be another five —ANDREW RANNELLS years before he graduated high school and moved to New York City, at the Walter Kerr Theatre Oct. 27. where he attended Marymount Manhattan “It’s crazy that I’m going to get to do it College to pursue a career in acting. But he because it’s one of those things that I’ve knew long before first seeing Lapine and Finn’s been aware of for so long,” he says. “It feels masterpiece that he was meant for the stage so strange to be a part of it now, but it’s and screen. Performing in community theater projects, acting in local commercial gigs, and really exciting.” eventually landing a few national voiceover Lapine and Finn, who are also known for cartoon jobs from a young age, he always had “The 25th Annual Putnam County Spelling his sights set on New York. Bee” and previously worked with Rannells “I was coming from an all-boys Catholic high on a workshop of their “Little Miss Sunshine” school and there wasn’t a lot of guidance as to musical adaptation, are back running the show what the best program would be,” he says. “I for this “Falsettos” revival. Joining them, had to be resourceful and kind of scrappy.” Rannells, and Borle (both of whom also met One of his best resources as a New York newdoing the “Little Miss Sunshine” lab) is a stelbie? Backstage. Not only, he says, did Backstage lar ensemble cast led by Stephanie J. Block as give him industry know-how, but it was how Marvin’s ex-wife, Trina; Brandon Uranowitz he got his first headshots, his first non-Equity as the ex-couple’s therapist and Trina’s new summer stock job, and got cast in his awardhusband, Mendel; and Tracie Thoms and Betsy winning titular turn in a 2002 Austin, Texas, Wolfe as Dr. Charlotte and Cordelia, Marvin’s production of “Hedwig and the Angry Inch.” lesbian neighbors. That one was “a crazy experience”; he later Beyond its queer themes and plot points,

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M AT T H E W M U R P H Y

“[AFTER MOVING TO NYC], I HAD TO BE RESOURCEFUL AND KIND OF SCRAPPY…. BACKSTAGE WAS VERY HELPFUL BECAUSE IT MADE YOU FEEL LIKE YOU HAD SOME SORT OF INSIDE TRACK AS TO WHAT WAS GOING ON.”

LEARNING ON THE JOB

M AT T H E W M U R P H Y

Recalling his first night on Broadway as an ensemble member in “Hairspray,” Rannells says that sometimes a dream come true is not how you’d imagined it. “It was a Tuesday night in January—a hot ticket,” he jokes. “The house was, like, half full, and I just remember the curtain going up when we were doing ‘Good Morning Baltimore.’ First of all, it didn’t go up. It malfunctioned. So we had to stop the show and start it over. It was my first night, [and] it was terrifying. And then seeing how few people were in the audience that night was like, ‘Oh my God.’ For me, it was the biggest night of my life, and for those people it was just a Tuesday night seeing a show. So that was a little surprising. It was a hard thing to learn about ticket sales in a long-running show. There are periods of time where there are not a lot of people in there—and then all of a sudden, it’d be sold out for months and it was great. And then we’d go back to lighter houses. The business of Broadway is interesting.”

revisited the role on Broadway in 2014, taking over for Neil Patrick Harris. “Backstage was very helpful because it made you feel like you had some sort of inside track as to what was going on,” Rannells says of his early years working in New York. “I didn’t have an agent until I got ‘Hairspray.’ I had to get a Broadway show without an agent to get an agent.” At age 26, his 2005 stint in “Hairspray”—first as an ensemble player and understudy for Link Larkin, Corny Collins, and the rotating Male Authority Figure, then full-time as Link—opened more doors for the then-actor on-the-rise and set him on track for acting ventures like his Tony-nominated performance in “The Book of Mormon,” Ryan Murphy’s short-lived NBC comedy “The New Normal,” replacement Broadway gigs in “Hedwig,” “Hamilton,” and “Jersey Boys,” and a starring role alongside Lena Dunham on HBO’s “Girls,” which wraps its sixth and final season early next year. (At the time of interview, Rannells and the “Girls” crew only had one episode left of filming. “This will be a good one,” he assures. “They’re tying things up very nicely for everybody.”) “I have to say that every experience I’ve had, I feel really lucky that it’s topped itself BACKSTAGE.COM

somehow,” Rannells says. “Each one gets a little bit better than the last. I just feel very fortunate.” Such satisfaction, of course, did not just come by happenstance. Now 38 and approaching his 20-year anniversary in the city, Rannells has worked tirelessly to reach the heights seen since “Hairspray.” It is an ethic not lost on his “Falsettos” co-star and friend Borle. “It’s such a clichéd thing to say about your fellow actors, but it’s genuinely true with him: He’s such a generous performer,” Borle says over the phone. “He is super prepared, which is my favorite quality in an actor. [And] he’s so damn charming and he sings like a dream; it’s

very easy to fall in love with him.” While it’s clear now that Rannells always had the makings of a leading man, he reflects today on his earlier work in the ensemble, as an understudy, and going through the paces while chasing the dream. He wouldn’t change a thing. “It was always my goal to be a working actor,” he says. “I was never frustrated; I was thrilled. That was my dream come true, to be on Broadway. I was always ambitious, but if my career had ended with me being in the ensemble of those shows on Broadway, I would still be very happy doing it. It’s what I always wanted.” • 09.29.16 backstage

Broad Appeal Experts and fans from the Broadway community weigh in on the thrilling 2016–17 season By Backstage Staff HOW CAN ANYONE FOLLOW UP A BROADWAY season that gave us “Hamilton,” “The Humans,” and “Shuffle Along”? Don’t underestimate the 2016–17 slate, which features several promising new musicals, buzzy revivals, and intriguing actors gracing the boards. We at Backstage can’t wait for fall to arrive, and neither can the professional Broadway fanatics who chime in below! “What I’m most excited for this season is the long-awaited arrival of Dave Malloy’s ‘Natasha, Pierre & the Great Comet of 1812’ on the Great White Way. The Off-Broadway version in a tent blew my mind a couple years ago and I’m looking forward to hearing Malloy’s idiosyncratic yet lush score played live again. I think he’s one of the most inventive and talented composers working today. I’m also looking forward to seeing how director Rachel Chavkin and set designer Mimi Lien manage to turn

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the Imperial Theatre into an immersive and luxurious Russian supper club. Plus, a majority of the ‘Great Comet’ cast and creative team are making their Broadway debuts! The district will be made ever brighter with the arrival of such young, energetic, and diverse talent. (Also, Josh Groban is starring in it, but who cares about him?)” —DIEP TRAN, ASSOCIATE EDITOR AT AMERICAN THEATRE MAGAZINE

“ ‘Charlie and the Chocolate Factory’ will offer the Great White Way a world of pure imagination this spring, and a certified genius is making the design team extra sweet. Director Jack O’Brien has recruited Basil Twist, who received a MacArthur Genius Grant in 2015, to lend his puppetry talents to the Londonto-Broadway staging. The third-generation puppeteer’s sense of whimsy—seen around the world in his myriad abstract productions—is a

natural fit for Roald Dahl’s world, and I can’t wait to see what he does with Oompa Loompas, blueberry children, and nut-judging squirrels. I’m also looking forward to the Broadway debut of Cate Blanchett in ‘The Present,’ the Chekhov adaptation from her husband, Andrew Upton, beginning in December. New York audiences have seen the Oscar winner’s stage work in Sydney Theatre Company’s ‘A Streetcar Named Desire,’ ‘The Maids,’ and ‘Hedda Gabler’; if she continues to deliver that breathtaking blend of stoicism and vulnerability seen there and onscreen, I have no doubt her name will top several shortlists come May.” —RYAN MCPHEE, NEWS REPORTER AT BROADWAY.COM

“Being the huge nerds we are, a new Broadway season thrills us to no end—new shows, new experiences, new ensemblists! This fall we’re excited about Roundabout Theatre Company’s BACKSTAGE.COM

“ H O L I DAY I N N ” A N D “ T H E C H E R R Y O R C H A R D ”: R O U N DA B O U T T H E AT R E C O M PA N Y; “ O H , H E L L O ”: P E T E R YA N G

CELIA KEENAN-BOLGER, CHRISTIAN BORLE, “CHARLIE AND THE CHOCOLATE FACTORY,” JAKE GYLLENHAAL, CHRISTIAN BORLE AND ANDREW RANNELLS, LAURA DREYFUSS AND BEN PLATT, AND CATE BLANCHETT

K E E N A N - B O L G E R : R O U N DA B O U T T H E AT R E C O M PA N Y; B O R L E : J OA N M A R C U S ; “ C H A R L I E A N D T H E C H O C O L AT E FAC T O R Y ”: M AT T C R O C K E T T; GY L L E N H A A L : S H U T T E R S T O C K . C O M ; B O R L E / R A N N E L L S : M AT T H E W M U R P H Y; D R E Y F U S S / P L AT T: M AT T H E W M U R P H Y; B L A N C H E T T: S H U T T E R S T O C K . C O M ; V EC T O R G R A P H I C S : S H U T T E R S T O C K . C O M

BROADWAY PREVIEW

production of ‘Holiday Inn, The New Irving Berlin Musical,’ which features Broadway regular and Ensemblist friend Megan Sikora, a Gypsy Robe winner with a career full of leading and ensemble roles in myriad shows all over the country. In addition, ‘Holiday Inn’ features Jenifer Foote, herself a 10-time Broadway ensemblist, alongside a battalion of veterans including Matt Meigs, Catherine Ricafort, Samantha Sturm, and Victor J. Wisehart, plus Broadway debuts from talents like Amy Van Norstrand and Darien Crago. We can’t wait to see them strut their stuff!”

“In the 2016–17 season, Broadway will gain a new theater! On 44th Street, The Hudson will become a Broadway house for the first time since 1968, when a revival of ‘Burn This’ opens in March. The acclaimed Lanford Wilson play will star Jake Gyllenhaal and breathe life back into the venue currently attached to the Millennium Hotel. Formerly a disco, a radio playhouse, a pornographic film house, and even home of ‘The Tonight Show,’ the Hudson is landmarked, preventing its destruction over

“ H O L I DAY I N N ” A N D “ T H E C H E R R Y O R C H A R D ”: R O U N DA B O U T T H E AT R E C O M PA N Y; “ O H , H E L L O ”: P E T E R YA N G

—NIKKA GRAFF LANZARONE AND MO BRADY, CO-CREATORS AND HOSTS OF “THE ENSEMBLIST” PODCAST

The New ‘Hamilton’ You didn’t think we’d forget the most anticipated new act on the Great White Way? Or at least, the most anticipated among certain Upper West Siders and fans of internet comedy.... Comedians Nick Kroll and John Mulaney are bringing to the Broadway stage their fan-favorite, crotchety, Jewish alter egos Gil Faizon and George St. Geegland, respectively. “Oh, Hello on Broadway,” a partially scripted comedy two-hander powered entirely by Kroll and Mulaney’s off-the-wall spontaneity, opens Oct. 10. Asked recently about their competition in the New York theater scene, Kroll and Mulaney answered completely in character: It’s “Hamilton.” (“He’s a Lin-Manuel Miranda,” said Gil. “And we’re Lin-Manuel Carrie Bradshaws,” added George.)

the years. Now that Broadway theaters are more in demand than ever, the market has allowed the Hudson to return to us in all its glory. Get excited to see a new Broadway production in one of Broadway’s newest—and oldest—theaters!” —JENNIFER ASHLEY TEPPER, DIRECTOR OF PROGRAMMING AT FEINSTEIN’S/54 BELOW

“I’m super excited to see Celia Keenan-Bolger as Varya in ‘The Cherry Orchard.’ We all know Celia can do anything, so her take on the classic role is sure to be riveting. I’m also excited for ‘Come From Away,’ Irene Sankoff and David Hein’s daring new musical based on the true story of strangers taking care of one another on 9/11—and it’s thrilling that the show has found its star in fan favorite Jenn Colella. Lastly, I’m very excited for scenic designer David Korins’ set for the Broadway transfer of ‘Dear Evan Hansen,’ which seemingly takes the audience inside

the internet to see and feel how quickly information can travel—for better or worse.” —PATRICK HINDS, CO-CREATOR AND HOST OF THE “THEATER PEOPLE” PODCAST

“Last year on Broadway is tough to beat, but I’m actually excited about so many incoming productions for this next season. This fall alone, ‘The Front Page,’ ‘Falsettos,’ ‘Natasha, Pierre & the Great Comet of 1812,’ and ‘A Bronx Tale’ are all on my radar. But I’m also really pumped for ‘In Transit.’ It’s the first a cappella musical on Broadway, but more importantly, it sounds like a musical about the realities of being young and trying to make it in New York City. It’s sweet and cozy and relatable, yet innovative in storytelling—plus, it’s got one half of the ‘Frozen’ songwriting team, Kristen AndersonLopez, on its side.” —RUTHIE FIERBERG, FEATURES EDITOR AT PLAYBILL.COM •

GEORGE: Your thighs are going to rub together. GIL: We want you tired. We want you to come in from a long, boring day at work and just go into a warm theater with two older men just lecturing you. GEORGE: We want to step it up. There are so many great shows right now on Broadway, of course we want to step it up. GIL: And we want to differentiate ourselves from the other shows on Broadway. You know, if you want to go to something subversive, something indie, something underground, go see “Aladdin.” GEORGE: If you can’t afford Sirius satellite radio, go see [“Beautiful,”] the Carole King musical. GIL: Maybe you want to see a new playwright, someone who’s breaking for the first time. Go see Irving Berlin’s “Holiday Inn.”

What other shows are Broadway’s newest superstars excited about this fall?

