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HARINGTON KIT

He plays men who want more . Turns out‚ so does he .

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“The Bride!” writer + director

Kit Harington photographed by Victoria Will on March 9 at the Fifth Avenue Hotel in New York. Grooming by Laila Hayani.

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CATCHING UP

AMANDA PEET

By Derek Lawrence

HREE DECADES INTO HER CAREER, AMANDA PEET FEELS

Tlike she’s doing some of her best work—something she traces back to her early training with Uta Hagen.

“Thinking about her is really important and present in my mind,” Peet says of the legendary acting teacher, who died in 2004. “She was allergic to the kind of acting in which you are advertising the emotions, conjuring them, or orchestrating something, as opposed to playing the objective. And it still plagues me—but in a good way!”

April 3 marked a big moment for Peet with the release of her rst lm in 10 years, Matthew Shear’s romance “Fantasy Life,” and the second season of “Your Friends & Neighbors.”

On Apple TV’s crime dramedy, she stars as Mel Cooper, a therapist recently separated from her husband (Jon Hamm) and juggling her new life as a single mother. For Season 2, Peet was thrilled to put Mel through the wringer.

“I like the intersection of a suburban mom who is trying to keep things normal, get her daughter to college, be presentable,” she says, “and then the raging, psycho part of Mel.”

Ahead of these premieres, we talked to Peet about studying under Hagen and hitting her stride.

What initially drew you to “Your Friends & Neighbors”?

I had read [creator] Jonathan Tropper’s novels‚ and I knew that he was really good at dialogue. When they said he’s at the helm‚ I was like‚ Well‚ that’s probably a no-brainer. And then if you add Jon Hamm‚ it becomes a super no-brainer. In the first couple of episodes that Tropper sent me‚ Mel is with a patient who is describing keying a car‚ and then she goes and keys a car‚ and I was like‚ This is delicious!

When did you catch the acting bug?

It started in school when I moved to England‚ and I was the first Jewish girl to play Saint George in “Saint George and the Dragon.” I remember being in a kind of flow state‚ and then the play would be over and I’d feel a weird embarrassment about how into it I was. It was waking up and being like‚ Wait‚ it’s not real? That was when I noticed I wasn’t like normal people.

[Laughs]

“The more I worked‚ the less nervous I got‚ and so my philosophy was to say yes to everything.”

How crucial was your time studying under Hagen?

My mom found me a teen acting class at HB Studio with Trudy Steibl‚ and then after [founder] Herbert Berghof died [in 1990]‚ Trudy was like‚ “You really should study with Uta before she retires.” I auditioned for her my junior year of college‚ and it was a critical moment for me when I started getting good feedback from her. I was one of the youngest people in the class‚ and everyone had headshots and agents‚ and it felt like it made acting into something that wasn’t just frivolous.

What is your worst audition horror story?

I mean‚ there are just so many. I was so neurotic and had stage fright‚ so sometimes I didn’t prepare‚ and I was telling myself: I’ll be more free this way and less fake. But really I was just unprepared. And that’s embarrassing‚ and it kills me to think about.

How were you able to break through those early struggles? I used Backstage a lot‚ because I was so nervous and trying to find my own way to do exposure therapy. The more I worked‚ the less nervous I got‚ and so my philosophy was to say yes to everything. I needed to deal with my stage fright and fear of failure by just doing it‚ and keep doing it. But I’ve had the most fun since I turned 40‚ I feel like I’m finally getting it.

This interview has been edited for clarity and length.

WITH

Amanda Peet on “Your Friends & Neighbors”

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THE GREEN ROOM

A New Home for Working Actors

New Jersey is booming with film and TV work— and it’s quickly becoming a market every actor should have on their radar

By Vinnie Mancuso

●MOST ASPIRING ACTORS have a vision of their ideal future, and for decades those dreams often landed you in one of two locations: Los Angeles or New York City. But over the past few years, a new, unlikely contender has emerged as a performer’s paradise: New Jersey, home of Bruce Springsteen, pork roll (not Taylor Ham), and one of the most generous tax incentives for lm and television production in the country.

“I was teaching up at Marist University, and the students would say, ‘Should we move to L.A.?’ And I was like, ‘You don’t need to anymore,’ ” says Jon Crowley, executive director of the New Jersey Motion Picture and Television Commission. “There’s so much production coming here. You can stay here and feel con dent that you’re going to be working.”

The numbers support Crowley’s claim. In the fourth quarter of 2025, California’s hold as the No. 1 lming destination loosened, the state’s total TV and lm count slipping by 20% and production spend by 22% year over year, according to a report from ProdPro; New York kept its solid second-place spot, with total

lming and production spend up 31% and 23%, respectively. Meanwhile, the Garden State saw the largest year-over-year growth in lm and TV production of any state—up 75%— with its total production spend soaring past $300 million (up 12%).

New Jersey has a longer lmmaking history than most realize; after all, Thomas Edison established the rst lm studio ever in West Orange back in 1893. But the speed of the current rise is what has the industry taking notice. According to Crowley, more than 60 productions were lmed in New Jersey through the tax incentive program in 2025, a signi cant increase from 43 in 2024 and 39 in 2023. If the numbers hold, Crowley says, the state is looking at more than 30 productions in the rst quarter of 2026 alone.

Recent Garden State productions have included buzzy projects like Steven Spielberg’s “Disclosure Day,” the Timothée Chalamet–led Bob Dylan biopic “A Complete Unknown,” A24’s “Friday the 13th” prequel series “Crystal Lake,” and “Happy Gilmore 2,” starring Adam Sandler, just to name a few—all of which lled out their casts with local hires.

And soon, it will be easier for actors to nd these local productions—and for the local productions to nd them Crowley tells us the NJMPTC plans to launch a tool called NJActors Hub, live on the commission’s website, a platform for performers to post résumés and headshots for consideration in New Jersey projects.

The support infrastructure, Crowley says, is expanding to ensure those projects keep rolling into the state. That includes lumber mills in Edison and Newark that aid set production, and motion picture camera rental out t PRG Gear setting up shop in Secaucus.

Hollywood East

Steven Spielberg on the set of “ Disclosure Day”

“What’s happening is, because there’s more and more production here, you’re seeing more of a crew base relocating to New Jersey because they want to be part of the action,” Crowley says.

The growth is powered by the Film and Digital Media Tax Credit Program, reinstated by former Gov. Phil Murphy in 2018, which o ers 35% tax credits for “wages and salaries for work performed” and for “goods and services used or consumed” in New Jersey (the latter drops to 30% for productions within a 30-mile radius of midtown Manhattan).

Essentially, all productions—no matter the A-lister at the top of the call sheet—are incentivized to hire local, and that includes the cast. That fact isn’t going anywhere, either; the bene ts program is on the books until 2049.

Notably, the state also o ers a 4% bonus to productions that hire at least 25% of talent from “residents of an economically disadvantaged area in the state,” a category that applies to above and below the line, including background actors. “People who might not have a pathway because of family who are already in the industry to get them a foot in the door, we’re incentivizing the studios and networks to nd these folks and put them to work,” says Crowley. And those same studios and networks are setting up shop in

the area. In May 2025, Net ix broke ground on a $1 billion production facility in Fort Monmouth, set to open in 2028. A few months later, Lionsgate o cially began construction on its own studio campus in Newark. Meanwhile, Paramount has signed a 10-year lease on 1888 Studios in Bayonne.

“We estimate that these studios will create thousands of jobs for New Jersey residents,” said Net ix co-CEO Ted Sarandos in a release last May.

Local acting educators are taking notice. “We’re obviously aware of [productions coming to New Jersey], because it’s all over the news,” says Ted Wrigley, managing director of the New Jersey School of Dramatic Arts in Montclair. “Over the years, we’ve had a lot of students come in, but only recently started wondering whether we’ve seen an uprising of people because they’re thinking, Oh, I don’t have to go to Hollywood to make a career. I can make it here, so I’d like to study here.”

For Wrigley, New Jersey has always been a thriving community for actors. “We have a community theater pretty much every few square miles. There’s so much opportunity to do your craft, to just be out there…. That’s where most people become the best actors, because they do it for the love of it,” he says. The state is also teeming with educational

opportunities, from formal college programs at Rutgers’ Mason Gross School of the Arts, Kean University, and Montclair State to classes (for both stage and screen) at Equity theaters like Paper Mill Playhouse in Millburn, McCarter Theatre in Princeton, and George Street Playhouse in New Brunswick.

Both Crowley and Wrigley are quick to note that the increase of lm and television opportunities is happening before Net ix, Lionsgate, and Paramount open their doors. The studio expansions will mean more productions per year and thousands of jobs, all of which need local actors. The upward trend is already there. When the oodgates nally open? Fuhgeddaboudit.

Adam Sandler and Bad Bunny in “Happy Gilmore 2”

Former New Jersey Gov. Phil Murphy‚ first lady

Tammy Murphy‚ and Netflix co-CEO Ted Sarandos

Breaking Through

Yerin Ha’s Cinderella Moment

How drama school‚ dialect coaches‚ and hard work built a “Bridgerton” star

By Holly O’Mahony

●THE PAST SIX MONTHS have marked a turning point for Yerin Ha. A graduate of Sydney’s National Institute of Dramatic Art, the Korean Australian actor already had several screen credits under her belt, including playing Young Kasha Jinjo on HBO’s “Dune: Prophecy” and Kwan Ha on “Halo,” the Paramount+ adaptation of the video game franchise. But last October she stepped into the limelight, playing a leading role onstage in a prestigious, innovative revival of Jean Genet’s “The Maids,” directed by Kip Williams at London’s Donmar Warehouse— a production that will run at St. Ann’s Warehouse in Brooklyn from May 17–June 14.

Now she’s set to become more of a household name following her debut as the leading lady on

Yerin Ha on “Bridgerton”

the fourth season of “Bridgerton,” playing Sophie Baek, a maid whose Cinderella-inspired story leads to a romantic entanglement with Luke Thompson’s Benedict Bridgerton. From perfecting her British accent just in time to tackling her rst intimate scenes, Ha talks about her experiences becoming the new face of one of Net ix’s most-watched series.

You’re Australian‚ but your British accent is flawless. How‚ and when‚ did you learn it?

I learned the accent for this job. I didn’t think that I would be able to penetrate into the U.K. television market, so I always had my eyes set on America. I would practice my American accent, but never my British accent. When I booked “Bridgerton,” it was a quick

turnaround. I worked very closely with our amazing dialect coach, Jane Karen, and she just went through every episode with me along the way.

What can you tell us about your experience with the casting process for “Bridgerton”?

I was in Korea visiting my mum when I got the call to audition via a self-tape. I’d recorded so many of these since the pandemic, so I felt quite comfortable. But I had to send it within 24 hours. I was cast quite late in the process, and I think they’d been looking for months before I got my rst audition.