GIL: “Oh, Hello on Broadway” is a love letter to theater.

GIL: Really, the only other play on Broadway—play, not musical—is “The Humans.” And we’re going to be doing our version of that. It’s called “The Humid.” And it’s gonna be so warm.

GEORGE: Yeah, in that it is a stalker’s note scrawled in lipstick on a wall.... We’re doing one of the edgiest, most avant-garde, most interesting plays of the season. You can print that.

BACKSTAGE.COM

09.29.16 backstage

BROADWAY PREVIEW

Of All Trades Is there nothing Tony-winning director Jack O’Brien can’t do? By Jack Smart

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Jack O’Brien

“It’s not so much the review or the audience or the final product that interests me most. What really interests me most is ‘Did we have a great time working today?’ ” —JACK O’BRIEN ensemble of this nature before.” But O’Brien’s motto holds true, even with such a large, starry Broadway company: “We’re trying our best to put truth onstage so that the audience is arrested not by performance but by validity, by veracity, by truth. “It’s not so much the review or the audience or the final product that interests me most. What really interests me most is ‘Did we have a great time working today?’ A safe could fall on our heads as we leave the building; but if you had a great rehearsal and you got somewhere and felt good about what you were doing, that’s how you achieve it, I think. Moment by moment and day by day.” In the audition room, he adds, actors who are

process-oriented climb to “the top of the wish list.” He looks for problem solvers, eager to contribute their creativity without being driven by ego. “I love people with a sense of humor and a sense of humility,” O’Brien says. “I have a kind of rule: The kinds of people I like to work with are very often the kinds of people I like to have dinner with.” As for aspiring directors hoping for a fraction of the success he’s achieved? “I’d say, go into pharmacology. Not really!” he jokes. “I’ve always felt you want to become a lot of other things before wanting to become a director. The more I direct, the less I seem to know about it and the more I go with my gut and experience.” • BACKSTAGE.COM

ARI MINTZ

JACK O’BRIEN HAS WRANGLED SOME OF Broadway’s biggest A-listers in projects as varied as “Hairspray,” “Henry IV,” and “The Coast of Utopia”—and picked up Tonys for all three. But the veteran director says his newest project, “The Front Page,” presents his biggest hurdle yet. “This play is unlike anything I’ve ever worked on in my life,” O’Brien says of the revival of the classic Ben Hecht and Charles MacArthur comedy, which opens on Broadway Oct. 20 starring Nathan Lane, John Goodman, Holland Taylor, John Slattery, and about 20 more actors. “I have to say it’s revealing itself as the densest work I’ve ever had to do.” Is there a reason he keeps helming such ambitious theatrical endeavors at the highest level? “I’m either a glutton for punishment,” he quips, “or they’re trying to drum me out of the business.” Thespians everywhere know better than to believe O’Brien could be drummed out of the business. Since his start in the ’60s, the director-writer-producer is responsible for some of the most daring yet polished work ever seen on stages around the country, at San Diego’s Old Globe Theatre (where he served as artistic director), and on the Great White Way. Few other artists can claim to have won awards for such a wide variety of material; O’Brien is as comfortable working with Tom Stoppard, one of his longtime collaborators, as he is staging “The Full Monty.” “Because I’ve grown up on musicals and Stoppard and Shakespeare, particularly, I’m used to big fields of actors,” he says. “I’m not intimidated by that, I find it exhilarating.” Still, “The Front Page,” which follows a horde of 1920s tabloid newspaper reporters in an intricate farce, features at least seven performers onstage at a time, often with overlapping or simultaneous dialogue. “Every second of it is packed with intention and invention and complication and more problems to solve than you can shake a stick at,” says O’Brien with a sigh. “It’s a masterpiece of puzzling interaction.” Even more challenging is rehearsing with “the highest-profile company” he’s ever cast. “Almost all of these people are bona fide stars, and practically none of them have been in an

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NEW YORK TRISTATE PLAYS American Shakespeare Center 2017-18 Season, NYC EPA

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. •• Runs in West Palm Beach, FL. •• Seeking—Actors: males & females, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 10 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) at Ripley-Grier Studios, 520 8th Ave., 16th fl., NYC, 10018. EPA Rules are in effect. A monitor will be provided. •• Bring pix & resumes, stapled together. Prepare a brief contemporary monologue and have a second contrasting monologue ready if asked. For more info, visit www. PalmBeachDramaworks.org. •• Pays: $684/wk. Equity SPT 10 Contract.

•• Casting Equity female and male actors for the Blackfriars Playhouse seasons of rotating repertory for 2017-18. Blackfriars summer/fall season includes “Peter and the Starcatcher” (Jim Warren, dir.); “Much Ado About Nothing” (Jenny Bennett, dir.); “Love’s Labour’s Lost,” and “Henry VI, Part 3” (Jim Warren, dir.); rehearsals begin Apr. 24, 2017; runs June 13-Nov. 26, 2017. Actors’ renaissance season includes “Hamlet,” “Richard II”, “The Way of the World,” a new play TBA (Jim Warren, dir.), and “Antonio’s Revenge”; rehearsals begin Dec. 26, 2017; runs Jan. 12-Apr. 8, 2018. •• Company: American Shakespeare Center. Staff: Jay McClure, assoc. artistic dir./casting dir. •• Season runs in Staunton, VA. •• Seeking—Equity Actors: males & females, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 26 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th fl., NYC, 10036. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare two contrasting Shakespeare monologues not to exceed two minutes total. Bring picture and resume. Callbacks will be held Oct. 28. •• Equity LOA Contract and salary pending.

•• Casting “Mrs. Miller Does Her Thing,” a play with music set in the late 1960s. •• Company: Signature Theatre Company Inc. Staff: James Lapine, writer-dir.; Mark Oliver Everett & James Lapine, creators; Tara Rubin Casting. •• Rehearses Jan. 24-Feb. 15, 2017 in NYC; travel day Feb. 16; tech at Signature Theatre in Virginia Feb. 17-26; previews Feb. 28-Mar. 5; runs Mar. 7-26 in Arlington, VA. •• Seeking—Joelle: female, 18-29, all ethnicities. Simon: male, 18-29, all ethnicities. Ensemble Woman: female, 30-39, all ethnicities. Ensemble Woman: female, 20-39, all ethnicities. Ensemble Man: male, 20-29, all ethnicities. Ensemble Man: 30-39, all ethnicities. Ensemble Man: male, 40-49, all ethnicities. •• Seeking submissions from NY. •• For consideration, mail picture and resume to Tara Rubin Casting, Attn: Mrs. Miller Does Her Thing, 200 W. 41st St., Ste. 401, New York, NY 10036. Mark submissions: “Mrs. Miller Does Her Thing [Role]/NYC Appointments Equity Submission.” Submissions deadline is Nov. 1. Note: Mrs. Miller will be played by Debra Monk. •• Pays: $799/wk. Equity LORT C NonRep Contract.

‘Arcadia’ & ‘The Cripple of Inishmaan’

North Carolina Theatre 2017 Season

•• Casting two show for Palm Beach Dramaworks: “Arcadia” (J. Barry Lewis, dir. Rehearsals begin Mar. 7, 2017; runs Mar. 31-Apr.30) and “The Cripple of Inishmaan” (J. Barry Lewis, dir. Rehearsals begin Apr. 25, 2017; runs May 19-June 18). •• Company: Palm Beach Dramaworks. Staff: J. Barry Lewis, dir. BACKSTAGE.COM

PLAYS

CASTING

‘Mrs. Miller Does Her Thing’

•• Casting the North Carolina Theatre’s 2017 season. Season includes “Always Patsy Cline” (Ted Swindley, created & original dir.; Guy Stroman, dir.; McCrae Hardy, music dir. Rehearsals begin Jan. 9, 2017; runs Jan. 20-29); “Jesus Christ Superstar” (Tim Rice, lyrics; Andrew Lloyd Webber, music; Eric Woodall, dir.; Edward G. Robinson, music dir.

CASTING PICKS OF THE WEEK BY M I C H A E L C O U G H L I N musicals ‘On Your Feet,’ B’way Get in the conga line for Telsey + Co. seeking possible replacements for the Estefan family stage ‘Topdog/Underdog’ Tony Award-winner Billy Porter directs the Pulitzer Prizewinning drama at the Huntington Theatre Company in Boston tv ‘Chicago Justice’ Casting and shooting in Chi-town for Dick Wolf’s NBC drama musicals ‘Miss Saigon,’ B’way Seeking Kim and the ensemble at the San Francisco open call for the new Broadway production stage Mark Taper Forum Season The 2017-18 season includes “Archduke,” “Head of Passes,” “Water By the Spoonful,” and “Soft Power” in L.A.

Rehearsals begin Mar. 27; runs Apr. 11-16); Disney’s “Beauty and the Beast” (Alan Menken, music; Howard Ashman & Tim Rice, lyrics; Linda Wolverton, book; Robert Jess Roth, original dir.; Disney Theatrical Productions, original prod.; Sam Scalamoni, dir.; Edward G. Robinson, music dir; Michael Whitney, choreo. Rehearsals begin July 10; runs July 25-30); and “Gypsy” (Arthur Laurents, book; Jule Styne, music; Stephen Sondheim, lyrics; David Merrick & Leland Hayward, original

prod.; Jerome Robbins, original dir.choreo.; Eric Woodall, dir. Rehearsals begin Oct. 30; runs Nov. 14-19). •• Company: North Carolina Theatre. Staff: Casey Hushion, artistic dir.; Carolee Baxter, prod. •• Season rehearses and performs in Raleigh, NC. •• Seeking—Equity Actor/Singers: males & females, 18+, all ethnicities, for various roles in the upcoming 2017 Season. •• Equity Principal Auditions will be held Oct. 11 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th fl., New York City, NY, 10036. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare a brief musical theater song per the show specific breakdowns following. Bring sheet music, in the correct key, as an accompanist will be provided. Bring a picture and resume, stapled together. •• Equity LOA Contract approval/salary pending; currently $726/wk.

‘Other People’s Money’

•• Casting “Other People’s Money,” a play. •• Company: Long Wharf Theatre. Staff: Jerry Sterner, writer; Marc Bruni, dir. •• Rehearsals begin Oct. 25; runs Nov. 25-Dec. 18 in New Haven, CT. •• Seeking—Bill Coles: male, 35-55, all ethnicities. Andrew Jorgenson: male, 65-75, all ethnicities. Lawrence Garfinkle: male, 45-65, all ethnicities. Bea Sullivan: female, 45-65, all ethnicities. Kate Sullivan: female, 25-35, all ethnicities. •• Seeking submissions from NY. •• For consideration, mail pix & resume to Calleri Casting/Attn: OPM, 39 W. 14th St., Ste. 504, NYC. Mark submissions: “OPM [Role]/NYC Appointment Equity Submission.” Submissions deadline is Oct. 10. Equity members must submit themselves directly in order to be considered via this posting (no agent or third-party submissions). •• Pays: $861/wk. Equity LORT B Non-Rep Contract.

Popular Seasonal Production, Non-Union Male Child Actors

•• Seasonal experiential production is looking for NY and NJ-based non-union male child actors for a train experience based on a popular family franchise. Actors should be very friendly, comfortable improvising, and ok with sev09.29.16 backstage

casting NEW YORK TRISTATE

PLAYS MUSICALS

eral performances. Boy should be able to portray 7-11 years old. •• Company: Vance Garrett Productions. Staff: Crystal Anderson, asst. dir. •• Rehearses in Ocober; runs Nov. 25-Jan. 7, 2017 (weekends only) in NYC. •• Seeking—Tom Hanks Lookalike: 30-50, all ethnicities. Santa Claus Character: 18+, all ethnicities. Multiple Additional Roles Available: 18+, all ethnicities. •• Seeking submissions from NY. •• Send submissions to crystal@vgp.nyc. •• For consideration, submit headshots and resumes to crystal@vgp.nyc. •• Pay TBA

‘Topdog/Underdog’

•• Casting “Topdog/Underdog.” •• Company: Huntington Theatre Company. Staff: Billy Porter, dir.; Suzan-Lori Parks, playwright; Alaine Alldaffer, casting dir.; Lisa Donadio, assoc. casting dir. •• Rehearsals begin Feb. 14, 2017; runs Mar. 10-Apr. 9, 2017 in Boston, MA. •• Seeking—Lincoln: male, 35-39, African American. Booth: male, 30-35, African American. •• Auditions will be held by appt. Oct. 4 and Oct. 5 in NYC. •• For consideration, submit picture & resume to alldaffercasting@gmail.com, or send to Alaine Alldaffer, c/o Playwrights Horizons, 416 West 42nd St., Attn: “Topdog/Underdog,” New York, NY 10036. Equity members must submit themselves directly in order to be considered via this posting (no agent of third-party submissions). Performers of all ethnic and racial backgrounds are encouraged to submit. •• Pays $936/wk. Equity LORT B+ NonRep Contract.

MUSICALS ‘Camelot’

•• Seeking Equity performers for “Camelot.” •• Company: Capital Repertory Theatre. Staff: Maggie Mancinelli Cahill, dir.; Freddy Ramirez, choreo.; Josh Smith, musical dir.; Alan Jay Lerner, book and lyrics; Frederick Loewe, music; Stephanie Klapper, casting. •• Rehearsals begin Nov. 1; runs Nov. 25-Dec. 24 in Albany, NY. •• Seeking—Lancelot: male, 30-39, all ethnicities. Merlyn/Pellinore/ Ensemble: male, 50-59, all ethnicities. Sir Lionel/Ensemble : male, 20-49, all ethnicities. Morgan Le Fey/Lady Anne/ Ensemble: female, 20-49, all ethnicities. Nimue/Lady Catherine/Ensemble: 20-39, all ethnicities. •• Seeking submissions from NY. •• For consideration, Equity members email picture and resume to klappercasting@gmail.com or mail to Stephanie Klapper Casting, 39 West 19th St., 12th fl., New York, NY, 10011. Mark submissions: “Camelot [Role____] / NYC Appointment AEA Submission.” AEA members must submit themselves directly in order to be considered. With a cast of ten AEA actors, eight will play multiple roles and be required to play musical instruments, this production

22 backstage 09.29.16

AUDITION HIGHLIGHT S

N E W YO R K T R IS TAT E Fri. Sept. 30 ‘Mamma Mia’ & ‘Beauty & the Beast’ ‘Durned Queer’ ‘Mourning Becomes Electra’ ‘Joan of Arc: Into the Fire’ ‘Further Down the River’

Sat. Oct. 1 ‘Annie Jr.’

Mon. Oct. 3 ‘In the Heights,’ Singers & Dancers ‘Measure for Measure’

Tues. Oct. 4 ‘Sistas: The Musical’ Riverside Theatre 2017 Season Busch Gardens ‘Christmas Town’ John Engeman Theatre ‘Kinky Boots,’ B’way

Weds. Oct. 5 Pushcart Players 2016-17 Season For the full auditions calendar, visit backstage.com/auditions

will feature a fresh, new staging, only possible at Capital Rep. Note: some chorus tracks include principal eight actors, several cast in multiple roles, will augment the orchestra with any of the following instruments: flute, trumpet, clarinet, oboe, French horn, violin, cello, guitar, mandolin, lute, harp. Playing must be at moderate to advanced level. No beginners. If given an appointment, bring a hard copy picture and resume. Seeking actors who can play one or more of the following except where noted: flute, trumpet, clarinet, oboe, French horn, violin, cello, guitar, mandolin, lute or harp. Playing must be at moderate to advanced level. Some tracks will be issued a Chorus contract that will include principal part and/or specialties. Actors who play their own instruments will be provided with a modest weekly rental fee in addition to salary. The roles of Mordred, Sir Sagamore and Sir Dinadan are cast. •• Pays $637/wk. Equity Non-Rep LORT D Agreement. See individual role description for approximate weekly salary for each role/track.

‘Jesus Christ Susperstar’

•• Casting Equity performers for “Jesus Christ Superstar.” •• Company: Aurora Civic Center Authority. Staff: Trent Stork, casting dir.; Ron Kellum,dir.-choreo.; Kory Danielson, music dir.

•• Rehearsals begin Mar 20, 2017; runs April 19-May 28, 2017 in Aurora, IL. •• Seeking—Jesus Christ: male, 33, African American. Judas Iscariot: male, 30-39, African American. Mary Magdalene: female, 20-39, all ethnicities. Annas/King Herod: male, 20-59, African American. •• Equity Principal Auditions will be held Oct. 20 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th Fl., NYC, 10036. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Pays 678/wk. Equity LOA to COST Agreement.

John Engeman Theatre a.k.a. Harborside

•• Casting there productions for the John Engeman Theatre a.k.a. Harborside: “The Full Monty” (Terrence McNally, book; David Yazbek, music & lyrics; Keith Andrews, dir.; Antoinette DiPietropolo, choreo. Rehearsals begin Dec. 29, 2016; runs Jan. 19-Mar. 5, 2017); “Jekyll & Hyde” (Leslie Bricusse, book; Frank Wildhorn, music; Frank Wildhorn, Leslie Bricusse, & Steve Cuden, lyrics; Paul Stancato, dir. Rehearsals begin Feb. 24, 2017; runs Mar. 16-Apr. 30); and “Oklahoma!” (Oscar Hammerstein II, book & lyrics; Richard Rodgers music; Igor Goldin, dir. Rehearsals begin Apr.22, 2017; runs May 11-June 25). •• Company: Harborside Productions LLC. Staff: Richard Dolce, producing artistic dir.; Vic DiMonda, associate producing dir.; Wojcik/Seay Casting, casting office. •• Productions run in Northport, NY. •• Seeking—Actors Who Sing: males & females, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 4 from 10 a.m.-6 p.m. (lunch, 1:302:30 p.m.) at Pearl Studios NYC (519), 519 8th Ave., 12th fl., Studio F, NYC, 10018. EPA Rules are in effect. A monitor will be provided. •• Bring pix & resumes, stapled together. Prepare a short song in the style of the show for which you wish to be considered. You may sing from “The Full Monty,” “Jekyll & Hyde,” or “Oklahoma!” Bring sheet music; accompanist provided. •• If unable to attend the EPA, you can send headshot and resume to Wojcik/ Seay Casting at staff@wscasting.com, “Attn: The Full Monty, Jekyll & Hyde or Oklahoma!” •• Equity Letter of Agreement (pending approval).

‘On Your Feet,’ B’way

•• Seeking actors for possible replacements in the Broadway production of “On Your Feet,” a musical. •• Company: On Your Feet Broadway LLC. Staff: Nederlander Presentations Inc., prod.; Jerry Mitchell, dir.; Sergio Trujillo, choreo.; Lon Hoyt, musical dir.; Gloria & Emilio Estefan, music & lyrics; Alexander Dinelaris, book; Charlotte Wilcox/The Charlotte Wilcox Company, general mgr.; Telsey + Company/Justin Huff, casting. •• Currently running on Broadway in NYC.

•• Seeking—Gloria Estefan: female, 20-30, all ethnicities. Emilio Estefan: male, 30-40, all ethnicities. Gloria Fajardo: female, 50-60, all ethnicities. Consuelo: female, 65-75, all ethnicities. Young Gloria: female, 10-12, all ethnicities. Young Emilio/Nayib: male, 12-21, all ethnicities. •• Equity Principal Auditions will be held Oct. 6 from 10 a.m.-6 p.m. (lunch, 1:302:30 p.m.) at Pearl Studios NYC (500), 500 8th Ave., NYC, 10018. EPA procedures are in effect for this audition. An Equity monitor will be provided. •• Prepare a brief pop or rock song showing range. Bring sheet music for your song. A piano accompanist will be provided. Bring pix & resume, stapled together. Performers of all Latin backgrounds are encouraged to attend. •• Pays: $1975/wk. min. Equity Production (League) Contract.

‘Picnic’ & ‘Come Back Little Sheba’

•• Casting “Picnic” and “Come Back Little Sheba.” •• Company: Transport Group. Staff: William Inge, playwright; Jack Cummings III, dir.; Hannah Oren, artistic prod.; Krista Williams, dramaturg; Francesca James, assoc. dir. •• Rehearsals begin Jan. 2, 2017; previews begin Feb. 23; runs Mar. 25 or 26- Apr. 23 in NYC. •• Seeking—Equity Actors: males & females, 18+, all ethnicities, for roles in one or both of the productions being performed in rotating repertory. •• Equity Principal Auditions will be held Oct. 6 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) and Oct. 7 from 9:30 a.m.-5:30 p.m. (lunch, 1-2 p.m.) at Actors’ Equity Association NYC Audition Center, 165 W. 46th St., 16th fl., NYC, 10036. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare either a brief dramatic or comedic monologue, from any 20th century American playwright. Bring picture and resume. Note: NonCaucasian actors are especially encouraged to audition as it is our hope to cast many of these roles non-traditionally. •• Pays $400/wk. (actors in one show) and $600/wk (actors in both shows), pending Equity approval. Equity LOANYC Contract.

Pushcart Players Season

•• Seeking Equity actors who sing and move well with strong comedic sense and character versatility for the Pushcart Players 2016-2017 Season. Season includes “Ellis Island: Gateway To America” (Runs October 2016-June 2017), “Alice In Wonderland” (Runs February-June, 2017), “Stone Soup And Other Stories” (Runs October 2016-July 2017), “A Season Of Miracles ” (Runs late November-December 2016), “Peter And The Wolf”  (Runs October 2016-July 2017), and “A Cinderella Tale...Happily Ever After” (Runs March-July 2017). •• Company: Pushcart Players. Staff: Paul Whelihan, prod. artistic dir.; Samantha Simpson, general mngr. •• Season runs in Verona, NJ. •• Seeking—Equity Performers: males & females, 18+, all ethnicities. BACKSTAGE.COM

NEW YORK TRISTATE casting

CHORUS CALLS ‘Chicago’ & ‘Mame,’ Singers

•• Casting singers for ensemble parts in “Chicago” (Richard Stafford, dir.-choreo. Rehearsals begin Dec. 12, 2016; runs Jan. 3-22, 2017) and “Mame” (James Brennan , dir.-choreo. Rehearsals begin Feb. 13,2017; runs Mar. 7-26). •• Company: Riverside Theatre Inc. Staff: Ken Clifton, music dir. •• Season runs in Vero Beach, FL. •• Seeking—Singers: males & females, 18+, all ethnicities, must also be strong, fit singers who dance as well to be considered for the ensemble of “Chicago.” •• Equity Chorus Calls will be held Oct. 18 at 9:30 a.m. (females) and at 2 p.m. (males) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th Fl., NYC, 10036. ECC Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare 16 bars in the style of the show you are auditioning for. Singing from the show is fine too. If wanting to be considered for both shows bring contrasting pieces. Bring a headshot and resume and book of music. •• Pays $861/wk. Equity LORT B NonRep Contract.

‘Chicago,’ Dancers

•• Seeking dancers for a production of “Chicago.” •• Company: Riverside Theatre Inc. Staff: Richard Stafford, dir.BACKSTAGE.COM

choreo.; Allen D. Cornell, artistic dir.; Ken Clifton, music dir.; Wojcik | Seay Casting. •• Rehearsals begin Dec. 12, 2016; runs Jan. 3-22, 2017 in Vero Beach, FL. •• Seeking—Dancers: males & females, 18+, all ethnicities. •• Equity Chorus Calls will be held Oct. 19 at 10 a.m. (Equity female dancers) and at 2:30 p.m. (Equity male dancers) at Pearl Studios NYC (519), 519 8th Ave., 12th fl., NYC, 10018. Chorus Rules are in effect. A monitor will be provided. •• Bring pix & resumes, stapled together. Wear dance clothes that show off your silhouette. No baggy attire. Females wear heels. Bring book of music in case asked to stay and sing. •• Pays: $861/wk. Equity LORT B Non-Rep Contract.

NOW NOWINTERVIEWING INTERVIEWING FOR JANUARY CLASSES FORALL 6-WEEK SUMMER INTENSIVE

MUSICALS

•• Equity Principal Auditions will be held Oct. 5 from 9:30 a.m.-1:30 p.m. at Actors’ Equity New York Audition Center, 165 West 46th St., 16th Fl., NYC, 10036. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare a brief comic monologue and a cut of a song, Not more than 90 seconds total. Bring sheet music; accompanist provided. Bring picture and resume. Must be available for daytime/weekday engagements and be able to participate as Actor/ASM. Limited short- term out-of-town touring, primarily day tours from central Verona, NJ location. Performers with disabilities and performers of all ethnic and racial backgrounds are encouraged to submit. Season is year-round (most performances between October 2016 and June 2017) with contracts beginning and ending variously per production throughout. If unable to attend the EPA, photo/resume may be sent to Paul Whelihan, Producing Artistic Director, Pushcart Players, 261 Bloomfield Ave., Ste. A, Verona, 07044 or to paul@pushcartplayers.org. •• Pays $511 (Actor/ASM weekly) or $116 (per performance.) Equity TYA Agreement.

‘In the Heights,’ Singers & Dancers

“THE 25 BEST DRAMA SCHOOLS IN THE WORLD”

•• Casting ensemble singers & dancers for “In the Heights.” •• Company: Fulton Theatre Company. Staff: Marc Robin, exec. artistic prod.; Bob Cline, dir.-casting dir.; Mark Stuart, choreo.; LinManuel Miranda, music & lyrics; Quiara Alegria Hudes, book. •• Rehearsals begin Feb. 25, 2017; runs Mar. 16-Apr. 2 in Lancaster, PA. •• Seeking—Usnavi: male, 20-29, all ethnicities. Nina: female, 18-25, all ethnicities. Vanessa: female, 18-25, all ethnicities. Benny: male, 20-29, all ethnicities. Sonny: male, 18-22, all ethnicities. Kevin: male, 38-59, all ethnicities. Camilla: female, 38-59, all ethnicities. Abuela Claudia: female, 60-79, all ethnicities. Daniela: female, 30-39, all ethnicities. Carla: female, 20-29, all ethnicities. Graffiti Pete: male, 18-25, all ethnicities. Piragua: male, 30-39, all ethnicities. Ensemble Dancers & Singers: males & females, 20-39, all ethnicities. •• Equity Chorus Calls will be held Oct. 3 at 9:30 a.m. (male singers), at 11:30 a.m. (male dancers), at 2 p.m. (female singers) and at 4 p.m. (female dancers) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th fl., NYC, 10036. •• Bring picture and resume. Singers: prepare a brief song from or in the style of the show. Bring sheet music; accompanist provided. Have a 16 bar cut of your song if needed. Also be prepared and bring jazz shoes or sneakers in case asked to stay and dance. Dancers: Bring jazz shoes or sneakers. Also prepare 16 bars of a song from or in the style of the show in case asked to sing. •• Pays: $776/wk. Equity LORT C Contract.