A couple days later, I received a callback over Zoom with Kelly Valentine Hendry, the casting director, and Tom Verica, the executive producer and director. I read two of my scenes, and after that, I was called back again for a chemistry read on Zoom with Luke Thompson. It was my rst chemistry read, and I didn’t know what to expect. It was also 11 p.m., and I was just so incredibly nervous. I just wanted to be as present as possible; I didn’t want to force anything. Very soon after that, I heard I’d booked the role. I think from the rst phone call to the last phone call it was just shy of two weeks—so quick for an audition process.

“Bridgerton” is known for its racy scenes‚ and Season 4 is no exception. Your scenes with Thompson are very tastefully directed‚ but how did you approach that level of intimacy onscreen? I remember booking the job and very quickly my brain went to, “Oh, crap, I have to do intimate scenes now,” which I’d not done before. I was grateful for intimacy

coordinator Lizzy Talbot. She’s so amazing, and the energy and the safety that she provides—not just for me, but for the crew and for Luke—meant being able to choreograph things in a really tasteful way. What feels good doesn’t always look good, and she had tips and tricks up her sleeve to make it look more beautiful and more cinematic.

How did your formal training shape you‚ and how did that compare to what you learned on set?

At drama school we were given all these di erent sets of tools but never went in-depth with any of them. At the time, I remember wishing we could just learn one and be a master of that one tool. But, actually, looking back at it now, I’m so grateful that we did get a taste of di erent things. Every process is di erent, and every director is going to be di erent, and what you bring to each project is going to be so unique to that character…. You always have to be so exible.

In terms of what I’ve learned on set, for me it’s actually about human relationships. When you create very strong, healthy relationships and environments on set, you’re able to focus on your work rather than having to tiptoe around egos.

What’s next for you professionally? I would love to do a lm, ideally, and work closely with a director over a condensed amount of time. I would love to do another dark drama, or anything that really pushes me and makes me feel a little bit scared.

This interview has been edited for clarity and length.

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●Gyllenhaal Wants to See Inside Your Head

By Kristen Lopez

MAGGIE GYLLENHAAL ISN’T afraid to push boundaries as a director. That’s certainly evident in her latest feature, “The Bride!”— a revisionist reimagining of Mary Shelley’s 1818 novel “Frankenstein” and James Whale’s 1935 film “Bride of Frankenstein,” which starred Elsa Lanchester in the titular role. Gyllenhaal’s iteration follows Ida (Jessie Buckley), a young woman in 1930s Chicago who is murdered by the mob and then resurrected to be the mate of Frankenstein’s monster (Christian Bale).

Gyllenhaal was inspired after watching both Whale’s 1931 “Frankenstein” adaptation and “Bride of Frankenstein” and feeling surprised by how little the Bride factors in the sequel, considering the title boasts her name. “It left me very curious about what she might be thinking and feeling,” the filmmaker says. “Especially in

light of the fact that she was just dug up from the ground to be someone’s wife who she doesn’t recognize and, in fact, has never met.”

In Gyllenhaal’s take, the undead bride and groom go on a crosscountry crime spree, fueled by their desire for freedom but also pulled by Ida’s rage at the ways women are mistreated. “Sometimes we use monster stories to take the monstrous aspects inside of us and put them into something else, [to] get them away from us,” she explains. “But Frankenstein’s monster is so human, and so it can have the opposite effect, where we are allowed to say, ‘Wait, what about [those] monstrous things inside me? Am I allowed to take a look at those?’ ”

Gyllenhaal goes so far as to render Shelley onscreen, also played by Buckley, as the film’s narrator, who occasionally possesses Ida.

Meet the Maker Maggie

Jessie Buckley and Maggie Gyllenhaal on the set of “The Bride!”

Using Shelley in this way places the narrative in the hands of two literal dead women, who convey their anger from beyond the grave.

Because of these big swings, the performance styles here are varied, with Buckley giving an unhinged, feral performance, contrasting with Bale’s more quiet and contemplative turn. Buckley is a Royal Academy of Dramatic Art graduate; Bale has no formal acting training. For Gyllenhaal, the distinctions in their backgrounds was part of the thrill.

“One of the real pleasures for me as a director is opening myself up to each actor’s mind and heart, and the different things that they need in order to do the work that I want them to do,” she says. “I get to be very intimate with each of my actors and look right into their minds and hearts, and every one of them is different. Even if they had similar training backgrounds, they’re each very different and need different things and want different things. It’s so much more interesting to watch an actor working at the edges of what they understand about themselves and actually having to learn something about themselves onscreen, [rather] than watching them pretend to learn something onscreen.”

Gyllenhaal’s own acting philosophy aligns closely with Lee Strasberg’s Method. “One of the things about Lee Strasberg’s Actors Studio is that it really invites you to bring yourself into the work. Why did this role find me right now? Why did I choose to take it? What is it offering me that I need to express?” she says. If she has one piece of advice for burgeoning actors, it’s this: “Bring the edges of yourself, all of yourself, into your work, and use it as an opportunity to learn something about yourself and how you interact with the rest of the world.”

“One of the real pleasures for me as a director is opening myself up to each actor’s mind and heart‚ and the different things that they need in order to do the work that I want them to do.”

Buckley‚ Christian Bale‚ and Gyllenhaal

Gyllenhaal and Buckley

William Guirola and Supriya Ganesh

John Getz‚ Bonita Friedericy‚ Taylor Handley‚ Banks Pierce‚ Brittany Allen‚ Emmett Moss‚ and Lesley Boone

Ernest Harden Jr. and Patrick Ball on “The Pitt”

Patrick Mulvey‚ Annabelle Toomey‚ and Ino Badanjak

IN THE ROOM WITH

Cathy Sandrich Gelfond and Erica Berger

The casting directors behind “The Pitt” on filling an ER‚ one shift at a time

By Emma Fraser

● ON HBO MAX’S HIT MEDICAL drama “The Pitt,” Emmywinning casting directors Cathy Sandrich Gelfond and Erica Berger are tasked with building an ensemble that mirrors an emergency room’s stark reality: Anyone can end up in one. “Health impacts every person, no matter where you’re from, no matter your age or background,” Berger says.

Season 2, which wraps up April 16, raises the pressure by having its single, chaotic 15-hour shift unfold on the Fourth of July. With a neighboring hospital shuttered, the surge of cases—from fireworks injuries to life-threatening emergencies— demands an even wider range of guest performances.

We sat down with Gelfond and Berger to find out what they’re really looking for when an actor has to play a medical crisis, and why the most convincing performers never look like they’re acting.

Did your approach to casting “The Pitt” change from Season 1?

Cathy Sandrich Gelfond: There is a difference because you now have a set of regulars. You’re definitely thinking about who would be different, who would be interesting emotionally, visually. Essentially, we approached it the same way and are so blessed to have all this amazing talent because we work in L.A. We met and read so many new people the year before. It’s nice to try to bring back some of the people we love who weren’t quite right or didn’t get the job.

Erica Berger: We kept it pretty similar to Season 1, and one of the most important parts of that is just making sure we’re always reading people we’ve never read before. It’s important for every show, but I think it’s especially important for this show. For our actors out there, I look at every single submission that comes in and watch every single tape that we request.

Is there a level of being too recognizable when casting

“The Pitt” guest stars?

CSG: I don’t know that there’s a level, but I think it’s what Erica said: We’re looking under rocks. Erica’s seeing people from everywhere, as am I. We lean toward less known. But…at a certain age, if you’re 80, we might know you. It’s a fine line.

Guest stars have to convey so much‚ often in a handful of scenes‚ as in the case of Derek Cecil’s character‚ Dr. Williams‚ who learns he has a frontal lobe mass early in this season.

CSG: Wasn’t he touching?! Wasn’t he great?! We’ve loved him since “House of Cards” and before. He’s someone you know, but he doesn’t take you out of it. I think the trick is people that you know, but not that you immediately go, “Oh, that couldn’t be him. He was blah blah blah.” That’s the fine line.

“The Pitt” is very proud to be an L.A. production. What has that experience been like?

CSG: So good, because there’s so much talent here. I’m from here; I’m a

hometown girl, and it makes me very happy. I’ve had a pretty long career, and I’ve almost never gotten to work in L.A., so it’s particularly exciting.

EB: I love it because we are the only casting office [for “The Pitt”], which is really nice, and we get to cast every single role, from top to bottom. We don’t always get to do that. [We] love our locations teams that we get to work with, and they’re amazing, but on [a] show that’s not here, we would only be handling the biggest roles each episode. Part of the fun of casting is giving people their first chance, and we get to do that on this show.

Star and executive producer Noah Wyle also directs and writes for the show. Is he involved in casting those episodes?

CSG: He’s completely involved in everything, not just the ones he writes and directs. He’s incredibly amazing. I don’t know quite how he does all that he manages to do, and at that high level. We talk to him all the time, and he’s very present.

EB: When we send them a link, we can see when the producers are watching [it], and we stalk them like, “Oh, Noah’s watching. They must be having a break.” He definitely watches the choices and weighs in.

There are a lot of prosthetic effects on the series. How does that impact casting?

EB: That’s a big challenge for us in multiple ways, because in order for

the prosthetics to be ready for their episodes, we have to cast these parts early. A lot of times, we don’t have a script yet, so we don’t have materials. We don’t necessarily know 100% what the scenes will be.

CSG: Believe me, Erica particularly has had some very interesting conversations. The things you have to tell agents that we are going to require of their clients: “Are you sure that they’re OK with a roach? It won’t be a real roach in their ear, but there will be a plastic one, and in the cup there will be a real [one].”

What advice would you give to an actor auditioning for “The Pitt”?

CSG: Truth. We [look for] truth, honesty. You’ve got to feel like you’re not acting. One of the standout things about this show is that it feels real, so we’re always looking for people who understand that and intuitively just tell the truth— even though it’s not their words.

EB: Which is really hard, because we’re talking about undergoing procedures and ailments that hopefully you’ve never experienced before. We know it’s hard to imagine yourself in these situations and what that would feel like and how you would react naturally. We appreciate everybody doing that because it’s a lot—even for an audition—to put yourself through that. It’s not easy.

This interview has been edited for clarity and length.

5 Super-Specialized Classes That Will Give You an Edge

By Eric Webb

●Maybe you’ve been here: sifting through casting notices, sitting in the hallway outside an audition, feeling like another face in the crowd. Acting is a competitive eld, but the right training can change what you bring to the room. Here, we spotlight several highly specialized opportunities that you might not nd anywhere else.