- THE HOLLYWOOD REPORTER SURVEY RANKED IN 2013 | 2014 | 2015

WILLIAM ESPER WILLIAM ESPER STUDIO WILLIAM STUDIO ESPER THE WORLD’S FOREMOST ACTING STUDIO DEDICATED TO MEISNER - BASED TRAINING

THE WORLD’S FOREMOST ACTING STUDIO DEDICATED TO MEISNER - BASED TRAINING

STUDIO

FORMER STUDENTS INCLUDE AMY SCHUMER - SAM ROCKWELL - REGINA HALL - LARRY DAVID ARIJA BAREIKIS - KATHY BATES - CHRISTINE LAHTI - DAVID MORSE AARON ECKHART - TIMOTHY OLYPHANT - GRETCHEN MOL

‘Mame,’ Dancers

•• Casting dancers for “Mame.” •• Company: Riverside Theatre Inc. Staff: James Brennan, dir./choreo.; Allen D. Cornell, artistic dir.; Ken Clifton, music dir.; Wojcik | Seay Casting, casting. 09.29.16 backstage

CALL NOW | 212.904.1350 CALL NOW | 212.904.1350 WWW.ESPERSTUDIO.COM WWW.ESPERSTUDIO.COM

MARY MCCORMACK - PETER GALLAGHER - RICHARD SCHIFF JENNIFER BEALS - PATRICIA WETTIG - PAUL SORVINO - DULÉ HILL ROBERT KNEPPER - MATTHEW SETTLE - JEFF GOLDBLUM HARROLD PERRINEAU, JR. - PATRICIA HEATON - AND MANY MORE

casting NEW YORK TRISTATE

MUSICALS

•• Rehearsals begin Feb. 13; runs Mar. 7-26, 2017 in Vero Beach, FL. •• Seeking—Equity Dancers: males & females, 18+, all ethnicities. •• Equity Chorus Calls will be held Oct. 11 at 10 a.m. (male dancers) and at 2:30 p.m. (female dancers) at Pearl Studios NYC (500), 500 8th Ave., 4th fl., NYC, 10018. ECC Procedures are in effect for this audition. An Equity Monitor will be provided. •• Bring flats. Bring a photo and resume and your book of music in case you are asked to sing after dancing. •• Pays $861/wk. Equity LORT B Non-Rep Contract.

North Carolina Theatre Season

FILM VARIETY GIGS

•• Casting singers & dancers for North Carolina Theatre’s 2017 season. Season includes “Jesus Christ Superstar” (Tim Rice, lyrics; Andrew Lloyd Webber, music; Eric Woodall, dir.; Edward G. Robinson, music dir. Rehearsals begin Mar. 27; runs Apr. 11-16); Disney’s “Beauty and the Beast” (Alan Menken, music; Howard Ashman & Tim Rice, lyrics; Linda Wolverton, book; Robert Jess Roth, original dir.; Disney Theatrical Productions, original prod.; Sam Scalamoni, dir.; Edward G. Robinson, music dir; Michael Whitney, choreo. Rehearsals begin July 10; runs July 25-30); and “Gypsy” (Arthur Laurents, book; Jule Styne, music; Stephen Sondheim, lyrics; David Merrick & Leland Hayward, original prod.; Jerome Robbins, original dir.-choreo.; Eric Woodall, dir. Rehearsals begin Oct. 30; runs Nov. 14-19). •• Company: North Carolina Theatre. Staff: Casey Hushion, artistic dir.; Carolee Baxter, prod. •• Season rehearses and performs in Raleigh, NC. •• Seeking—Equity Ensemble Dancers: males & females, 18+, all ethnicities, for various roles in the upcoming 2017 season. Equity Ensemble Singers: males & females, 18+, all ethnicities, for various roles in the upcoming 2017 season. •• Equity Chorus Calls will be held Oct. 12 at 9:30 a.m. (female singers) and at 2 p.m. (male singers) and Oct. 13 at 9:30 a.m. (female dancers) and at 2 p.m. (male dancers) at Actors’ Equity New York Audition Center, 165 West 46th St., 16th fl., New York City, NY, 10036. ECC Procedures are in effect for this audition. An Equity Monitor will be provided. •• Singers: Prepare a brief musical theater song per the show specific breakdowns following. Bring sheet music, in the correct key, as an accompanist will be provided. Bring a picture and resume, stapled together. Dancers: Bring character shoes. Prepare 16 bars of a standard Broadway style song if asked. Bring sheet music in your key; sight-reading accompanist provided. Bring a picture and resume, stapled together. •• Equity LOA Contract approval/salary pending; currently $726/wk.

EVENTS

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

24 backstage 09.29.16

FEATURE FILMS ‘The Dirty Kind’

•• Casting “The Dirty Kind,” a feature film. Synopsis: An eager private investigator specializing in divorce accidentally uncovers a grisly crime and becomes target for both the culprits and the police. •• Company: Vitelloni Productions, Inc. Staff: Vilan Trub, dir. •• Rehearses in November; shoots end of December in NYC. •• Seeking—John Featherstone: male, 40-45, Caucasian, dark or fair to blond hair welcome; facial hair welcome, but not required; slim to athletic build; think Christopher Walken in “At Close Range” and Harry Dean Stanton in “Repo Man.” Lee Zeigler: male, 45-55, Caucasian, may or may not have hair; both fit and hefty body types will be considered; think John F. Kennedy, Stacey Keach in “Titus,” or George Wendt as Norm in “Cheers.” Natalie Cottontail: female, 18-25, African American, slim and sexy; think Naomi Campbell or Brandy Norwood in “I Still Know What You Did Last Summer.” Barbara Featherstone: female, 35-40, Caucasian, New York accent welcome, not not required; think Ellen Burstyn in “Alice Doesn’t Live Here Anymore.” Raymond Cain: male, 30-35, Caucasian, African American, has a beard; fit, slim, or athletic build; think Sterling K. Brown in “The People v. O.J. Simpson,” Ryan Gosling in “The Nice Guys,” or Casey Affleck in “Gone Baby Gone.” Veronica: female, 18-25, Caucasian, slim and attractive; any hair length/style/color welcome; think Mila Kunis in “That ‘70s Show,” or Kate Hudson in “Almost Famous.” Note: Role requires brief topless nudity during a scene in which Veronica, a stripper, gives a patron a lap dance; scene is not overtly sexualized, as the patron is the private investigator/lead character who is there for work reasons (the missing girl he’s looking for worked at the same club). Sinclaire: male, 30-35, Caucasian, Asian, has a hipster, well-groomed style; think Shia LaBeouf, Joseph Gordon Levitt, or Steven Yeun. Vitali: male, 40-45, Caucasian, Russian male with short hair; extremely well-built; lives in the gym; think Joe Rogan. Victor: male, 30-35, Caucasian, Russian male with floppy hair; slim and unkempt; think Jesse Eisenberg in “Adventureland.” Gemelo: male, 20-30, Hispanic, Hispanic male with extreme style and grooming; likes to slick hair to the side like Pablo Escobar and suck on lollipops while wearing fashionable sunglasses; think Clifton Collins Jr. in “Traffic.” •• Seeking submissions from NY. •• Send submissions to VitelloniProdCasting@gmail.com. •• In your email, include headshots and a link to your video reel. Production states: “The director’s debut feature film, ‘Susie Q,’ is set to premiere on Amazon Prime on Nov. 29. The film follows two down-and-out brothers as they fight over a girl, all while plotting how to rob her. For more info on ‘Susie Q,’ visit http://www.imdb.com/title/ tt2516720. More info available at VitelloniProd.com.”

•• Deferred salary. Low pay and points provided for lead roles; points provided for supporting roles. Meals will be provided.

CRUISE LINES Holland America Line, Singers & Dancers

•• Seeking singers, singer/dancers and dancers for productions aboard Holland America Line’s luxury ships produced by Emmy Award Winning RWS & Associates. •• Company: RWS & Associates. Staff: Franklyn Warfield, senior casting dir. •• Casting will be ongoing throughout 2016 and 2017. Worldwide itineraries. •• Upcoming contract dates for ms Nieuw Amsterdam: rehearses Nov. 21, 2016Jan. 5, 2017 in NYC; embark Jan. 6, 2017 , disembark Aug. 5, 2017. ms Westerdam: rehearsal Nov. 28, 2016Jan. 6, 2017 in NYC; embark Jan. 7, 2017, disembark Aug. 15, 2017. •• Seeking—Male Singers & Singer/ Dancers: male, 21-45, all ethnicities, should read late 20s-early 40s; 5’8”+; attractive, masculine performers who can command a stage and tell a story think leading man. Sensational tenors and bari-tenors with strong falsetto. Contemporary sounding voices with the ability to perform pop/rock. Vocal range: Low A-high Bb (full voice). Strong harmonizing skills a must. Must be comfortable with guest interaction. Must move well. Female Singers & Singer/Dancers: female, 21-45, all ethnicities, should read late 20s-early 40s; 5’3”+; attractive, mature performers who can command a stage and tell a story. Sensational belters with strong mix/head. Contemporary sounding voices with the ability to perform pop/ rock. Vocal range: Low G-high F (belt/ mix). Strong harmonizing skills a must. Must be comfortable with guest interaction. Must move well. Male and Female Dancers: males & females, 21-40, all ethnicities, strong, versatile dancers with excellent physiques and great technique who are comfortable performing a wide range of dance styles from ballet to commercial jazz to theater. Ballroom/partnering, tumbling and aerial skills a plus. •• Auditions will be held Oct. 10 at 10 a.m. (Female Singers & Singer/Dancers) and at 2 p.m. (Male Singers & Singer/ Dancers) and Oct. 11 at 10 a.m. (Female Dancers) and at 2 p.m. (Male Dancers) at Pearl Studios 500, 500 8th Ave., 4th Fl., NYC, 10018. •• Singers and Singer/Dancers: Prepare 16 bars of a pop/rock or contemporary musical theatre song showing range and personality. Bring sheet music in correct key; accompanist will be provided. Bring headshot and resume stapled together. You may be called back to move later the same day; bring dance clothes/shoes. Callbacks for Singers will be held Oct. 12 at Pearl Studios. •• Dancers: A brief dance combination will be taught. Bring form-fitting dance attire (females bring heels and flats), headshot and resume stapled together.

•• Pays $600-1,200/wk. Travel and lodging provided. No cruise staff duties.

GIGS Ellen’s Stardust Diner, Singing Waitstaff

•• Seeking singing waitstaff for Ellen’s Stardust Diner. Coordinator states: “Ellen’s Stardust Diner, located in the heart of the NYC theater district, has been the springboard for many Broadway and film careers. We are looking for ambitious and talented performers to join our amazing Stardust family.” •• Company: Ellen’s Stardust Diner. Staff: K. Sturm, coord. •• Restaurant is located at 1650 Broadway, NYC. •• Seeking—Singing Waitstaff: 18+, all ethnicities. •• Seeking submissions from NY. •• For consideration, drop off resume at 1650 Broadway, Ste. 1008 in NYC between 10 a.m.- 3 p.m. •• Pays: Minimum wage plus tips.

WORKSHOPS One on One NYC’s L.A. Trip

•• Seeking participants for One on One NYC’s L.A. Trip. Company states: “If you are a New York actor thinking about moving to LA, this incredible opportunity is for you! The L.A. Trip’s unique format is designed to launch your career in Hollywood. Actors have an exclusive opportunity to meet and work with 19 top LA agents and managers in the heart of Los Angeles over the course of five days. The L.A. Trip also includes three bonus marketing and coaching workshops. We have 400+ success stories and counting from previous L.A. Trips.” •• Company: One on One NYC. Staff: Marc Isaacman, exec. dir. •• Workshops run Oct. 21-25 at the Wilshire Crest Hotel, 6301 Orange Street, Los Angeles, CA 90048. •• Seeking—New York Actors Looking to Move to L.A.: males & females, 18+, all ethnicities. •• Auditions will be held by appt. Oct. 5 and Oct. 6 at One on One NYC, 34 West 27th St., 11th fl., NYC, 10001. •• To set up a free audition or for more info, email Allison at allison@oneononenyc.com and visit www.oneononenyc.com. •• No pay. Fees required. Company states: “We’re offering Backstage readers a discounted participation fee of $860 ($110 off!). Airfare and hotel accommodations are not included.”

Primary Stages Physical Comedy Workshop with Chris Bayes

•• Seeking participants for physical comedy and clown workshop. Company states: “Get ready to rediscover your playful spirit and the simple pleasure and ferocious generosity of perforBACKSTAGE.COM

NEW YORK TRISTATE casting

mance in this one-day Clowning Workshop at Primary Stages ESPA. Way beyond ‘being funny,’ clowning is a way to check your inhibitions at the door, banish dread of failure, and open yourself up to the potential of delight. By rediscovering that vulnerability, your relationship to all other forms of drama will be enriched by the openness and reckless abandon that the clown requires.”. •• Company: Primary Stages Einhorn School Of Performing Arts (ESPA). Staff: Chris Bayes, instructor-movement coord. (Broadway and Off-Broadway’s “The 39 Steps”). •• Workshop is Oct. 5 (1–6 p.m.) at Primary Stages Studios in Midtown, Manhattan. •• Seeking—Actors: 18+, all ethnicities. •• Seeking submissions from NY. •• Send submissions to espa@primarystages.org. •• For more info, visit http://primarystages.org/espa/acting/ workshop-clowning. •• Workshop fee is $200. ESPA provides students payment plans to break up tuition at http://primarystages.org/ espa/payment-plans.