Video game voiceover at Toronto Film School

Uta Hagen’s technique en Español at HB Studio

● Spanish-speaking students need not feel caught between cultures at HB Studio, the New York City school where Uta Hagen and Herbert Berghof trained generations of acclaimed performers. The studio o ers “Actuar en Español” (“Acting in Spanish”), a 10-week program applying principles from Hagen’s seminal book, “A Challenge for the Actor,” for uent speakers.

“In a city where many actors are constantly navigating a second language, being able to explore vulnerability, imagination, and craft in one’s mother tongue is transformative,” says Maria Fontanals, who teaches the course.

The class helps Spanish speakers put Hagen’s lessons into practice through scenes from contemporary Hispanic plays. The curriculum includes text analysis, table work, and guided rehearsals.

“For many students, the rst time they perform a scene or Uta Hagen exercise in their native language in New York, something shifts,” Fontanals says. “The work becomes less about translation and more about truth.”

It’s also a good career move. According to a 2025 report from Nielsen, explosive growth in the Hispanic population of the U.S. has also led to a boom in Spanishlanguage media.

● The video game industry generates billions annually. For actors, that’s not a niche eld, says Hart Massey, director of Toronto Film School’s Acting for Film, TV, and the Theatre program—it’s a primary career path. In the nal term of the 18-month acting program, students take the “Voiceover for Video Games” class.

“We train [actors] on a foundational level, covering everything from the vocal health required for grueling ‘e ort’ sessions—screams, combat, and exertion—to the depth needed for cinematic scenes,” Massey explains.

Learning the foundations of video game acting early means walking into recording sessions ready to create fully realized characters—“not just read lines,” says Massey. Plus: The school is incorporating a motion-capture studio into the program.

Sitcom acting at Savannah College of Art and Design

● The line between a school and a working set blurs in the best way at Savannah College of Art and Design. From freshman year, students learn their craft in collaborative, professional-style environments. The school touts its 11-acre SCAD Film Studios as the largest such complex in higher education.

“Our motto is we learn by doing, so that the step from classroom to soundstage or set is seamless,” says Andra Reeve-Rabb, dean of SCAD’s School of Film and Acting.

One of the more unique on-set training opportunities: a fully produced, multicamera sitcom filmed in front of a live studio audience. SCAD’s latest sitcom production involves 150 students across acting, writing, and design disciplines.

For aspiring screen actors, the firsthand experience offers a leg up when the time comes to book jobs in TV, film, and beyond.

“Being able to adjust on-camera performances to meet each of those mediums sets them apart,” ReeveRabb says.

SCAD also runs its own on-site casting office, which helps current students find professional work. Actors who participated in previous SCAD sitcom productions have landed work on hit TV shows like “The Marvelous Mrs. Maisel” and “The Summer I Turned Pretty,” sometimes while still enrolled in the program.

A distinctive comedic voice at Upright Citizens Brigade

● Upright Citizens Brigade—founded by Amy Poehler, Matt Walsh, Matt Besser, and Ian Roberts—has launched a who’s who of comedy talents since the ’90s, including Aubrey Plaza, Nicole Byer, Nick Kroll, Zach Woods, and so many more. UCB’s theater and training center, with locations in both New York City and Los Angeles, famously o ers courses in improv and writing, but students can also study standup, musical improv, and even clowning.

“Establishing Your Comedic Voice,” an online class taught by instructor Jonathan Braylock, helps students nd the brand of funny that only they can

make. Performers learn how to identify and develop distinctive comedic strengths while crafting pitches and sketch packets that draw attention away from a producer’s pile. The class is aimed at sketch-writing students who have previous UCB experience.

Actually, just having UCB on your résumé helps you stand out, says Johnny Meeks, academic director for the training center. UCB’s signature approach to comedy foregrounds “the game”—instead of starting with the development of a character, students are rst trained to nd the internal comedic logic of a scene.

Merging theater and technology at New York University

● At NYU’s Tisch School of the Arts, upper-level drama students can embrace the future in the Innovation Studio, a semester-long theater research laboratory that integrates emerging technologies into the creative process. The hands-on curriculum engages with tech like AI and physical computing (such as motion capture) not just as tools, but as valuable artistic collaborators.

Rubén Polendo, dean of Tisch and director of the Innovation Studio, teaches “The Dramaturgy of Disruption,” a theatermaking class with an interdisciplinary lens. Students study art by innovators of all stripes—from Björk and David Lynch to Marina Abramović and Antonin Artaud— for inspiration they can apply to their own work. The laboratory will next be o ered in spring 2027.

“The goal is to cultivate artists who are nimble, intellectually grounded, and capable of shaping the future of theater,” Polendo says.

FAR ‚ FAR BETTER THINGS IN SEARCH OF

How Kit Harington blazed a prove-’em-wrong path to “Industry‚” Dickens‚ and his most satisfying work yet

By E RIC WEBB

// Photographed by V ICTORIA WILL

IT ’ S BEEN MANY YEARS. HE ADMITS THAT MEMORY COULD BE PLAYING TRICKS.

But Kit Harington recalls reacting to his first audition rejection with a certain four-letter word, followed by “you.”

“No, I know I can do this,” he remembers his teenage self thinking after losing a part he thought was in the bag. “I’ll show you what I can do.”

Harington didn’t lash out at anyone; it was an internal dialogue. Still, that prove-’em-wrong instinct lit the fuse to an explosive career.

Global stardom came before 30, thanks to playing Jon Snow on the HBO phenomenon “Game of Thrones.” Since 2024, Harington has starred as Sir Henry Muck, an aristocrat of great ambition but scant success, on “Industry,” Mickey Down and Konrad Kay’s HBO financial thriller. His portrayal of Henry’s tragicomic hubris has earned raves and awards buzz.

One could see a dark reflection of Jon in Henry. Both are hunks of noble blood. Both strain to meet the expectations of their lineage—just to opposite results. Harington will soon embody another character with choice words for the circumstances that separate him from destiny: Sydney Carton, the booze-soaked Dickensian hero, on the upcoming “A Tale of Two Cities” limited series for MGM+ and the BBC.

The 39-year-old didn’t seek out roles connected by some existential thread. He does remember reading both Jon Snow and Henry Muck on the page and thinking: “Yeah, I know that guy.”

“At times, I feel like the character is sort of within me somewhere,” he says. “I just need to find him.”

Like his characters, he envisioned a horizon broader than the one put in front of him. And after two decades in the business, he’s still showing what he can do.

On early acting rejection: “I

remember it being like a sledgehammer”

Christopher Catesby Harington grew up in Worcestershire, England, the son of a businessman father and a playwright mother. A self-described attention seeker, he first got a taste for drama while attending Chantry High School and Worcester Sixth Form College. His mother, Deborah Jane Catesby, recognized her son’s acting ambition and suggested he apply for National Youth Theatre, the training ground that nurtured talents like Helen Mirren and Daniel Day-Lewis.

He got in. For a moment, everything seemed to be falling into place.

“That just affirmed to me that I was the best actor there had ever been,” he says with the kind of wry perspective only time can buy. “I was the best in my year at school, [out] of 30 students in my class. Now I was in National Youth Theatre, which you have to audition for.”

Then Harington tried out for his first show. He did not get the role.

“I didn’t even get in the show,” he says.

“I remember it being like a sledgehammer.”

He pressed on, eventually applying to drama schools when the time came. Most turned him down.

“If you can’t deal with rejection—that painful feeling of rejection early on—you’re not going to get particularly far,” he says. “You’re not going to enjoy it.”

Harington kept going, enrolling at the prestigious Royal Central School of Speech and Drama. Before graduating in 2008, he landed the lead role of Albert Narracott in “War Horse” at the National Theatre, a production that transferred to the New London Theatre in 2009, marking his West End debut.

The experience remains a career highlight. He performed alongside marvels of puppetry that captivated the audience every night.

“Their faces were just in astonishment, and some people were crying,” Harington says. “Because no one was looking at me, I could look freely at them.

I’ll never have a theatrical experience like that again.”

Then, destiny came calling. Dragons, too. David Benioff and D.B. Weiss cast Harington in their fantasy

“I F YOU CAN ’ T DEAL WITH REJECTION— THAT PAINFUL FEELING OF REJECTION EARLY ON—YOU ’ RE NOT GOING TO GET PARTICULARLY FAR. ”

drama “Game of Thrones,” which debuted in 2011. He played Jon Snow as a brooding protagonist caught between humble beginnings and a royal, fiery birthright.

The show made him a household name and one of the highest-paid actors on television. He earned two Emmy nominations, a Golden Globe nod, and several shared SAG nominations for outstanding ensemble.

“Game of Thrones” ended in 2019, but his character opened doors for the young actor. He played a would-be knight in Chloé Zhao’s 2021 Marvel flick, “Eternals.”

The London stage welcomed him back for high-profile returns in shows like the 2016 modern revival of “Doctor Faustus,” written by Christopher Marlowe, for whom he was named (down to the nickname “Kit”), and the 2022 production of “Henry V,” a Shakespearean turn that still makes him proud. Dipping his toe into development, he executive produced and starred in the 2017 historical miniseries “Gunpowder.”

Then came a new HBO sensation, another tortured son of nobility, and one of his most rewarding roles to date.

Enter “Industry” and Henry Muck‚ “a powder keg ready to go off”

“Industry” viewers first met Henry Muck, a wealthy entrepreneur given to dark moods, on the show’s third season. Henry is the founder and CEO of green energy startup Lumi, and his company’s disastrous IPO drives the season’s overarching plot. Flailing investment banker Yasmin Kara-Hanani (Marisa Abela) works to salvage the IPO and becomes sexually entangled with Henry in the process.

The fourth installment elevates Henry’s role, only to devastatingly, deliciously tear him down. After multiple humiliations, the ne’er-do-well noble sinks into a deep depression. Yasmin, now Henry’s new bride, pushes him to restore their fortunes, installing him as the CEO of a shady financial app where he’s easily manipulated by amoral CFO Whitney Halberstram (Max Minghella).

Harington didn’t expect his character to last past Season 3, so he told the showrunners to throw everything at Henry on Season 4—and they did.

Exhibit A: “The Commander and the Grey Lady,” the second episode, feels more like a gothic play than a finance drama. Over the course of an hour, Henry spirals into a drug-fueled nervous breakdown behind the gates of his grand family estate.

“I felt like he had the capacity to go on that roller coaster, that he was a febrile and chaotic person, and that we could have fun with those elements of him,” Harington explains.

Henry’s onscreen battles with substance abuse also gave the actor a welcome opportunity to turn inward. Harington has openly discussed his own history with alcoholism. He’s sober now. The episode provided a safe space to explore those experiences through his craft.

“So often, addiction is shown as this absolutely terrible thing where people get to the rock bottom, and then they go to rehab, and they come out, and they’re good, and they’re solved,” Harington says. “And it’s not like that. It’s messy and mad and chaotic and fun. That’s why people stay in it for so long. But it is unsustainable and eventually will eat you alive, if you don’t deal with it.”

The character’s volatility often required big acting choices. Henry’s acid-tripping dinnertime tirade in Episode 2 kept Harington up at night as he agonized over just how far to go in the scene.

“He’s a powder keg ready to go off, but all they give you in the stage direction is ‘Enters the party,’ ” the actor says. “That’s like—what do you do? You’ve got the lines, you’ve got that it’s meant to be embarrassing, but what does it look like?”

Harington played with countless deliveries. He started extreme and pulled back when needed, calibrating until Henry’s wildness felt rooted in reality. The almost-too-big performance brings to mind Al Pacino’s work in “Heat,” one of Harington’s all-time favorites.

Harington in his role as Henry Muck on “Industry” (left)‚ . with Marisa Abela‚ who plays Yasmin Kara-Hanani (right)

In the sixth episode, “Dear Henry,” Whitney sinks his hooks deeper into the title character, taking his puppet CEO out to a gay bar and pushing him off the wagon. Minghella and Harington devilishly poke and prod at their characters’ wants and needs.

“I don’t think Henry is entirely a narcissist, but he’s definitely an egotist,” says Harington. “He loves being loved. He loves being the center of things.”

Viewers watch Harington yank that attention-hungry thread until Henry’s key relationships unravel. The actor sees Yasmin and Whitney as the emotionally stunted baronet’s enablers, likening them to “the world’s worst parents.”

The story also required Harington and Abela to cut open their TV marriage with a thoroughness rarely seen outside of autopsies. Henry and Yasmin engage in power-couple scheming, scream devastating abuse at each other, and make love on the hood of a sports car.

Harington gushes about the talent and generosity of his onscreen spouse and most frequent scene partner.

“I feel like she could have good chemistry with anyone,” he says. “With a plank of wood, she could have good chemistry.”

Whether his character will return for the fifth and final season remains to be seen. In the meantime, Harington’s got more stories to tell—including one long-brewing “Tale.”

Next stop: the guillotine

Harington believes he grew up—as a person and as an actor—at 33. That’s when he stopped drinking. With the monkey off his back, he started focusing on work in a healthier way. Then came his kids with Rose Leslie, his “Game of Thrones” costar whom he married in 2018.

“A combination of becoming a father and sorting my shit out—that made me go, OK, this is actually really enjoyable,” he says of his craft. “It doesn’t have to be torturous.”

Leslie recently asked him about his happy place. After rethinking his initial reply (a field bathed in sunshine), the answer became obvious—even if it sounds a little “wanky,” he admits. It’s in the theater, as the lights go down just before the play’s about to start, when the quiet descends. Everything else falls away.

“My head is like a washing machine. It is nonstop,” he says. “The only time I can quiet it is stepping onstage, or when they roll camera. It’s just about the scene.”

That sense of presence is what continues to draw Harington back to the stage. He tries to do a play every couple of years. It’s the best way to keep learning, he thinks, and always makes him a better actor.

Or, if he doesn’t have time for an acting tuneup on the boards, he could rewatch the work of his favorite

performers: Edward Norton in “25th Hour” or Jared Harris on “Chernobyl,” perhaps. For a master class, though, he cites Emma Thompson in “Love Actually,” specifically the iconic moment when she receives that Joni Mitchell CD from her philandering husband.

“She goes up the stairs, and she cries, and she comes back down again. That’s got everything you need to know as an actor in it, just one moment,” he says.

It’s a quality Harington would soon need for his next alter ego, Sydney Carton—a man quietly frustrated in love.

For years, the actor and his producing partner, Daniel West, have been pitching their adaptation of “A Tale of Two Cities,” Charles Dickens’ 1859 masterpiece set amid the French Revolution. The four-episode miniseries, filmed late last year, is currently in postproduction. A release date has yet to be announced.

Harington was dying to play the tragic Sydney, a brilliant but alcoholic barrister whose unrealized potential weighs on him, leading him to heroic sacrifice. While taking the place of romantic rival Charles Darnay (François Civil) under a guillotine, the character utters one of the most immortal lines in literature: “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.”

“It really is the Dickens of our time,” Harington says. “It’s this beautiful love story, but with the backdrop of a chaotic and dangerous world.”

Sydney, like Henry and Jon, lives in a canyon between his potential and his reality. Harington knows that there will always be things that feel out of his control as an actor, too.

But when he pushes through, the Worcestershire kid left off the cast list usually finds his own far, far better things.

“ AT TIMES ‚ I FEEL LIKE THE CHARACTER IS SORT OF WITHIN ME SOMEWHERE. I JUST NEED TO FIND HIM. ”

16Undergraduate Musical Theater Programs You Should Know

By Backstage Staff

“Alice by Heart” presented by Boston Conservatory at Berklee

“A Little Night Music” presented by Carnegie Mellon University

●FOR ASPIRING MUSICAL THEATER ACTORS ‚ COLLEGE IS OFTEN THE FIRST STEP— but choosing where to train means nding a program aligned with your career goals. Degree type, audition requirements, styles of training, and performance opportunities all factor in, along with senior showcases, alumni networks, and industry preparation. To help narrow the eld, we’ve identi ed the top programs worthy of your attention.

Baldwin Wallace University (Berea, Ohio)

Skill building: Baldwin Wallace’s conservatory program (which announced a new artistic leadership team last year) provides disciplined training across acting, voice, and dance that’s grounded in systems and techniques like Stanislavsky, Meisner, and Alexander. Vocal training spans contemporary, commercial, golden-age musical theater, and pop/rock styles.

Performance opportunities: The program produces four musicals per year, two of them in partnership with Cleveland-area theaters including Playhouse Square, the nation’s largest performing arts center outside of New York City, and Near West Theatre. Students can audition for these musicals as well as the school’s plays, dance productions, and operas, totaling more than 15 productions annually.

Postcollege prep: Each audition and rehearsal is run in alignment with Equity rules preparing students for industry standards. A master class series brings industry professionals to campus each year to o er critiques and advice, and summer stock companies regularly recruit students for seasonal contracts. Seniors perform in two days of showcases at New York’s New World Stages.

Degree offered: Bachelor of Music

Boston Conservatory at Berklee (Boston)

Skill building: Composed of Broadway veterans and working professionals, the faculty trains students in a variety of styles in acting, dance, voice and speech, and singing, while welcoming guest artists to campus for master classes and workshops. In their rst two years, students progress through a core curriculum covering topics like musical theater performance, script analysis, piano, and music theory, in addition to receiving weekly private voice lessons. In their junior and senior years, students re ne their craft through advanced study in areas like acting for the camera, pop-rock singing, or classical acting, while developing audition techniques and learning the business side of theater.

Performance opportunities: Every year, the conservatory puts on four mainstage productions and six faculty-directed studio shows, along with student-directed work, readings of new works, and dozens of musical theater and voice studio recitals. Through a partnership with Boston’s SpeakEasy Stage Company, students can perform in productions and gain behind-the-scenes experience.

Postcollege prep: A strong emphasis is placed on networking from day one. Seniors perform in in-person and digital showcases, maximizing their exposure to casting agents and industry professionals.

Degree offered: Bachelor of Fine Arts

Carnegie Mellon University (Pittsburgh)

Skill building: Carnegie Mellon’s Acting/Music Theater conservatory program trains students in acting, voice and speech, and movement, as well as advanced singing, dance, and musical theater styles and skills. Juniors and seniors can study abroad at conservatories in the U.K., Australia, Spain, and Italy, including the Royal Welsh College of Music and Drama and Sydney’s National Institute of Dramatic Art.

Performance opportunities: Students perform in mainstage productions during their junior and senior years. Freshmen and sophomores can participate in performances for the annual Playground Festival, which features studentcreated work. Additionally, through its newly launched Center for New Work, the School of Drama partners with the Pittsburgh Civic Light Opera, City Theatre Company, Play On Shakespeare, and more.

Postcollege prep: In the senior showcase, students perform monologues and songs for casting directors, agents, and managers. Showcases are held in NYC, L.A., and Pittsburgh. The school prepares individual showcase pro les and lmed material for students, which are sent to industry contacts.

Degree offered: BFA

Elon University (Elon, N.C.)

Skill building: Students take courses across disciplines, including contemporary vocal techniques, music theory, musical theater literature, scene study, acting for the camera, and dance (ballet, jazz, modern, and tap). In their junior and senior years, students can choose special-topic courses to re ne their artistic identity and professional goals. The school o ers master classes with visiting artists, individualized voice lessons, and options to study abroad.

Performance opportunities: Each season includes two mainstage productions, a black box show, and a faculty-mentored, studentgenerated musical revue. Students audition for workshops, additional musical revues, dance performances, and student-run shows. Oncampus auditions with professional theater companies help students secure summer work.

Postcollege prep: Seniors take a two-semester seminar bridging undergraduate training and the industry. The rst semester focuses on re ning audition packages, including headshots and reels, and understanding how the industry functions. The second semester features Elon’s Senior Casting Series, in which students are seen on campus by top agents and casting directors.

Degree offered: BFA

Emerson College (Boston)

Skill building: Emerson’s undergraduate musical theater program focuses on acting, singing, and dancing, with an emphasis on developing well-rounded storytellers and performers. This includes training in movement for actors and advanced song interpretation, and a required rst-year crew assignment on a production.

Performance opportunities: Emerson Stage, the production arm of the Department of Performing Arts, presents nine performances per season across ve professional-grade theater spaces, o ering extensive opportunities for performers, designers, production teams, and theater management students. There are also more than 30 student performance organizations, and students can audition for summer positions in New York, New England, and beyond.

Postcollege prep: The program holds two showcases annually—one in Boston during the spring and another in NYC in the fall—in which graduating seniors get the chance to perform in front of industry reps, directors, and alumni. Degree offered: BFA

Ithaca College (Ithaca, N.Y.)

Skill building: In Ithaca’s performance-oriented training program, students receive intensive vocal and dance training alongside a strong foundation in musicianship, including piano and theory education. Regular faculty evaluations provide ongoing feedback on strengths and areas for growth, and guest artists lead workshops and master classes. Juniors may also study abroad at the school’s London Center.

Performance opportunities: Students begin auditioning in their rst year for a season that includes two musicals, two to three plays, an opera, and a dance concert. Additional opportunities include new readings and workshops in conjunction with local professional theaters and writing teams, as well as a student-run theater company where students explore playwriting, composing, directing, and producing.

Postcollege prep: During their junior year, students meet with casting directors, artistic directors, and agents on campus to workshop material. Seniors transition into the industry with advanced preparation classes and Field Studies, a weeklong trip to NYC featuring panels and workshops with Ithaca alumni. They also perform in senior showcases on campus and in New York.