TV Workshops w/ Top L.A. Youth Casting Director Krisha Bullock, Kids & Teens

•• Seeking participants for A Class Act NYC’s four TV workshops with L.A. casting director Krisha Bullock of Bullock/Snow Casting. Company states: “Extremely prolific, LA based

youth Casting Director, Krisha Bullock is one of the most influential, awardwinning casting directors in the industry today. She specializes in youth casting, from hit children’s television shows on kid friendly networks to feature films and commercials. Ms. Bullock is the current recipient of the Casting Society of America’s Artios Award for Excellence in Casting for her work on ‘iCarly’ and has been nominated for more than a dozen Artios Awards. Her industry accolades also include the prestigious Seymour Heller Award for Television Casting Director of the Year given by the Talent Manager’s Association. Krisha’s youth casting expertise made her the go-to Casting Director for a Simon Fuller, Perez Hilton and Jamie King nationwide talent search project. Outside of casting, Krisha has mentored thousands of hopeful young people, helping them break into the industry. She has guided many upand-coming actors such as the Oscarnominated Hailee Steinfeld, who, to this very day, utilizes Krisha’s advice. Gain invaluable insight into the audition process from one of castings most respected in-the-know professionals and learn how to break into the entertainment industry! This class will conclude with a question and answer session that is open to parents and children.”. •• Company: A Class Act NY. Staff: Jessica Rofe, artistic dir.; Krisha Bullock, casting dir.

•• Workshops run Nov. 18 (ages 8-19, 5:30-9 p.m.); Nov. 19 (ages 7–11, 10 a.m.1:30 p.m.; ages 12-19, 2–5:30 p.m.); Nov. 20 (ages 8-19, 10 a.m.-1:30 p.m.) in NYC. •• Seeking—Young Actors: males & females, 8-19, all ethnicities. •• Seeking submissions from NY. •• Send submissions to info@aclassactny.com. •• To register, visit AClassActNY. Eventbrite.com. •• $225 participation fee required.

Workshop with Casting Director Brette Goldstein

•• Seeking actors for an educational workshop with casting director Brette Goldstein (“Sharknado 2” and “Donny!”). Owner states: “The night will begin with a special introduction from Brette. Then we’ll dive into scene work. Each actor will have the rare opportunity to perform a prepared oneminute monologue for Brette and the class. She will provide valuable feedback and work with each participant. While not performing, the rest of the class will get to observe and listen.The night will conclude with an extremely valuable ‘question and answer’ session. At this time, the class will have the opportunity to ask Brette any questions about the business, her career, acting etc.” •• Company: Robert Peterpaul Productions LLC. Staff: Robert Peterpaul, owner. •• Workshop is Oct. 27 (7-9:30 p.m.) in NYC.

•• Seeking—Actors/Actresses: males & females, 14+, all ethnicities, performers looking to potentially expand their knowledge of the industry and make a valuable connection. •• Seeking submissions from NY, NJ and CT. •• For consideration, email your headshot and resume to robertpeterpaulproductions@gmail.com, with subject “Brette Goldstein.” For more info, visit www.robertpeterpaulproductions. com/brette-goldstein-casting-director. •• $119 participation fee required (includes workshop notes emailed to you).

GROUPS & MEMBERSHIP COMPANIES ‘Archetypes!’

•• Casting “Archetypes!” for The Actor’s Project NYC’s 37th season of full-length theatrical showcases of music, scenes, monologues, and sketch comedy, all original works by company writers. Producer states: “TAPNYC is a company that assists its members in landing agents and getting work through industry showcases. All shows are attended by industry in film, TV, and theater. Past productions have been attended by

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casting CALIFORNIA

PLAYS MUSICALS FILM

producers (Broadway), agents (commercial/legit), managers, and casting directors.” •• Company: The Actor’s Project NYC. Staff: Joe Naples, Duvall O’Steen, Bobby Holder, and Ann Bonner, codirs.; Sam Carner & Derek Gregor, music. •• Rehearses in fall 2016 and performs in winter 2017 in NYC. •• Seeking—Actors & Singers Seeking Representation Through Showcases: 18+, all ethnicities. •• Auditions will be held by appt. Oct. 4 from 2:30-3:30 p.m. at TAPNYC @ Studios 353, 353 W. 48th St., NYC, 10036. •• Send submissions to audition@theactorsprojectnyc.com. •• In your submission, include an audition date selected from the options; casting personnel will email you an audition request. Add audition@theactorsprojectnyc.com to your contacts to ensure the confirmation lands in your inbox. If you do not receive same-day confirmation, direct-email headshot and resume to audition@theactorsprojectnyc.com. Prepare a one-minute contemporary comedic monologue. Auditions will be done in groups. Producer states: “We suggest (though do not require) monologues from Bobby Holder’s book ‘Out of the Blue’ (available on TheActorsProjectNYC.com, BobbyHolder.com, Amazon, iBooks, etc.) or TAPNYC approved monologues at monologuestogo.com.” •• Membership dues are $495/season and include agent/manager coaching, resume workshops, branding-yourself workshops, and entry into The ActingCareer Seminar, where company members meet with a commercial agent, a legit agent, and a talent manager.

‘Scenario!’

EVENTS

•• Casting “Scenario!” for The Actor’s Project NYC’s 37th season of full-length theatrical showcases of music, scenes, monologues, and sketch comedy, all original works by company writers. Producer states: “TAPNYC is a company that assists its members in landing agents and getting work through industry showcases. All shows are attended by industry in film, TV, and theater. Past productions have been attended by producers (Broadway), agents (commercial/legit), managers, and casting directors.” •• Company: The Actor’s Project NYC. Staff: Joe Naples, Duvall O’Steen, Bobby Holder, and Ann Bonner, codirs.; Sam Carner & Derek Gregor, music. •• Rehearses in fall 2016; performs in winter 2017 in NYC. •• Seeking—Actors & Singers Seeking Representation Through Showcases: 18+, all ethnicities. •• Auditions will be held by appt. Oct. 4 from 2:30-3:30 p.m. (group audition) at TAPNYC @ Studios 353, 353 W. 48th St., NYC, 10036. •• Send submissions to audition@theactorsprojectnyc.com. •• In your submission, include an audition date selected from the options; casting personnel will email you an audition request. Add audition@theac-

26 backstage 09.29.16

torsprojectnyc.com to your contacts to ensure the confirmation lands in your inbox. If you do not receive same-day confirmation, direct-email headshot and resume to audition@theactorsprojectnyc.com. Prepare a one-minute contemporary comedic monologue. Auditions will be done in groups. Producer states: “We suggest (though do not require) monologues from Bobby Holder’s book ‘Out of the Blue’ (available on TheActorsProjectNYC.com, BobbyHolder.com, Amazon, iBooks, etc.) or TAPNYC approved monologues at monologuestogo.com.” •• Membership dues are $495/season and include agent/manager coaching, resume workshops, branding-yourself workshops, and entry into The ActingCareer Seminar, where company members meet with a commercial agent, a legit agent, and a talent manager.

SOUTHERN CALIFORNIA

Aug. 15, 2017-Oct. 22, 2017), “Water By The Spoonful” (Quiara Alegria Hudes, playwright; Lileana Blain-Cruz, dir. Runs Jan. 4, 2017-Mar. 11, 2018), and “Soft Power” (David Henry Hwang, playwright; Leight Silverman, dir. Runs Mar. 16, 2018-May 13, 2018). •• Company: Center Theatre Group. Staff: Meg Fister, casting dir. •• Season runs in Los Angeles, CA. •• Seeking—Equity Actors: males & females, 18+, open to all ethnicities, and performers with disabilities unless specified. •• Equity Principal Auditions will be held Oct. 1 from 10 a.m.-6 p.m. (lunch, 1-2 p.m.) at Music Center Annex, 601 W Temple St., Los Angeles, CA, 90012. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare two one-minute contrasting contemporary monologues or one twominute monologue (preferably from a published play; no original compositions, no classical monologues) not to exceed three minutes total. Must bring picture and resume, stapled together. For more info, visit www.centertheatregroup.org. •• Pays $992/wk. Equity Non-Rep LORT A Agreement.

PLAYS

MUSICALS

‘Fairly Traceable’

‘9 to 5’

•• Casting Equity actors for “Fairly Traceable.” •• Company: Native Voices At the Autry. Staff: Jon Lawrence Rivera, dir.; Jean Bruce Scott, prod. exec. dir.; Randy Reinholz, prod. artistic dir.; Elisa Blandford, prod. mngr. •• Table read Nov. 12 (9 a.m.-12 p.m.); rehearses Feb. 14-Mar. 7 (Tues.-Sun. 4-10 p.m.); runs Mar. 8-26 in Los Angeles, CA. •• Seeking—Professor Houck: male, 60-79, Caucasian. Mark: male, 50-59, Caucasian. Carol: female, 50-59, Native American. Suzanne: female, 45-55, Native American. Annie: female, 12-18, Native American. Ensemble Actor #1: male, 25-50, all ethnicities. Ensemble Actor #2: male, 25-50, all ethnicities. •• Equity Principal Auditions will be held Oct. 7 from 12-4 p.m. (sign-ups begin 11 a.m.) and Oct. 9 from 9 a.m.-1 p.m. (sign-ups begin 8 a.m.) at Autry Museum Of the American West, 4700 Western Heritage Way, Los Angeles, CA, 90027. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare two contrasting monologues totaling at most three minutes. Bring two copies of your headshot and resume (staple all four corners). •• Equity HAT Agreement Pending.

Mark Taper Forum Season

•• Casting Equity actors for the Mark Taper Forum 2017-2018 Season. Season includes “Archduke” (Rajiv Joseph, playwright; Giovanna Sardelli, dir. Runs Mar. 14, 2017-May 28, 2017), “Head Of Passes” (Terrell Alvin McCraney, playwright; Tina Landau, dir. Runs

•• Seeking Equity performers for “9 to 5.” •• Company: San Diego Musical Theatre. Staff: Cynthia Ferrer, dir.; Tamlyn Brooke Shusterman, choreo.; Don LeMaster, music dir.; Dolly Parton, music-lyrics; Patricia Resnick, book. •• Rehearses and runs in San Diego, CA. •• Seeking—Violet: female, 40-50, all ethnicities. Doralee: female, 20-35, all ethnicities. Judy: female, 30-40, all ethnicities. Franklin Hart: male, 45-50, all ethnicities. Roz Keith: female, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 16 from 11 a.m.-5 p.m. and Oct. 17 from 1-5 p.m. at San Diego Musical Theatre Rehearsal Space, 4652 Mercury St., San Diego, CA, 92111. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• Prepare 32 bars of a musical theatre song in the style of the show. Bring sheet music in the correct key. An accompanist will be provided. AEA contracts anticipated for the following roles: Violet, Doralee, Judy, Franklin Hart and Roz. Make an appointment on Casting Manager by using the following link: http://castingmanager.com/audition/info/OHvntD dcXwmxk8o. •• Pays $420/wk. Equity Guest Artist Tier 2 Agreement.

‘A Cinderella Christmas’

•• Casting young dancers for the Lythgoe Family’s “A Cinderella Christmas” Panto at the Playhouse. •• Company: Panto at The Playhouse/ The Pasadena Playhouse. Staff: Sheldon Epps, artistic dir.; Kris Lythgoe, book; Bonnie Lythgoe, dir.;

Becky Lythgoe, casting; Michael Orland, musical dir.; Spencer Liff, choreo.; Kayla Radomski, coord. •• Rehearsals begin Nov. 19; runs Dec. 8, 2016-Jan. 8, 2016 at the Pasadena Playhouse. Note: No school will be missed for those dancers cast in the production, as rehearsals will be conducted as an after school activity. •• Seeking—Dancers: males & females, 8-13, all ethnicities. •• Auditions will be held Oct. 2 at 10 a.m. at The Pasadena Playhouse, Carrie Hamilton Theatre, 39 South El Molino Ave., Pasadena, CA, 91101. •• Wear comfortable clothes and bring plenty of water. •• No pay.

‘A Proper Place’ & ‘Dreamgirls’

•• Casting “A Proper Place” (Jerry Dixon, dir.; Tim Symons, music dir.; Leslie Becker Curtis Rhodes, author-composer. Rehearsals begin Feb. 14, 2017; runs Mar. 16-May 21) and “Dreamgirls” (Steve Tomkins, dir.; RJ Tancioco, music dir. Rehearsals begin Apr. 11, 2017; runs May 10-July 30). •• Company: Village Theatre. Staff: Jessica Spencer, casting dir. •• Season rehearses and performs in Issaquah, WA. •• Seeking—Crichton: male, 35-40, all ethnicities. Effie White: female, 25-32, African American. Deena Jones: female, 25, African American. Curtis Taylor, Jr.: male, 30-40, African American. James Thunder Early: male, 30-40, African American. •• Equity Principal Auditions will be held Oct. 3 from 10 a.m.-6 p.m. (sign-in, 9 a.m.; lunch, 2-3 p.m.) at Actors Equity Association LA Audition Center, 5636 Tujunga Ave., North Hollywood, CA, 91601. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Prepare two brief song selections no longer than one chorus and one verse reflecting the style of either/both shows not to exceed two minutes total. For “Dreamgirls” an R&B, gospel or disco selection is recommended. For “A Proper Place” something Golden Age is recommended. Bring a current resume and headshot. •• Pays $676/wk. Equity Special Agreement.

STUDENT FILMS ‘Death Fell From the Sky’

•• Casting “Death Fell From the Sky,” a student film. •• Company: University of Southern California. Staff: Samantha Cruz, student. •• Shoots Oct. 8-9 & Oct. 15-16 in L.A. •• Seeking—President Harry Truman: male, 55-70, Caucasian, ideally approx. 5’8”, thin with receding hairline. •• Seeking submissions from CA. •• Send submissions to cruzsm@usc.edu. •• Copy, credit, meal provided.