Degree offered: BFA

Marymount Manhattan College (New York City)

Skill building: In its musical theater program, Marymount Manhattan—which is merging with Northeastern University—combines conservatory-style training in acting, singing, and dancing with a liberal arts foundation. Students get practical tutoring right away with more than 12 hours of weekly studio instruction in their rst year. Coursework covers acting essentials, including script analysis and rehearsal techniques; private voice lessons in vocal anatomy and song study; and daily dance classes. Electives cover topics like musical directing, cabaret performance, pop/rock performance, acting for the camera, performing Shakespeare, and songwriting.

Performance opportunities: Multiple musicals are produced on campus every season, as well as Studio Workshop productions at o -site venues in New York like the National Dance Institute and the York Theatre Company. Postcollege prep: In advanced classes, pupils build audition portfolios that re ect their individual strengths and artistic identity. Master classes and regular meetings with agents and casting directors support their transition to the industry. Seniors perform two spring showcases, one in New York and a digital showcase sent out nationally.

Degree offered: BFA

New York University (New York City)

Skill building: The New Studio on Broadway at NYU’s Tisch School of the Arts draws on the American musical, contemporary plays, and the classical canon to train students in acting, singing, and dancing. Foundational courses include scene study, ballet and dance, and music theory. More advanced classes focus on the teachings of Anton Chekhov, the Greeks, and Molière, as well as analysis of the musicals of Oscar Hammerstein II and Stephen Sondheim. Performance opportunities: In addition to scene-based classwork, students participate in a full-length performance project in their third and fourth years, including world-premiere productions of works by students in the Tisch Graduate Musical Theatre Writing program. The degree culminates in the Vocal Book Preparation course, in which students re ne material that highlights their strengths and musical taste.

“Sweeney Todd: The Demon Barber of Fleet Street” presented by New York University

“An American in Paris” presented by Elon University

Postcollege prep: The program o ers a class on acting in the digital age that covers establishing your online presence and navigating modern technology. The nal year also includes a class taught by former talent agent and personal manager Brian O’Neil, author of “Acting as a Business.”

Degree offered: BFA

Northwestern University (Evanston, Ill.)

Skill building: This is the lone Bachelor of Arts degree on this list; Northwestern allows secondyear students in the School of Communication who are majoring in theater, dance, performance studies, or voice to audition for the music theater certi cate program. Accepted students take voice classes, along with courses in music theater technique and musicianship, dance, and acting, building a secondary area of specialization. The faculty includes Tony-winning actor KO, who leads workshops on topics such as critical analysis of the musical theater canon.

Performance opportunities: Each year, students audition for the school’s seven mainstage productions, including plays, musicals, dance concerts, and more. They can perform in facultydirected plays and student-led productions, as well as the Waa-Mu Show, an annual studentwritten musical.

Postcollege prep: Select acting and music theater students perform in a New York City showcase for agents and casting directors. The NU Faces Senior Showcase allows graduating seniors to perform on campus for industry professionals. Degree offered: B.A. with a Musical Theater certi cate

Pace University (New York City)

Skill building: Housed within the university’s Sands College of Performing Arts, the musical theater program employs faculty members currently working in the industry, as well as artists-in-residence that have included luminaries like Tony-winning composer Jeanine Tesori. Courses include acting for musical theater, acting for TV and lm, scene study, musical theater history and repertoire, and audition technique. Students take one-on-one voice lessons and learn the fundamentals of ballet, jazz, tap, and theatrical dance.

Performance opportunities: The school produces three mainstage musicals per year, and musical theater students can audition for plays through the BFA Acting program.

First-year students perform in a cabaret show called Hatched. Pace’s NYC locale provides opportunities to book professional stage and screen work, and for students in solid academic standing who land roles, the program will o er accommodations.

Postcollege prep: Seniors perform in a showcase for industry professionals and take a class on the business elements of the entertainment industry, which is currently taught by top NYC casting director Pat Goodwin of the Telsey O ce. Degree offered: BFA

Penn State University (State College, Pa.)

Skill building: Students train in acting, voice, and dance—including ballet, tap, and jazz. Guest artists, including many Broadway professionals, lead master class series, and students take trips to New York City to connect further with the industry. The school’s Musical Theatre Wellness Center supports students’ physical, mental, nutritional, and vocal health with an on-site physical therapy clinic, access to counseling, and vocal cord imaging.

Performance opportunities: The department produces four musicals per year, with more audition opportunities for plays, cabarets, and student-driven works. Starting in their junior year, students collaborate with professional writers through the New Musicals Initiative to develop new work, culminating in a performance at New York’s 54 Below.

Postcollege prep: Students learn how to build a professional presence, including websites, headshots, and résumés. A “Business of the Business” course and a three-camera video shoot further prepare seniors for the industry. Graduating students perform in a NYC showcase and receive guidance navigating post-showcase conversations with agents. Degree offered: BFA

Last Call for Summer Training

Select schools featured here are still accepting applications for 2026.

Boston Conservatory at Berklee

Ages 12–25‚ intensive training across performance and dance

Deadlines: Dance intensive‚ May 1‚. Youth Musical Theater‚ June 1 (space permitting)

New York University (Tisch School of the Arts)

High school graduates through postgrad‚ three- and six-week intensives with options for college credit

Deadlines: Session I‚ May 1‚ Session II‚ June 15

Syracuse University

Rising high school sophomores through recent graduates; two-week residential intensive

Deadline: May 1

Baldwin Wallace University

Grades 5–12‚ summer theater intensives for middle and high school students

Deadline: May 31

Many top programs close applications as early as February or March. Be sure to plan ahead for 2027.

“Pippin” presented by Syracuse University

Syracuse University (Syracuse, N.Y.)

Skill building: Syracuse’s conservatory program features a curriculum in performance—acting, singing, and dancing—as well as theater history and liberal arts. Juniors have the chance to study in London, and seniors can participate in the Tepper Semester program in New York City (named for its founder, Tony-winning producer Arielle Tepper Madover, an alum of the program). Performance opportunities: Beginning in their second year, students can audition for facultydirected plays and musicals, student-directed lms, and co-productions with Syracuse Stage. Advanced musical theater students have the opportunity to audition for Syracuse Stage’s own productions, where they may also understudy the professional actors. SU mounts a veproduction mainstage season, including two musicals, and a few smaller studio projects.

Postcollege prep: In addition to a senior showcase, students take a full semester of audition technique in their third or fourth year (which includes an assortment of mock auditions). Master classes with visiting artists and professionals further prepare students for the transition into the eld.

Degree offered: BFA

University of Cincinnati (Cincinnati)

Skill building: The musical theater program in the university’s College-Conservatory of Music is the oldest in the United States and emphasizes training triple-threat performers. Vocal work incorporates private technique classes and musical theater coaching. Graduating students are well-versed in a variety of acting methods, from Uta Hagen, Michael Chekhov, Sanford Meisner, and more. Dance courses include ballet, jazz, tap, somatic practices (a focus on internal sensations during movement), and choreography. Performance opportunities: The school stages multiple musicals, plus three workshop productions in the school’s black box theater. Each season features works from the golden age of musical theater, as well as contemporary productions and rock operas; students from any year are invited to audition.

Postcollege prep: The freshman showcase is a chance for rst-year students to debut their talents; the senior showcase allows graduating students to perform for agents and casting directors in New York and Cincinnati. Master classes taught by Broadway professionals and visits from national touring performers o er additional industry insights.

Degree offered: BFA

University of Florida (Gainesville,

Fla.)

Skill building: UF’s musical theater department keeps its program small, only admitting six new students each year, allowing for what it calls “unparalleled individualized training.” Students

“Cabaret”

get instruction from faculty actively working in the eld, with required coursework in voice, acting, and dance, including classes specializing in Broadway and other musical theater choreography spanning from the mid-20th century to the present. Guest artists provide on-the-ground insight on working in the industry.

Performance opportunities: The university’s School of Theatre and Dance stages multiple shows a year, including mainstage musicals, black box plays, and dance performances. Students can take part in these opportunities starting in their rst year.

Postcollege prep: Students build o -set skills including audition technique, personal branding, nancial literacy, and an understanding of the industry’s decision-makers. Graduating seniors perform a showcase in New York for agents, managers, and casting o ces; a digital version is shared for even wider exposure.

Degree offered: BFA

University of Michigan (Ann Arbor, Mich.)

Skill building: With conservatory-style rigor and the breadth of a major public research university, this program trains students to achieve at a high level in two of the three musical theater disciplines. Students also receive extensive instruction in music theory and the history of the craft, as well as one-on-one voice lessons.

Performance opportunities: The university mounts three mainstage productions each year, including one in collaboration with the nearby Encore Musical Theatre Company, which also casts students in its other shows. A fourth slot alternates between a play and a New Works Festival production, where professional writing

teams put on a ve-week workshop presentation of a new musical they’re developing. Students can also audition for dozens of productions through student organizations.

Postcollege prep: Casting directors, agents, directors, and professional alumni o er guidance to students as they prepare for the annual senior showcase in Ann Arbor and New York City. Degree offered: BFA

University of Oklahoma (Norman, Okla.)

Skill building: OU’s Weitzenho er School of Musical Theatre, part of the Weitzenho er Family College of Fine Arts, describes itself as “the only school of musical theater in the nation,” pairing conservatory-style training with the resources of a large public university. Students bene t from classes in voice, ballet, tap, jazz, music theory, character study, and accents and dialects. There are also courses speci cally for audition prep, covering everything from casting notices to résumés to assembling a portfolio of song selections, and principles for physical conditioning, designed to improve performers’ mind-body connection.

Performance opportunities: First-year students perform in a freshman showcase. Each year, the school stages two mainstage musicals and a third o -campus “Downtown Series” musical.

Postcollege prep: The program o ers master classes and opportunities for students to learn from guest artists. Seniors perform a showcase on campus before bringing their talents to New York City for Industry Week, where they work with agents, casting o ces, and other theater professionals.

Degree offered: BFA

presented by the University of Michigan

This Summer New York City Is Calling

Join HB Studio’s Ensemble of Acting Professionals at The Hagen

Summer Intensive

Dive deep into the legendary Uta Hagen’s approach to acting

Build lifelong connections with theater professionals

Practice excellence alongside world-class teaching artists

Strengthen your skills beyond your expectations

SIX-WEEK INTENSIVE

June 21 to July 31, 2026

Photo credit: Horacio Rojas

Casting

Submit a Notice |

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.

New York Tristate Musical

Asolo Repertory Theatre

• Casting Equity actors for roles in Asolo Repertory Theatre’s 2026-27 Season.