‘I Got You Babe’

•• Casting “I Got You Babe,” a Chapman University Graduate Thesis Film. BACKSTAGE.COM

CALIFORNIA casting

THEME PARKS Grinchmas 2016

•• Seeking energetic male and female actors and dancers to portray various roles during the Grinchmas 2016 Holiday Season. •• Company: Universal Studios Hollywood. Staff: Eric Martin, casting dir. •• Rehearses this November; event days run December 2016-early January 2017. Note: Performers must be available for all dates. •• Seeking—Grinchmas Actors and Dancers: males & females, 18+, all ethnicities. Female Who Dolls BACKSTAGE.COM

halle berry jared leto djimon hounsou james franco kate hudson jake gyllenhaal terrence howard judith light catherine keener jim carrey carrie-anne moss gerard butler julian mcmahon meg ryan matthew perry

MUSICALS

eriq la salle america ferrera

‘Miss Saigon,’ B’way

•• Casting “Miss Saigon,” with music by Claude-Michel Schonberg, lyrics by Richard Maltby Jr. & Alain Boublil, adapted from original French lyrics by Alain Boublil with additional lyrics by Michael Mahler. •• Company: Tara Rubin Casting. Staff: Cameron Mackintosh, prod.; Laurence Connor, dir.; Stephen Brooker, musical supervisor; Bob Avian, musical staging; Geoffrey Garratt, additional choreo.; Totie Driver and Matt Kinley, prod. design (based on an original concept by Adrian Vaux), Andreane Neofitou, costume design; Bruno Poet, lighting design; Mick Potter, sound design; William David Brohn, orchestrations, Tara Rubin Casting, casting; Claire Burke, casting assist. •• Rehearsals begin winter 2017; opens spring 2017 on Broadway. •• Seeking—Kim: female, 16-21, Asian, Southeast Asian / Pacific Islander, to play 17; vocal range – strong chest voice up to E, low to G; Vietnamese; vulnerable and innocent. Female Ensemble: female, 18-46, Asian, Southeast Asian / Pacific Islander, strong sopranos with excellent dance ability to play prostitutes, bar girls, refugees, go-go dancers. Male Ensemble: male, 18-45, Asian, advanced acrobats and tumblers with excellent singing ability to play barmen, officers of South Vietnam Army, inhabitants of Saigon, vendors. •• Auditions will be held Sept. 30 from 10 a.m.-3 p.m. (sign-in, 9 a.m.noon) at A.C.T Studios, 30 Grant Ave., 8th Fl., San Francisco, CA, 94108. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• Bring a picture and resume. Prepare a musical theater song in the style of the show. 09.29.16 backstage

chris pine jessica biel ryan reynolds ian somerhalder

VARIETY

•• Casting a scene recreation from “Raising Arizona.” •• Company: San Diego St. TFM 362 Class. Staff: Demetrius Johnson, coord. •• Shoots one date out of Sept. 30-Oct. 1 and Oct. 7-9 in L.A. •• Seeking—H.I.: male, 18+, Caucasian. Gale: male, 18+, Caucasian. Evelle: male, 18+, Caucasian. •• Seeking submissions from CA. •• Send submissions to demetriusjohnsonone@yahoo.com. •• Bring scripts for the readings. Work on the dialect of the characters for which you are auditioning. •• A link to the scene as well as the script for that scene ca be found at https://drive.google.com/drive/u/0/ folders/0B8NfhsEV9lLOZDlkc1R1T1 ptMnM. •• Reel and food provided.

NORTHERN CALIFORNIA

brad pitt

FILM

‘Raising Arizona’ Scene Recreation

Dancers: female, 18+, all ethnicities. •• Seeking submissions from CA. •• For an audition appointment and detailed character & role info, visit www.USHauditions.com. Note: Must be 18+ and be able to provide proof of eligibility to work within the United States. •• All performers hired for these positions will be covered under the terms and conditions of a collective bargaining agreement with the American Guild of Variety Artists (AGVA). EOE.

MUSICALS

•• Company: Chapman University. Staff: Ashton Avila, writer/dir.; Shamola Kharkar, prod.; Aditya Akash, cinematographer; Ashleigh Mullins, prod. designer; Cory Darling, editor; David Bae, sound designer. •• Rehearses at the end of October and shoots Nov. 3-14 in L.A. •• Seeking—Beth: female, 18-24, all ethnicities, to play 18, a hard-working, smart and ambitious young woman. Russ: male, 18-24, all ethnicities, to play 20, a sweet and hard-working young man. Mr. Peterson: male, 50-65, all ethnicities, to play 50s, the proud owner of a local diner where Beth works; kind, gentle, and loves his job almost as much as he loves his country. Mrs. Stamper: female, 38-48, all ethnicities, to play 40, loves her three daughters. Joan: female, 13-16, all ethnicities, to play 15, Beth’s younger sister; very selfcentered and avoids making any contribution to the family. •• Seeking submissions from CA. •• Apply on Backstage.com. •• Actors will be asked to self tape. •• Deferred payment through a SAGAFTRA Student Film Contract. Gas will be reimbursed and meals provided.

charlize theron

The Academy Award®–winning Chubbuck Technique comes to New York

NEW YORK C

“Maria Psomas truly understands The Chubbuck Technique. Her method of teaching is nurturing, focused, and thought-provoking. The actors that she instructs are often rewarded with great jobs from casting directors and producers...She gets incredible results. An actor would be lucky to get the chance to work with her.” –– IVANA CHUBBUCK

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casting NATIONAL/REGIONAL •• Pays $1,974/wk. Equity Production (League) Contract.

‘New Girl In Town’

PLAYS MUSICALS FILM

•• Casting Equity actors for “New Girl In Town.’. •• Company: 42nd Street Moon. Staff: Daren A.C. Carollo,dir.; George Abbott, book; Robert Merrill, music-lyrics; based on Eugene O’Neill’s “Anna Christie.” •• Rehearses Mar. 7-26, 2017 at Moonspace in San Francisco; runs Mar. 29-Apr. 19 at the Eureka Theatre in San Francisco, CA. •• Seeking—Larry/Male Ensemble: male, 25-35, all ethnicities. Male Ensemble: male, 35-45, all ethnicities. Lily/Female Ensemble: female, 25-35, all ethnicities. Female Ensemble: female, 35-45, all ethnicities. Chris Christopherson: male, 55-65, all ethnicities. Marthy: female, 55-65, all ethnicities. Mat Burke : male, 30-45, all ethnicities. •• Equity Principal Auditions will be held Oct. 2 from 6:30-10:30 p.m. and Oct. 4 from 5-10 p.m. at MoonSpace, 250 Van Ness Ave., San Francisco, CA, 94102. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, visit http://www.signupgenius.com/ go/60b0a4fa4ab4-newgirl. For prep materials, visit: http://42ndstmoon.org/ auditions. Note: The role of Anna has been precast. •• Pays $430.50/wk. Equity Bay Area Theatre BAT 2.5 Agreement.

SHORT FILMS

AUDITION HIGHLIGHT S Fri. Sept. 30

CA L I F O R N I A

‘Fall Break’ ‘Who Kills Fenny’ (also 10/1) ‘6 O’Clock’

Sat. Oct. 1 Mark Taper Forum Season ‘Hermione Granger...,’ Web Series

Sun. Oct. 2 ‘The Hollywood Moguls’ ‘A Cinderella Christmas’ ‘Two DJs: Both Alike in Dignity’

Mon. Oct. 3 ‘The Decision’ ‘A Proper Place’ & ‘Dreamgirls’ ‘Mindset’ (also 10/4) ‘A Christmas Carol’

Tues. Oct. 4 ‘Side By Side By Sondheim’

Weds. Oct. 5 ‘Don’t Kiss Me!’ For the full auditions calendar, visit backstage.com/auditions

‘Better’

•• Casting “Better” for Picture The Possibilities (PTP) by Cinequest. Producer states: “Picture The Possibilities (PTP) by Cinequest is a transformative leadership movement. PTP productions will be in Sacramento to produce an important short film commenting on police brutality.” •• Company: Cinequest Inc. Staff: Marcela Villegas Castan, Picture the Possibilities prod.-coord. •• Shoots Oct. 12 & 13 (8:30 a.m.-1 p.m.) and Oct. 15 (9:30 a.m.-5 p.m.) in downtown Sacramento, CA. •• Seeking—Officer Grace Martin: female, 35-45, Caucasian, a female police officer who has a stern façade but compassionate heart. Stevie: male, 13-15, African American, a young male who had a traumatizing event in his life. Teacher: males & females, 25-35, all ethnicities, a teacher who is hosting Officer Martin’s talk to her class. Derek: male, 13-15, Caucasian, a young son of Officer Martin, who is very proud of his mother. •• Auditions will be held by appt. Oct. 8 from 1:30-4:30 p.m. and Oct. 9 from 10:30 a.m.-1:30 p.m. in Sacramento, CA. •• For an audition appointment, submit headshots and resumes to mvillegas@ cinequest.org. For more info, and to view films created throughout PTP seasons, visit www.picturethepossibilities. org or www.cinequest.org.

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•• Producer states: “The actors will receive exposure and recognition/ credit on the film created, which will be showcased on our Picture The Possibilities website and premiered at Cinequest Film Festival 27 in March 2017 in San Jose, CA, where over 700 artists, filmmakers, business and professionals are in attendance each year.”

‘The Club’

•• Casting a short film on social media addiction, “The Club,” produced by Picture The Possibilities (PTP) by Cinequest (a transformative leadership movement). •• Company: Cinequest Inc. Staff: Marcela Villegas Castan, prod./coord. •• Shoots Oct. 12 & 13, 8:30 a.m.-1 p.m. and Oct. 15, 9:30 a.m.-5 p.m. in Downtown Sacramento, CA. •• Seeking—Brian: male, 16-18, all ethnicities, a young male is addicted to social media in a world where phones and technology are now a luxury. Candy: female, 13-16, all ethnicities, a young teen is the “owner” of The Club that gives access to technology for social media addicts at a special price. •• Auditions will be held by appt. Oct. 8 from 1:30-4:30 p.m. and Oct. 9 from 10:30 a.m.-1:30 p.m. in Sacramento, CA. •• Submit headshots and resumes to mvillegas@cinequest.org. For more

info, visit www.picturethepossibilities. org and www.cinequest.org. •• No pay. Company states; “The actors will receive global exposure and recognition/credit on the film created which will be showcased on our Picture The Possibilities website and premiered at Cinequest Film Festival 27, March 2017 in San Jose, CA where over 700 artists, filmmakers, business and professionals are in attendance each year!”

NATIONAL/ REGIONAL PLAYS American Shakespeare Center

•• Casting Equity female and male actors for the Blackfriars Playhouse seasons of rotating repertory for 2017-18. Blackfriars summer/fall season includes “Peter and the Starcatcher” (Jim Warren, dir.); “Much Ado About Nothing” (Jenny Bennett, dir.); “Love’s Labour’s Lost,” and “Henry VI, Part 3” (Jim Warren, dir.; rehearsals begin Apr. 24, 2017; runs June 13-Nov. 26, 2017). Actors’ renaissance season includes “Hamlet,” “Richard II,” “The Way of the World,” a new play TBA (Jim Warren, dir.), and “Antonio’s Revenge” (Rehearsals begin Dec. 26, 2017; runs Jan. 12-Apr. 8, 2018). •• Company: American Shakespeare Center. Staff: Jay McClure, assoc. artistic dir./casting dir. •• All seasons run in Staunton, VA. •• Seeking—Equity Actors: males & females, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 10 from 10 a.m.-5:30 p.m. (sign-up, 9:30 a.m.; break, 2-2:30 p.m.) at Blackfriars Playhouse, 10 South Market St., Staunton, VA, 24401. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• Prepare two contrasting Shakespeare monologues. Bring picture and resume. Callbacks will be held Oct. 21. •• Equity LOA Contract and salary pending.

‘August: Osage County’

•• Casting “August: Osage County.” •• Company: Harlequin Productions. Staff: Aaron Lamb, casting. •• Runs in Olympia, WA. •• Seeking—Vioket Weston: female, 70, all ethnicities. •• Seeking submissions from WA. •• For consideration, email to aaronglamb+aoc@gmail.com. Submissions deadline is Oct. 15. •• Pays $344/wk. Equity Special Appearance Level 2 Agreement.

‘Charlotte’s Web’

•• Casting “Charlotte’s Web,” a play adapted by Joseph Robinette from E.B. White’s book.

•• Company: Wheelock Family Theatre. Staff: Jim Byrne & Emily Ranii, dirs.; Linda Chin, prod. artistic dir. •• Rehearsals begin Mar. 21 (Tues.-Fri. evenings and Sat. & Sun. days); runs Apr. 14-May 14, 2017 (Fri. nights, Sat. and Sun. at 3 p.m.; weekday matinees, Apr. 18, 19, 20, 21 at 1 p.m.; student matinees, 5-8 weekday performances at 10 a.m.) in Boston, MA. •• Seeking—John and Martha Arable: males & females, 40-59, all ethnicities. Homer and Edith Zuckerman: males & females, 40-59, all ethnicities. Lurvy: male, 19-25, all ethnicities. Wilbur: 18+, all ethnicities. Templeton: 18+, all ethnicities. Charlotte: 18+, all ethnicities. Goose: 18+, all ethnicities. Gander: 18+, all ethnicities. Sheep: 18+, all ethnicities. Lamb: 18+, all ethnicities. Announcer/ Uncle: 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 17 from 6-11 p.m. at Wheelock Family Theatre, 180 Riverway, Boston, MA, 02215. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, visit www.SignUpGenius.com/ go/4090D4CA8A62AA4F58-charlottes. •• Note: This show is not a musical. Prepare a brief (preferably two minutes or less) monologue of any nature or a brief narrative from any part of the book “Charlotte’s Web” by E.B. White. Bring a picture and a resume, stapled together. •• Equity actors who are unable to attend these Equity auditions email lchin@ wheelock.edu. Auditions on Oct. 18 & 19 are available to Equity actors who are unable to attend these Equity audition sessions. •• Pays: $440/wk. Equity LOA Contract.

‘King Liz’

•• Casting “King Liz” by Fernanda Coppel. •• Company: Windy City Playhouse. Staff: Joanie Schultz, dir. •• Runs Summer 2017 in Chicago, IL. •• Seeking—Liz Rico: female, 40-49, African American, Hispanic. Gabby Funets: female, 30-39, Hispanic. Mr. Candy: male, 60-69, all ethnicities. Freddie Luna: male, 19, African American, Hispanic, Ethnically Ambiguous / Mixed Race. Coach Jones: male, 18+, African American. Barbara Flowers: female, 50-59, all ethnicities. •• Equity Principal Auditions will be held Oct. 31 from 10 a.m.-3 p.m. (lunch, 12:30-12:50 p.m.) at Actors’ Equity Association - Chicago Member Center, 557 W. Randolph St., First Fl., Chicago, IL, 60661. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• For an audition appointment, Equity members call (312) 641-0406, 9:30 a.m12:30 p.m. and 3-4:30 p.m. beginning Oct. 24. Prepare the side selections (see online). Contact Windy City Playhouse for pdf of full script at auditions@ windycityplayhouse.com. Bring headshot and resume. •• Pays $290/wk. prior to June 26, 2017 and $$298.75/wk. after. Equity CAT Tier 2 Agreement. BACKSTAGE.COM

NATIONAL/REGIONAL casting

‘Leading Ladies’

•• Casting “The Hairy Ape.” •• Company: UCCS Theatreworks. Staff: Murray Ross, artistic dir./dir. •• Rehearsals begin Jan. 17, 2017; runs Feb. 9-26, 2017 in New Albany, OH.

MUSICALS ‘A Musical Christmas Carol’

•• Casting “A Musical Christmas Carol” adapted by David Bell. •• Company: Pittsburgh Civic Light Opera. Staff: David Bell, dir.; Lori Berger, assoc. producing dir. •• Rehearsals begin Dec. 1, 2016; runs Dec. 8-23 in Pittsburgh, PA. •• Seeking—Peter Cratchit: 18-20, all eth-

nicities. Topper: 20-29, all ethnicities. Carolers (Two): 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 14 from 11 a.m.-7 p.m. (break, 4-5 p.m.) at Pittsburgh CLO Academy, 130 CLO Academy Way, Pittsburgh, PA, 15222. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, visit www.pittsburghclo.org/pages/clo_auditions and use the email link to request an appointment (preferred). Performers with no access to email may call (412) 281-3973. Equity members without appointments seen as time permits. Note: Local Pittsburgh-area actors preferred. •• Prepare 16 bars each of two songs in musical theater style: a ballad and an uptempo song. Bring legible sheet music in the correct key; an accompanist will be provided. Bring a picture and resume, stapled together, back to back. Performers are asked to complete an informational application (available at auditions or to download at www. pittsburghclo.org/pages/clo_auditions. •• Pays: $738/wk. Equity LOA ref. to RMTA Contract.

Fulton Theatre Co. TYA Season

•• Casting Equity actors/singers for various roles in the Fulton Theatre Comapany’s TYA 2016-17 season. Season includes “T’was the Night” (Buddy Reeder, dir./choreo.; Marc Robin, book, music & lyrics. Rehearsals begin Oct. 28; runs Nov. 19-Dec. 20),

“Alice in Wonderland (Buddy Reeder, dir./choreo. Marc Robin, book, music & lyrics. Rehearsals begin Jan. 13, 2017; runs Feb. 4-18, 2017), “James and the Giant Peach” (Andrew Kindig, dir./ choreo.; Benj Pasek and Justin Paul, music & lyrics; Timothy Allen McDonald, adaptation based on the book by Roald Dahl. Rehearsals begin Apr. 7, 2017; runs Apr. 29-May 20, 2017), and “Big, the Musical” (Randall Frizado, dir. choreo.; John Weidman, book; David Shire, music; Richard Maltby, Jr., lyrics. Rehearsals begin May 25, 2017; runs June 17-July 22, 2017). •• Company: Fulton Theatre Company. Staff: Randall Frizado, company mgr.assoc. casting dir. •• Season runs in Lancaster, PA. •• Seeking—Equity Actors/Singers: males & females, 18+, all ethnicities. •• Auditions will be held by appt. Oct. 1 from 1-9 p.m. (break, 5-6 p.m.) at Fulton Theatre Education Building, 24 N. Prince St., Lancaster, PA, 17603. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, visit www.signupgenius.com/ go/10c054aaeab23a6f49-singer4. Equity members without appointments will be seen as walk-ins. Prepare a brief song. Music from any of the shows is fine. Bring sheet music; accompanist provided. Bring picture and resume. For more info, visit www.thefulton.org. •• Pays $102/perf. Equity TYA Contract.

AUDITION SPOTLIGHT

™

AUDITION TO VOICE A TV CAMPAIGN FOR CBS LA PLUS

• Agency Contract with TGMD Talent • Sennheiser KH8 Microphone • 2 VIP Tickets to the 2017 Voice Arts® Award Gala

Enter Online At:

ThatsVoiceover.com

MUSICALS

‘The Hairy Ape’

•• Seeking—Robert Smith (“Yank”): male, 30-50, all ethnicities. Paddy: male, 40-60, all ethnicities. Secretary: male, 25-60, all ethnicities. Long: male, 25-55, all ethnicities. Second Engineer: male, 25-60, all ethnicities. Ensemble: male, 20-60, all ethnicities. Aunt: female, 45-65, all ethnicities. Mildred: female, 18-25, all ethnicities. •• Equity Principal Auditions will be held Oct. 9 from 6-10 p.m. and Oct. 10 from 5-9 p.m. at University Hall - University of Colorado, 3955 Regent Circle, Colorado Spring, CO, 80918. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, visit www.appointmentquest.com/scheduler/2170047928. Auditions will consist of cold readings from the script. For sides visit www.theatreworkscs.org. Free parking is available. •• Pays $393/wk. Equity SPT 5 Contract.

PLAYS

•• Casting “Leading Ladies.” •• Company: Arts Center of Coastal Carolina. Staff: Russell Treyz, dir.; Ken Ludwig, playwright. •• Rehearsals begin Jan. 17, 2017; runs Feb. 7-26 in Hilton Head Island, SC. Must be available for all dates. •• Seeking—Leo Clark: 40-44, all ethnicities. Jack Gable: 24-39, all ethnicities. Duncan Wooley: 35-44, all ethnicities. Doctor Myers: 44-54, all ethnicities. Butch (Doubles as Frank): 20-24, all ethnicities. Meg Snider: 30-34, all ethnicities. Audrey: 20-29, all ethnicities. Florence: 60-69, all ethnicities. •• Equity Principal Auditions will be held Oct. 3 from 12-7 p.m. (by appointment) at Arts Center of Coastal Carolina, 14 Shelter Cove Ln., Hilton Head Island, SC, 29928. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, call Gail Ragland at (843) 686-3945, ext. 202 or email her GRagland@artshhi.com. Equity members without appointments will be seen as time permits. Prepare a comedic monologue. Bring pix & resumes, stapled together. •• Pays: $490/wk. Equity SPT Category 7 Contract.

casting NATIONAL/REGIONAL ‘Jesus Christ Superstar,’ EPA

MUSICALS TV & VIDEO

•• Casting “Jesus Christ Superstar.” •• Company: Arvada Center for the Arts & Humanities. Staff: Rod A. Lansberry, prod. artistic dir./dir.; Kitty Skillman Hilsabeck, choreo.; David Nehls, musical dir. •• Rehearsals begin Feb. 28, 2017; runs Mar. 24-Apr. 16, 2017 in Arvada, CO. •• Seeking—Jesus Christ: male, 20-49, all ethnicities, tenor (A2-G5) Major pop / rock style singer. Judas Iscariot: male, 20-49, all ethnicities, tenor (D3-D5), one of the twelve apostles. Mary Magdalene: female, 20-49, all ethnicities, alto (F3-E5) A female follower of Jesus. Pontius Pilate: male, 20-49, all ethnicities, baritone (A2-B4). Governor of Judea. Annas: male, 20-49, all ethnicities, tenor (G2-D5). Fellow priest at the side of Caiaphas. Peter: male, 20-49, all ethnicities, baritone (G2-G4) One of 12 apostles. Simon Zealote: male, 20-49, all ethnicities, tenor (G3B4), one of 12 apostles. King Herod: male, 20-49, all ethnicities, baritone. The King of Galilee. Ensemble : males & females, 20+, all ethnicities, to play Disciples, Priests and Crowds; must be singers who can easily sustain pop/rock stylings; should move very well. •• Equity Principal Auditions will be held Oct. 11 from 9 a.m.-5 p.m. (lunch, 1-2 p.m.) at Arvada Ctr for the Perf Arts, 6901 Wadsworth Blvd., Arvada, CO, 80003. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, call (720) 898-7200. Do not contact the production staff. Prepare a song appropriate to the style of show. Bring sheet music; an accompanist will be provided. No recorded music or a cappella allowed. A current headshot and résumé are required. Note: Seeking experienced performers with strong acting and singing abilities are needed; good dancing abilities are required; principal roles: all must have sustainable strong pop/rock voices. •• Pays $861/wk. Equity LORT B Non-Rep Contract.

‘Motown,’ Nat’l Tour

•• Casting the national touring company of “Motown the Musical,” based on the life of Berry Gordy. •• Company: Work Light Productions. Staff: Kevin McCollum, Doug Morris, Berry Gordy, prods.; Schele Williams, dir.; Berry Gordy, book; Various Motown Composers, music & lyrics; Ethan Popp, music supervisor; Darren Ledbetter, assoc. music supervisor; Patricia Wilcox and Warren Adams, choreo.; Wojcik/Seay Casting, casting. •• Rehearsals begin Dec. 12; tech runs Jan. 1-12 in Utica; runs Jan. 17-Aug. 27 in Las Vegas. •• Seeking—Berry Gordy: male, 18-50, African American, attractive, appealing and aspirational, a commanding presence; slim build; must have a huge pop tenor voice with soaring tenor notes. Diana Ross: female, 18-40, African American, to play 16-40, 5’1”-5’5”, stunningly beautiful with a petite/slim build; must be able to portray Diana’s youthful shy innocence and then grow to become a super star. Smokey Robinson: male, 20-38, African

30 backstage 09.29.16

‘She Loves Me’ & ‘Madagascar’

AUDITION HIGHLIGHT S Sat. Oct. 1

SOUTHEAST

‘The Dinner Detective’

Sun. Oct. 2 ‘Darkland’ ‘Billy Elliot’

Mon. Oct. 3 ‘Leading Ladies’

Tue. Oct. 4 Busch Gardens/Adventure Island ‘Ugly Duckling’

Wed. Oct. 5 North Carolina Theatre 2017 Season Polar Express Train Ride For the full auditions calendar, visit backstage.com/auditions

American, tenor. Must look and sound like Smokey Robinson and must be an authentic and sincere actor; funny with a heart of gold. Marvin Gaye: male, 18-39, African American, must look and sound like Marvin Gaye, tenor, and must be an authentic and sincere actor; must morph from young polite Marvin Gaye to the volatile activist he became. Little Berry/Stevie/Michael: male, 8-13, African American, doubles as young Berry Gordy, Stevie Wonder and Michael Jackson, to play 8; must sing like Michael Jackson ala “I Want You Back” in original keys. African American Female Ensemble: female, 18-38, African American, with great pop voices who moves very well to play various characters in the world of Motown; must be fit; will also be looking at swings from this pool of actors. 5’1”-5’7” only. African American Male Ensemble: male, 18-46, African American, with great pop voices who move very well to play various characters in the world of Motown; will also be looking at swings from this pool of actors. •• Auditions will be held by appt. Sept. 29, Sept. 30 and Oct. 6 in NYC, 10086. •• For consideration, email pictures, resumes, and inquiries to motowntourcasting@gmail.com. Note: Must sing and move well in the style of the characters they are portraying. Must also be subtle actors who can capture the essence of this time period. Callbacks will be held Oct. 13 & 14 in NYC. Company states: “Although we are not seeking impersonators, we do want actors that evoke the look and sound of these music icons. Only submit if you believe could play these characters. Skin tone and body type should be similar.” •• Equity SETA Category 1 Contract.