• Mertz Theatre (Equity LORT B Contract) Season includes: “Singin’ in The Rain” (Arthur Freed, Nacio Herb Brown, songs; Betty Comden, Adolph Green, screenplay; Josh Rhodes, dir.-choreo. Rehearsals begin Oct. 13; runs Nov. 21-Jan. 2, 2027); “Ma Rainey’s Black Bottom” (August Wilson, playwright; Chuck Smith in partnership with The Goodman Theatre, dir. Rehearsals begin Dec. 21; runs Jan.15-Feb. 4); “Royal Family” (Edna Ferber, George S. Kaufman, playwrights; Peter Amster, dir. Rehearsals begin Jan. 19; runs Feb. 12-March 4); “The Day the Circus Came to Town” World Premiere (Peter Rothstein, Carla Noack, playwrights; David Darrow, music-lyrics; Peter Rothstein, dir. Rehearsals begin Feb. 12; runs March 27-April 24); “Ken Ludwig’s Baskerville a Sherlock Holmes Mystery” (Ken Ludwig, writer; Chari Arespacochaga, dir. Rehearsals begin April 13; runs May 7-30).

• The Cook Theatre (Equity LORT D Contract) Season includes: “It’s a Wonderful Life: A Live Radio Play” (Joe Landry, playwright; Scott Keys, dir. Rehearsals begin Nov. 13; runs Dec. 5-Jan. 3, 2027); “Provenance” (Jennifer Maisel, playwright; Casey Stangyl, dir. Rehearsals begin April 14; runs May 8-31); “Bootleg: America Sings 1927” (Cat Brindisi, Terrance Jackson, James Monaghan, Peter Rothstein, curators; Peter Rothstein, dir. Rehearsals begin March 30, 2027; runs April 24-May 16).

• Company: Asolo Repertory Theatre. Staff: Cat Brindisi (Asolo Rep), assoc. artistic dir.; Paul Hardt, casting dir.

• Rehearses and performs at Asolo Repertory Theatre in Sarasota, FL.

• Seeking— Equity Actor: all genders, 18+.

• Equity Principal Auditions will be held April 28 from 10 a.m.-6 p.m. (break, 1:30-2:30 p.m.) at Actors’ Equity New York Audition Center, 165 W 46th St., 16th Fl., New York City, NY 10036.

• EPA Procedures are in effect for

this audition. An Equity Monitor will be provided.

• For Plays: Prepare two monologues, no more than two minutes total. For Musicals: Prepare either a brief song or 16 bars of a song and a one-minute contemporary monologue. An accompanist will be provided. Bring a hard copy of your headshot and résumé stapled together.

• For more info visit http://www.asolorep.org/auditions

• Asolo Repertory Theatre is committed to an inclusive, anti-racist casting policy. Asolo Rep is also seeking actors to fill understudy roles throughout the 2026-2027 season. Most roles except bit parts are understudied.

• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. Always bring your Equity Membership card to auditions.

• Professional Pay. Pays $1213/wk. (Mertz Theatre; LORT B); Pays $889/wk. (The Cook Theatre; LORT D). Equity LORT B & D Non-Rep Contracts.

‘Beauty

And The Beast: Live on Stage!’

• Seeking Equity Principal dancers for “Beauty And The Beast: Live on Stage!”

• Company: Walt Disney World Company. Staff: Erika Ureña, casting dir.

• Rehearsals begin mid-August; runs at Disney’s Hollywood Studios® at the Walt Disney World® Resort near Orlando, FL.

• Seeking— Equity Principal Dancer: 18+.

• Equity Principal Auditions will be held April 17 from 10 a.m.-12 p.m. at Pearl Studios (500), 500 8th Ave., New York City, NY 10018-6504.

• Holding room - Studio 312. ECC Procedures are in effect for this audition. An Equity Monitor will be provided.

• Come prepared to learn a musical theatre combination. Female presenting dancers in character heels. Male performing dancer in jazz flats. Wear form fitting attire to show your silhouette Also, bring your headshot and resume stapled together.

• For more info visit http://www.disneyauditions.com/

Casting picks of the week

BY LISA HAMIL

musical

‘The Outsiders,’ B’way Come of Age on the Broadway stage

tv

‘The Gilded Age’ Join the 1% on HBO’s hit series in Troy, NY

lm

‘Knockin’ ‘Em Dead’ Break a leg in Burbank, CA

musical

‘Beauty and the Beast’ Twirl with candlesticks in Lake Buena Vista, FL

stage

PlayMakers Repertory Co. 2026-27 Season

Become “Angry, Raucous, and Shamelessly Gorgeous” in Chapel Hill, NC

• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. Always bring your Equity Membership card to auditions.

• Professional Pay. Pays $25/hr. min. includes potential Equity pension, Equity 401K and Disney health. Equity Walt Disney World Contract. Upon signing of Walt Disney World® Individual Employment Contract, candidates are eligible to immediately

apply for membership in Actors’ Equity Association.

‘The Outsiders,’ B’way, Singers & Dancers

• Casting Equity singers and dancers for future replacements for roles in the Broadway production of “The Outsiders.” Note: There are no Equity stage managerial positions available at this time.

• Company: Outsiders Broadway LLC. Staff: The Araca Group, American Zoetrope,

• Olympus Theatricals, prods.; 321 Theatrical Management, general mgr.; S.E. Hinton, novel as source material; Francis Ford Coppola, film as source material; Adam Rapp with Justin Levine, book; Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music & lyrics; Danya Taymor, dir.; Rick Kuperman & Jeff Kuperman, choreos.; Justin Levine, music supervisorarranger-orchestrator; The TRC Company / Xavier Rubiano CSA & Louis DiPaolo, casting dirs.; Nancy Braun, choreo. supervisor; Kristen Carcone & Tilly Evans-Kreuger, assoc. choreos.; Matt Hinkley, music dir.

• Currently running at Bernard B Jacobs Theater in New York, NY.

• Seeking— Greasers/Male & Female Presenting Ensemble & Swings: 18+. Socs/Male & Female Presenting Ensemble & Swings: 18+.

• Equity Chorus Calls will be held April 7 at 10 a.m. (singers; lunch, 1:30-2:30 p.m.) and at 2:30 p.m. (singers) and April 13 at 10 a.m. (male dancers; lunch, 1-2 p.m.) and at 2 p.m. (female dancers) at Pearl Studios (500), 500 8th Ave., New York City, NY 10018-6504.

• Holding room - studio 1214 (Singers) and studio 312 (Dancers). ECC Procedures are in effect for this audition. An Equity Monitor will be provided.

• Singers: Prepare 16-bars or 30 seconds of a country, soul, rock or folk song that shows range. An accompanist will be provided for dancers.

• Dancers: Be warmed up and ready to dance. All dancers should bring flat shoes. Everyone should bring their headshot and resume stapled together.

• The sound of “The Outsiders” is a blend of folk, soul, southern rock, blues, with some elements of early country, hints of bluegrass and church revival. This is not a twangy score, no strong accents needed, not a hoedown or a hootenanny, but more of a celebration of Americana, traditions around acoustically driven,

sincere, soulful, visceral human expression. Authenticity is key, as this should not feel like something put on, but the truest expression of these characters’ emotional lives. For these reasons, production is interested in unique and eclectic voices to comprise their company. For some stylistic references, here is a playlist featuring artists such as Bonnie Raitt, The Band, Bill Withers, and more. Here is a link to a playlist for musical references: https://tinyurl.com/OutsidersPlaylist

• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. Always bring your Equity Membership card to auditions.

• Professional Pay. Pays $2717/wk. min. Equity Production (League) Contract.

Scripted Show

‘The Gilded Age,’ Season 4, Troy, NY

• Casting Season 4 of HBO’s “The Gilded Age.”

• Company: Grant Wilfley Casting.

Staff: Jessica Wolff, Casting Associate.

• Shoots June 9-10 in Troy, NY. Fitting required prior to work

• Seeking— Event Guests (Non-SAGAFTRA Covered): 18+, Black / African Descent, Men: height, weight, neck x sleeve, waist x inseam, shoe. Women: height, weight, bust-waist-hip, shoe. Waist measurement is not your pants size, but is the actual measurement of your waist around your belly button.*

*Height, weight, and clothing sizes are used for costuming purposes only, unless needed for the casting of standins or photo doubles.Comfortable working around atmospheric smoke, no allergies to wool. Men must have some length to their hair. Must be comfortable receiving a period appropriate haircut and/or facial hair alteration. No visible tattoos. No visible piercings that cannot be removed for work. No acrylic nails, polish, gel polish or gel extensions, or square shapes. This background role is not covered by SAG-AFTRA. Event Guests (SAG-AFTRA Covered): 18+, Black / African Descent, Men: height, weight, neck x sleeve, waist x inseam, shoe. Women: height, weight, bust-waist-hip, shoe. Waist measurement is not your pants size, but is the actual measurement of your waist around your belly button.**Height, weight, and clothing sizes are used for costuming purposes only, unless needed for the casting of stand-ins or photo doubles.Comfortable working around atmospheric smoke, no allergies

to wool. Men must have some length to their hair. Must be comfortable receiving a period appropriate haircut and/or facial hair alteration. No visible tattoos. No visible piercings that cannot be removed for work. No acrylic nails, polish, gel polish or gel extensions, or square shapes. This background role is covered by SAG-AFTRA CBA and subject to a preference of employment.

• Seeking submissions from NY.

• Apply on Backstage.com.

• Professional Pay. Non-SAG Rate: $187/10 hrs.; SAG Rate: $224/8hrs; Fitting Rate: 1/4 check.

General Staff + Crew

‘Fiddler on the Roof,’ Lighting Designer

• Seeking a Lighting Designer for an upcoming production of “Fiddler on the Roof” at the Elmont Memorial Library Theatre.

• Company: Plaza Theatricals. Staff: Nomi Dayan, Consultant.

• Tech/rehearsals May 5, 6, 7, 9, 11, 12, 13, 14; runs May 16-31 at the Elmont Memorial Library Theatre.

• Seeking— Lighting Designer: 18-99.

• Seeking submissions from NY.

• Apply on Backstage.com.

• Professional Pay.

JUNE 22–JULY 31, 2025

6-WEEK ACTING INTENSIVE

This summer, train at A.C.T’s world-renowned, Tony Award–winning theater company and conservatory. Summer Training Congress is a 6-week intensive ideal for actors looking for comprehensive training.

Financial Aid Deadline: Friday, April 17

Final Application Deadline: Friday, May 22

• Additional: $750 Stipend.

‘School Girls; Or, The African Mean Girls Play,’ Stage Managers

• Seeking submissions from Equity stage managers for positions in “School Girls; Or, The African Mean Girls Play.”

• Company: Manhattan Theatre Club. Staff: Jocelyn Bioh, playwright.; Whitney White, dir.; David Caparelliotis, Kelly Gillespie, casting dirs.; Malaika Fernandes, casting asst.

• Rehearsals begin Aug. 11; tech Sept. 1; preview Sept. 8; runs on or about Sept. 30-Dec. 13 in New York, NY.

• Seeking— Equity Stage Managers: all genders, 18+.

• Seeking submissions from NY.

• For consideration, submit your resume, and cover letter to smjobs@mtc-nyc.org

• For more info visit, www.manhattantheatreclub.com

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

• Professional Pay. Pays $2329/wk. Equity LORT A+ contract for Assistant Stage Managers; $2839/wk. Equity LORT A+ contract for Stage Managers.

Photo by Tasi Alabastro

casting Southern California / National/Regional

Southern California Musical

American Conservatory Theater 2026-27 Season, LA

• Casting Equity actors for roles in the American Conservatory Theater 2026-27 Season. Season includes: “John Proctor Is the Villian” (West Coast Premiere. Seattle Repertory Theatre and Center Theatre Group, co-production; Kimberly Belflower, playwright; Jess McLeod, dir. Toni Rembe Theater. American Conservatory Theater Schedule: Rehearsals begin Oct., 2026; tech rehearsals begin Nov. 2, 2026; runs Nov. 12-Dec. 6, 2026. Possible extension through Dec. 13, 2036. Seattle Rep Schedule: Rehearsals begin Jan. 12, 2027; tech rehearsals begin Jan. 14, 2027; invited dress rehearsal begins Jan. 20, 2027; runs Jan. 21-Feb. 21, 2027. CTG Schedule: Rehearsals begin March 9, 2027; tech rehearsals begin March 11, 2027; runs March 17-April 25, 2027); “The Bad News Bears: A Musical” (World Premiere. American Conservatory Theater under arrangement with Paramount Pictures presents the production based on the 1976 motion picture; Eric Garcia, book-lyrics; Brian Feinstein, music; Bill Lancaster, writer; Kamala Theatricals, produced with by special arrangement; Steph Paul, choreo.; Sherri Eden Barber, dir.; Toni Rembe Theater. Rehearsals begin Jan. 19, 2027; tech rehearsals begin Feb. 14, 2027; runs Feb. 26-April 4, 2027); “The Comeuppance” (Steppenwolf Theatre, co-production; Branden Jacobs-Jenkins, writer; Tina Landau, dir.; Toni Rembe Theater. Steppenwolf Schedule: Rehearsals begin Jan. 4, 2027; tech rehearsals begin Jan. 30, 2027; runs Feb. 4-March 21, 2027. Possible extension April 4. American Conservatory Theater Schedule: Rehearsals begin April 14, 2027; tech rehearsals begin April 16, 2027; runs April 20-May 16, 2027. Possible extension through May 23, 2027.); “Iraq, but Funny” (Atra Asdou, writer; Dalia Ashurina, dir.; Strand Theater. Rehearsals begin April 13, 2027; tech rehearsals begon May, 2027; runs May 13-June 13, 2027); All dates subject to change. Some roles will be understudied.

• Company: American Conservatory Theater. Staff: Austin Riffelmacher, literary mgr.-casting assoc.

• Rehearses and performs in San Francisco, CA. Note: Local Bay area season EPAs will be held with Berkeley Rep in early May.

• Seeking—Equity Actors: all genders, 18+, all ethnicities.

• Equity Principal Auditions will be held April 7 from 9 a.m.-5 p.m. (lunch 1-2 p.m.) at Actors’ Equity AssociationLos Angeles, 5636 Tujunga Ave., North Hollywood, CA 91601.

• EPA Procedures are in effect for this audition. An Equity Monitor will be provided.

• Prepare either a short monologue or a short song or a 1-minute monologue and 16-bars of a song. An accompanist will be provided; bring sheet music and bring copy of your headshot and resume.

• A.C.T. is committed to anti-racist casting practices and strives to be a place where actors of all identities and backgrounds can bring their full selves to the audition and rehearsal room. To read more about our commitment to inclusive casting at A.C.T., visit the website

• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. Always bring your Equity Membership card to auditions.

• Professional Pay. Pays $831/wk.

Equity LORT D Protected Contract (Strand Theatre); Pays $1233/wk.

Equity LORT B+ Protected Contract (Toni Rembe Theatre).

‘Beauty and the Beast’

• Seeking female and male presenting dancers for “Beauty and the Beast” live on stage, performed live at Disney’s Hollywood Studios at the Walt Disney World Resort near Orlando, FL. Casting for full-time and sub positions.

• Company: Walt Disney World Company. Staff: Michelle Paxton, casting dir.

• Rehearsals begin mid-August in Lake Buena Vista, FL.

• Seeking— Dancers: 18+.

• Equity Principal Auditions will be held April 15 from 10:30 a.m.-12:30 p.m. at Screenland Studios, 10501 Burbank Blvd., North Hollywood, CA 91601.

• For more info, go to www.disneyauditions.com.

• ECC Procedures are in effect for this audition. An Equity Monitor will be provided. You will be directed, upon entering, on where to sign up.

• Come prepared to learn a Musical Theatre combination. Female Presenting Dancers in character heels. Male Performing Dancer in jazz flats. Wear form-fitting attire to show your silhouette. Also, bring your headshot and resume stapled together.

• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. Always bring your Equity Membership card to auditions.

• Professional Pay. Pays $25/hr., includes potential Equity pension, Equity 401k, and Disney health. Equity Walt Disney World Contract. Upon signing the Walt Disney World® Individual Employment Contract, candidates are eligible to

immediately apply for membership in Actors’ Equity Association.

Short Film

‘Knockin’ ‘Em Dead’

• Casting “Knockin’ ‘Em Dead,” a short film in the vein of “Amazing Stories” or “The Twilight Zone.”

• Company: Wonderkind Pictures. Staff: John Hamilton, Director.

• Shoots April 19 in Burbank, CA.

• Seeking— Buddy J. Morton: male, 35-65, Seeking a unique voice filled with character and grit in the vein of Walter Matthau or Buddy Hackett. The actor will not be on-screen, but this role is integral to the entire film.

• Seeking submissions from CA.

• Apply on Backstage.com.

• Professional Pay. Roles paying up to US $150.

• Additional: $150 cash for roughly three hours work.

General Staff + Crew

American Conservatory Theater 2026-27 Season, Stage Manager

• Seeking Equity stage manager for future consideration for American Conservatory Theater’s 2026-27 Season. See EPA for full season of shows.

• Company: American Conservatory Theater. Staff: Austin Riffelmacher, literary mgr.-casting assoc.; Megan McClintock, production stage mgr.

• Rehearses and performs in San Francisco, CA.

• Seeking— Equity Stage Manager: all genders, 18+, all ethnicities. Equity Assistant Stage Manager: all genders, 18+, all ethnicities.

• Seeking submissions from CA.

• For consideration, submit your resume for future consideration to Megan McClintock at stagemanagment@ act-sf.org. Submission deadline is April 7, 2026.

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

• Professional Pay. Pays $843/wk. Equity LORT D Protected Contract (assistant stage manager; Strand Theater) and 1378/wk. Equity LORT B+ Protect Contract (assitant stage manager; Toni Rembe Theater); pays $1025/wk. Equity LORT D Protected Contract (stage manager; Strand Theater) and 1636/wk. Equity LORT B+ Protect Contract (stage manager; Toni Rembe Theater).

National/ Regional Play

PlayMakers Repertory Co. 2026-27 Season

• Seeking Equity actors for roles in PlayMakers Repertory Company’s 2026-27 Season.

• Season includes “Oedipus: King/ Colonus” (Carey Perloff, adaptationdir. Rehearsals begin Aug. 11; runs Sept. 12-27); “Angry, Raucous, and Shamelessly Gorgeous” (Pearl Cleage, playwright; rehearsals begin Sept. 15; runs Oct. 17-Nov. 1); “Our Town” (Thornton Wilder, playwright; Tracy Bersley, dir. Rehearsals begin Oct. 20; runs Nov. 21-Dec. 6); “The Piano Lesson” (August Wilson, playwright; rehearsals begin Dec. 29; runs Jan. 30, 2027-Feb. 14); “John Proctor is the Villain” (Kimberly Belflower, playwright; Vivienne Benesch, dir. Rehearsals begin Feb. 2; runs March 6-21); and “The 39 Steps” (Patric Barlow, adaptation; rehearsals begin March 9; runs April 10-25).

• Company: PlayMakers Repertory Company. Staff: Vivienne Benesch, producing artistic dir.; Chelsea James, assoc. prod.

• Rehearses and runs in Chapel Hill, NC.

• Seeking— Equity Actors: all genders, 18+, all ethnicities.

• Equity Principal Auditions will be held April 17 from 1-8 p.m. and April 18 from 10 a.m.-5 p.m. at PlayMakers Repertory Company, Joan H. Gillings Center for Dramatic Arts, University of North Carolina, 120 Country Club Rd., Chapel Hill, NC 27514.

• For an audition appointment, email playmakersauditions@gmail.com.

• PlayMakers Repertory Company seeks to hire actors who reflect our world to tell the stories we put onstage. Auditions are open to individuals from all backgrounds. North Carolina Triangle-based actors are encouraged to audition. Some roles will be understudied.

• Holding room, studio 103. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

• Prepare two contrasting selections, either one classical and one contemporary, or both contemporary, that give us an idea of you and the scope of your work. Total material not to exceed 4 minutes.

• Professional Pay. Pays $889-$945/wk. Equity LORT D Non-Rep contract.

Musical

‘Beauty and the Beast’

• Disney Live Entertainment is seeking female and male-presenting Equity Principal dancers for “Beauty and the Beast, Live on Stage.”

• Company: Walt Disney World Company. Staff: Erika Ureña, casting dir.

• Rehearsals begin mid-August in Lake Buena Vista, FL; runs at Disney’s Hollywood Studios at the Walt Disney World Resort near Orlando, FL.

• Seeking— Dancers: female, male, 18+.

• Equity Principal Auditions will be held April 21 from 10 a.m.-12 p.m. at Disney Animal Kingdom Rehearsal Facility, 3271 Sherberth Rd., Kissimmee, FL 34747.

• For an audition appointment, e-mail Gregory.B.James@Disney.com.

• Sign-in 9-10 a.m. in Studio 6. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

• Come prepared to learn a musical theatre combination. Female presenting dancers in character heels. Male performing dancer in jazz flats. Wear form-fitting attire to show your silhouette. Also, bring your headshot and resume stapled together.