•• Casting “She Loves Me” (Aaron Thielen, dir.-choreo. Rehearsals begin Apr. 6, 2017; runs Apr. 26-June 8, 2017) and “Madagascar” (Rehearsals begin Feb, 13, 2017; runs Feb. 25-Apr. 15). •• Company: Marriott Lincolnshire. Staff: Aaron Thielen, artistic dir.; Peter Marston Sullivan, assoc. artistic dir. •• Season rehearses and performs in Lincolnshire, IL. •• Seeking—Male & Female Actor/Singers: males & females, 18+, all ethnicities. •• Equity Principal Auditions will be held Oct. 3 from 10 a.m.-1:30 p.m. at Stage 773, 1225 W Belmont Ave., Chicago, IL, 60657. EPA Procedures are in effect for this audition. An Equity Monitor will be provided. •• Nonunion auditions will be held Oct. 3 from 2:30-6 p.m., Oct. 4 from 10 a.m.-6 p.m. and Oct. 5 from 10 a.m.-6 p.m. at Stage 773, 1225 W Belmont Ave., Chicago, IL, 60657. •• For an audition appointment, Equity members call (312) 641-0406, 9:30 a.m.12:30 p.m. and 3-4:30 p.m. beginning Sept. 27. Nonunion actors sign-up at www.MarriottTheatre.com/auditions beginning at 10 a.m. Sept. 26. Note: The theater is only seeing local Chicago area talent at this point. •• Equity Actors: Prepare one 16 to 32 bar cut, and bring a second in case the Artistic Team needs to hear more. An accompanist will be provided. Bring music in your key. Nonunion: Prepare one 16 bar song, and bring a second contrasting selection in case the artistic team needs to hear more. An accompanist will be provided. Bring music in your key and an updated headshot and resume. Note: All ethnicities are strongly encouraged to audition. The role of Aprad in “She Loves Me” is the only role being cast for performers under 18. •• Pays $751/wk. (“She Loves Me”); $102/ performance (“Madagascar”). Equity Marriott Special Agreement.

‘The Addams Family’ & ‘Sister Act’

•• Casting “The Addams Family” and “Sister Act” for Derby Dinner Playhouse, a year-round, non-Equity professional dinner theater in Louisville, KY. •• Company: Derby Dinner Playhouse. Staff: Lee Buckholz, assoc. prod. •• “The Addams Family” dates are Feb. 6-Apr. 9, 2017; “Sister Act” dates are Mar. 27-May 28, 2017 in Louisville, KY. •• Seeking—All Roles: 18-45, all ethnicities. •• Auditions will be held Oct. 10 from 10 a.m.-5 p.m. at Pearl Studios, 519 8th Ave., 12th Fl., NYC, 10018. •• Send submissions to abc@derbydinner. com. •• Be prepared to sing 16 bars of a song from either musical score (“Addams Family” or “Sister Act”) and have a short comedic monologue prepared. Callbacks will be held by invitation only on Oct. 10 (6-10 p.m.). •• Pays: $350-$600 wk., plus travel, housing, and meals.

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

CHORUS CALLS ‘Jesus Christ Superstar,’ Singers & Dancers

•• Casting “Jesus Christ Superstar.” •• Company: Arvada Center for the Arts & Humanities. Staff: Rod A. Lansberry, producing artistic dir.-dir.; Kitty Skillman Hilsabeck, choreo.; David Nehls, musical dir. •• Rehearsals begin Feb. 28, 2017; runs Mar. 24-Apr. 16, 2017 in Arvada, CO. •• Seeking—Jesus Christ: male, 20-49, all ethnicities. Judas Iscariot: male, 20-49, all ethnicities. Mary Magdalene: female, 20-49, all ethnicities. Pontius Pilate: male, 20-49, all ethnicities. Annas: male, 20-49, all ethnicities. Peter: male, 20-49, all ethnicities. Simon Zealote: male, 20-49, all ethnicities. King Herod: male, 20-49, all ethnicities. Ensemble : males & females, 20+, all ethnicities. •• Equity Chorus Calls will be held Oct. 7 from 11 a.m.-12:45 p.m. (female dancers) and from 1-2:15 p.m. (male dancers) and Oct. 10 from 9 a.m.-5 p.m. (lunch, 1-2 p.m.; singers) at Arvada Ctr for the Perf Arts, 6901 Wadsworth Blvd., Arvada, CO, 80003. An Equity Monitor will not be provided. The producer will run all aspects of this audition. •• For an audition appointment, call the Arvada Center Box Office, (720) 8987200. Do not contact the production staff. A current headshot and résumé are required. Singers must prepare a song appropriate to the style of show. Bring sheet music; an accompanist will be provided. No recorded music or a cappella allowed. Dancers must wear a jazz shoe or sneaker - no heels. Note: Seeking experienced performers with strong acting and singing abilities are needed; good dancing abilities are required; principal roles: all must have sustainable strong pop/rock voices. •• Pays $861/wk. min. Equity LORT B Non-Rep Contract.

SCRIPTED TV & VIDEO ‘Chicago Justice’

•• Casting “Chicago Justice,” an NBC TV series. •• Company: NBC Universal, Dick Wolf Productions. Staff: Joan Philo, casting dir. •• Shoots Oct. 6, in Chicago, IL. •• Seeking—Nanny: female, 30-59, Asian. •• Seeking submissions from IL. •• Send submissions to justicehire@ gmail.com. •• To apply, submit a recent color photograph showing your current hairstyle. Include all your clothing sizes. •• Some pay.

‘Empire’

•• Casting season three of the FOX TV series “Empire,” starring Terrence Howard & Taraji P. Henson. •• Company: FOX, Imagine Television, 4 Star Casting. Staff: Lee Daniels & Danny Strong, exec. prods.; Jess Gisin, casting dir. •• Shoots Oct. 6, in Chicago, IL. BACKSTAGE.COM

NATIONAL/REGIONAL casting

•• Seeking—Models: female, 18+, Caucasian, blonde hair, 5’9”+, must be comfortable shooting in their underwear. •• Seeking submissions from IL. •• Send submissions to extras4empire@gmail.com. •• Include your name, age, height, weight, measurements, phone number, current zip code, contact info, and recent photos (one full length, one from the shoulders up so we can clearly see your face). •• Pays $500/10 hours.

‘Outcast’

PRINT MODELING

BACKSTAGE.COM

•• Seeking Equity stage manager for “Good People.” •• Company: Buffalo Theatre Ensemble. Staff: Connie Canaday Howard, artistic dir.; Amelia Barrett, assoc. artistic dir. •• Runs in Glen Ellyn, IL. •• Seeking—Stage Manager: 18+, all ethnicities. •• Seeking submissions from IL. •• For consideration, email resume to amelia@buffalo-theatre-ensemble. com. •• Pays $298/wk. Equity CAT Tier 1 Agreement.

‘Tom Lea: Grace Note In A Hard World’

•• Seeking Equity stage manager for “Tom Lea: Grace Note In A Hard World.” •• Company: Tom Lea Institute. Staff: Camilla Carr, coord. •• Runs in El Paso, TX. •• Seeking—Stage Manager: males & females, 18+, all ethnicities. •• Seeking submissions from TX. •• Submit resume to camillacarr@ comcast.net or Camilla Carr, 1016 East Rio Grande, El Paso, TX, 79902 by Oct. 3. •• Pays $504/wk. Equity Guest Artist Tier II Agreement.

‘Twisted Melodies’

•• Seeking a Chicago based AEA Stage Manager for “Twisted Melodies.” •• Company: Center Stage Associates. Staff: Derrick Sanders, dir.; Kate Holland, assoc. prod. mgr. •• Prep begins Feb. 6, 2017 in Chicago, IL; rehearsals begin Feb. 13 in Chicago, IL and Feb. 21 in Baltimore, MD; runs Mar. 17-Apr. 16 in Baltimore, MD. •• Seeking—Equity Stage Manager: 18+, all ethnicities, especially seeking local Chicago-area Stage Managers. •• Seeking submissions from IL. •• Skype interviews will be held on an upcoming date TBD. For consideration, email cover letter and resume to kgibson@centerstage. org with “Twisted Melodies/Stage Manager Submission” in the subject line. For more info, visit www. centerstage.org. •• Pays: $1,026/wk. Equity LORT B Non-Rep Contract.

GIGS

•• Seeking models & actors for numerous runway projects, and actors of all ages for numerous feature films, national TV commercials, and industrials. Company states: “Projects include NYFW, Miami Fashion Week, private shows for high fashion clientele including Nicole Miller, Ralph Lauren, Gucci, LV, and Versace.” •• Company: Wilhelmina. Staff: James Daley, coord. •• Project dates & locations are TBA. •• Seeking—Models & Actors: males & females, 13-65, all ethnicities. •• Auditions will be held by appt. Oct. 8, Oct. 22, Nov. 5, Nov. 19, Dec. 3, and Dec. 17 at Wilhelmina, 701 East Elm St., Conshohocken, PA, 19428. Registration begins at 1:30 p.m. everyday. •• For consideration, submit your most recent headshot/resume, or composite card, digitals, and portfolio book to NewFaces@wilhelminaphiladelphia.com. For more info, call (484) 368-3240. •• Model print pays $500-$3,000/ day (depending upon client, hrs.,usage). Model runway pays $500-$1,500/day (depending on designer). Actor (union) pays scale rates. Actor (nonunion) pay varies by client, usage, and project (rates vary from $1500/day to $40k for

‘Good People’

MODELING

Wilhelmina Philadelphia, Print, TV, Film, Runway Projects

STAGE STAFF & TECH

TV & VIDEO

•• Casting the Cinemax TV series “Outcast,” starring Patrick Fugit and Philip Glenister based on a comic written by Robert Kirkman. •• Company: Cinemax. Staff: Robert Kirkman, writer; Tona Dahlquist, casting dir. •• Shoots Oct. 4, in Rock Hill, SC. •• Seeking—Nurses: males & females, 21-60, all ethnicities, must be experienced in the operating room, and be an actual nurse. •• Seeking submissions from SC. •• Send submissions to outcastseason2@gmail.com. •• To apply, submit two recent photos (face & body). Include name, age, location, height, weight, measurements, and medical experience. •• Pays $125.

national). Company note: “In addition to representing talent, Wilhelmina also offers training and related development services to models and actors for additional fees depending on experience level and select division(s).”

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

09.29.16 backstage

League of Resident Theatres

Yale Repertory Theatre

whipping boy and his prince” (Sept. 30–Oct. 22), BY DIEP TRAN is Ruhl’s sixth play with the theater. And it’s f any regional theater needs no introducperfect for the presidential election. The play tion, it’s Yale Repertory Theatre. The features a contemporary and controversial pair institution has produced more than 100 of siblings: George W. Bush and his overshadworld premieres (including two eventual owed brother Jeb. The play was a commission, Pulitzer winners), had 17 productions transfer though Bundy definitely didn’t predict Ruhl to Broadway, and was the winner of the 1991 would tackle politics. “We didn’t know,” he Regional Theater Tony admits. “But it’s a really timely Award. So for the theater’s play and two of the three Bush 50th anniversary season, men who are represented in the YALE REPERTORY THEATRE artistic director James play went to Yale. It seemed like yalerep.org Bundy was determined to a no-brainer.” pay tribute to its illustriYale’s casting practices are ous history. “We wanted fairly straightforward: The theto both honor the theater’s past while moving it ater hosts an open call in August (its primary forward,” he says. acting pool is from New York). The final cast That is why the 2016–17 season contains lists are a mix of auditions and actors that the three Yale-commissioned world premieres directors and playwrights wanted, but “it’s (all by women), a classic musical, and August extremely rare that we cast everything with Wilson’s “Seven Guitars” (Nov. 25–Dec. 17). “We offers,” says Bundy. The theater operates on didn’t think we could have a meaningful 50th a LORT D contract, and sometimes casts local anniversary season without a production of an nonunion actors. August Wilson play,” says Bundy. “And ‘Seven And because Yale Rep operates in partnerGuitars’ is one that Yale Rep has never done.” ship with the Yale School of Drama (Bundy Six of the 10 plays in Wilson’s Century Cycle also serves as dean of the school), it provides premiered at Yale Rep. opportunities to the school’s students. All Another familiar Yale name that’s getting acting students in the MFA program work as produced this season: Sarah Ruhl. The seaunderstudies in Yale Rep productions, and can son opener, “Scenes From Court Life, or the audition for available roles, as well. “If they’re

32 backstage 09.29.16

U.S. citizens or have a green card, we guarantee them an Equity card,” says Bundy. (A notable Yale understudy: Oscar winner Lupita Nyong’o, who was exposed to “Eclipsed” by Danai Gurira as a student understudying the 2009 production at Yale Rep, though she never went on.) Another unexpected Yale connection: Stephen Sondheim. The musical maestro premiered his rarely performed Greek riff, “The Frogs,” at Yale in 1974 (it featured Meryl Streep and Sigourney Weaver). So for the 50th anniversary, Bundy chose another Sondheim musical, though one that’s better known and more fitting for an election season: “Assassins” (March 17–April 8, 2017). But he didn’t predict that Donald Trump’s rallying cry to those “Second Amendment people” would make Bundy’s selection even more morbidly appropriate. “I did not plan that he would say that, but it didn’t remotely surprise me that he did say it,” Bundy says. It just proves Bundy’s point: “Assassins” is as relevant as ever, because some things in America haven’t changed. “No matter which way this election goes, the sense of aggrieved entitlement that is at the heart of ‘Assassins’ will either be governing the country or we will be suffering a backlash from that part of America in the spring of 2017,” he predicts. • BACKSTAGE.COM

J OA N M A R C U S

JOAQUÍN TORRES, FELIX SOLIS, KATHLEEN CHALFANT, AND SUSAN POURFAR IN “PASSION PLAY”

2016 VANGUARD AWARD

KEN SLEVIN OUTSTANDING AGENTING & BUSINESS LEADERSHIP

NOVEMBER 12 2016 AT 2PM PT

CEO/President, CESD Talent Agency WARNER BROS. STUDIOS BURBANK CA

PRESENTED BY

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