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

• Professional Pay. Pays $25/hr., plus potential Equity pension, Equity 401k, and Disney Health. Equity Walt Disney World contract. Upon signing of Walt Disney World® Individual Employment

Contract, candidates are eligible to immediately apply for membership in Actors’ Equity Association.

Great Lakes Theater Season

• Casting Equity actors for roles in Great Lakes Theater 2026-27 Season. Season includes: “The Winter’s Tale” (Rehearsals begin Sept. 15, 2026; runs Sept. 25-Oct. 11, 2026); “Sweeney Todd” (Rehearsals begin Oct. 13, 2026; runs Oct. 24-Nov. 8, 2026); “A Christmas Carol” (Rehearsals begin Nov. 10, 2026; runs Nov. 27-Dec. 20, 2026); “The Comedy of Errors” (Runs Feb. 5-21, 2027); “Les Miserables” (Runs Mar. 12-Apr. 4); “The Importance of Being Earnest” (Runs Apr. 23-May 9).

• Company: Great Lakes Theater Festival. Staff: Sara Bruner, producing artistic dir.; Jaclyn MIller, resident artist; TBD, music dir.-accompanist; Tamara French, monitor.

• Season rehearses and performs in Cleveland, OH.

• Seeking— Equity Actor: all genders, 18+, all ethnicities.

• Equity Principal Auditions will be held April 21 from 9 a.m.-5 p.m. (break 1-2 p.m.) at Playhouse Square Rehearsal Hall, 1650 Chester Ave, Cleveland, OH 44115.

• Stage Door of Playhouse SquareCheck in with security & follow GLT signs to 2nd floor. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

• For an audition appointment, visit https://www.greatlakestheater.org/ work-with-us/auditions. Appointment times will be confirmed via email.

• Prepare one brief Shakespeare and one brief contemporary monologue, or two brief Shakespeare monologues, or one brief monologue and one short song selection. Bring sheet music in the correct key, accompanist provided, but will not transpose. Bring a stapled headshot and resume. Note: We encourage performers of all races and ethnicities, gender identities, sexualities, abilities and ages to audition.

• For more info, visit http://www.greatlakestheater.org/.

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

• Professional Pay. Pays $1213/wk. Equity LORT Non-Rep (LORT B) Contract.

Hope Repertory Theatre

• Casting Equity actors for roles in Hope Repertory Theatre 2026 Season. Season includes: “Always....Patsy Cline” (Kelsey Mesa, dir.; rehearsals begin May 26; runs June 11-July 3); “Oklahoma!” (Tommy Rapley, dir.-choreo.; rehearsals begin May 26; runs June 26-Aug. 1); “Our Town” (Brad Dell, dir.; rehearsals begin; June 23; runs July 10-Aug. 1); “Next to Normal” (Daina Robins, dir.; rehearsals begin July 7; runs July 23-31).

• Company: Hope Repertory Theatre.

Staff: Michelle Bombe, artistic dir.; Kellen Woolheiser, assoc. music dir.

• Rehearses and runs in Holland, MI.

• Seeking— Equity Actors: all genders, 18+, all ethnicities.

• Equity Principal Auditions will be held April 12 from 10 a.m.-6 p.m. (lunch, 12-1 p.m.) and April 13 from 12-7 p.m. (No scheduled break.) at DeWitt Student and Cultural Center, 141 E 12th St., Holland, MI 49423-3607.

• For an audition appointment, contact Mandy Scott at 616-395-7600, Mon.-Fri. (9 a.m.-4 p.m.) or email theatre@hope. edu. Audition appointments will be accepted until April 10 (4 p.m.).

• DeWitt Theatre - visitor parking on the street and in lot across the street. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

• Prepare a short song in the style of “Oklahoma” or “Next to Normal,” bring sheet music for the accompanist.

• For more info, visit https://hope.edu/offices/hoperepertory-theatre/.

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

• Professional Pay. Pays $668/wk. Equity Independent Theatre Contract.

Maltz Jupiter Theatre Season

• Seeking Equity actors for roles in Maltz Jupiter Theatre’s 2026-27 Season. Season includes: “Orphans” (Lyle Kessler, writer; Marcia Milgrom Dodge, dir. Rehearsals begin Oct. 6; runs Oct. 29-Nov. 8); “Ain’t Misbehavin” (Thomas “Fats” Waller, music; Richard Maltby, Jr., Murray Horowitz, conceived by; Ariel Reid, dir.-choreo. Rehearsals begin Nov. 10; runs Dec. 3-13); “La Cage Aux Folles” (Harvey Fierstein, book; Jerry Herman, music-lyrics; Denis Jones, dir.-choreo. Rehearsals begin Dec. 15; runs Jan. 7-24, 2027); “Wait Until Dark” (Frederick Knott, writer; Peter Flynn, dir. Rehearsals begin Jan. 19, 2027; runs Feb. 11-21); and “Jesus Christ Superstar” (Andrew Lloyd Webber, music; Tim Rice, lyrics; Mark Martino, dir.; Ian CoulterBuford, choreo.; Eric Alsford, musical direction. Rehearsals begin Dec. 15; runs Jan. 7-24, 2027).

• Production encourages all actors to audition regardless of race, color, creed, gender identity/expression, sexual orientation, marital status, national origin, age, ability, or veteran status.

• Company: Maltz Jupiter Theatre, Inc. Staff: Andrew Kato, prod. artistic dir.-chief exec.; Eric Alsford, accompanist; Eloisa M. Ferrer, prod. assoc.-company mgr.

• Season rehearses and performs in Jupiter, FL.

• Seeking— Equity Actors: 18+, all ethnicities.

• Equity Principal Auditions will be held April 13 from 9 a.m.-5 p.m. (lunch, 1-2 p.m.) at Maltz Jupiter Theatre, 1001 E Indiantown Rd., Jupiter, FL 33477-5110.

• For an audition appointment email Eloisa Ferrer, Producing Associate/ Company Manager at seasonauditions @jupitertheatre.org. At this time, the theatre will not be accepting video submissions.

• Enter through Stage Door on the southwest corner of the building. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

• Prepare a contemporary monologue and 16-bars of two contrasting songs. An accompanist will be provided. Bring your sheet music in a binder with cuts clearly marked.

• For more info, visit jupitertheatre.org.

• Artists who are members of underrepresented communities are encouraged to audition. The mission of the Maltz Jupiter Theatre is to entertain, educate and inspire our community. Equity, diversity, and inclusion are an integral part of our theatres mission and values. We believe that the arts are a powerful platform for social change, and our commitment to the community begins at the core of our work.

• Professional Pay. Pays $1320/wk. Equity LORT B+ Non-Rep Contract.

Regent Prestige, Dancers

• Seeking talent for the inaugural  touring company onboard Regent Seven Seas Cruises’ newest ship, the stylish Regent Prestige for NCLH Shows & Experiences. Cast Members will work directly with an exciting team of creatives to develop brand-new,

revue-style productions which will debut onboard. As a step above the everyday entertainer, performers must be not only incredibly talented but also sociable, action-oriented, enthusiastic, friendly, and conversational. Performers will partake in forwardfacing social activities with guests daily and in addition to regular stage performances.

• Regent Seven Seas Cruises  is recognized as one of the world’s premier luxury lines with features such as 6-star, all-suite, all-balcony ships.  Throughout this inaugural tour contract, the vessel will visit exciting ports of call in the Mediterranean and Caribbean Seas.

• Company: Creative Studios by Norwegian Cruise Line Holdings. Staff: Ashley Amber, Casting Associate.

• Rehearsal and training begins on or about Aug. 26 and runs through Nov. 8 in Tampa, FL. Cast will travel to the shipyard in Italy on Nov. 9, 2026 to begin the install process with an estimated end of contract in April 2027.

• Seeking— Dancers: 18+, Dancers that identify as Female (5’7” – 5’11”) and Dancers that identify as Male (5’11” –6’4”). Showgirls and showboys with long, lean silhouettes, gorgeous lines, and editorial look. Exceptional, versatile dancers with strong technique and experience in multiple dance styles including commercial, contemporary and theatrical jazz, modern, and classic showgirl precision work. Should have excellent stamina and fitness levels, capable of partnering and overhead lifts and delivering in high-production shows. All dancers must have outstanding performance quality, stage presence, and outgoing personalities. Must be comfortable performing either in showgirl attire or shirtless. Must be comfortable hosting events and leading activities. All ethnicities. Must be 18 years or older.

• Auditions will be held April 28 from 10 a.m.-5 p.m. (Sign in will begin at 9:30 a.m. and will begin promptly at 10:00am.) at Ripley Grier Studios, 520 8th Avenue, 17th Floor, New York City, NY 10018.

• Apply on Backstage.com.

• Professional Pay. Dancers: $800/week onboard, $560/week rehearsal rate for all positions.

• Housing accommodations provided. Air and ground transportation provided to Tampa, FL. Cast will travel to the shipyard in Italy on Nov. 9, 2026 to begin the install process with an estimated end of contract in April 2027.

Social Media Ad

U

GC, Native Spanish Speakers

• Casting native Spanish-speaking content creators currently based in the United States for a paid UGC campaign for a healthcare brand. Note: Talent should have experience creating clean, high-quality smartphone content and feel comfortable speaking naturally, confidently, and authentically to camera in Spanish.

• Company: Ready Set. Staff: A S, Casting Director.

• Remote, at home shoot.

• Seeking— Spanish Speakers: 30-60, Latino / Hispanic, to play a relatable, everyday person speaking directly to a Spanish-speaking audience about a healthcare-related product or service; seeking talent who can deliver clear, natural, and trustworthy content that feels genuine and engaging; you’ll be asked to self-film b-roll shots and lines to camera. Natural, authentic, and conversational.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Professional Pay. Pays $300-$500 flat rate.

E-Learning

Content

Computer Tech Courses, Host

• Seeking a female host for an ongoing series of computer-based e-learning content, with production scheduled throughout the year. Synopsis: Topics will span a variety of technical subjects, including artificial intelligence, programming, and networking.

• Company: Gemini Creative Agency. Staff: Edan Cohen, Creative Director.

• Shoots on a rolling basis over the year in Philadelphia, PA.

• Seeking— Host: female, 18-50, Seeking a female host for an ongoing series of computer-based e-learning content, with production scheduled throughout the year; topics will span a variety of technical subjects, including artificial intelligence, programming, and networking; Ideal candidates will have: familiarity with CompTIA certification or similar technical subject matter (preferred, but not required); the ability to speak with authority and confidence on technical topics; strong command of technical terminology and confident pronunciation; all content will be delivered via teleprompter; the host will not be responsible for scripting or performing live demonstrations; we are looking for someone who can project confidence and engage effectively on camera; submit a headshot any relevant demo reels or samples of on-camera work.

• Seeking submissions from NY, DC and PA.

• Apply on Backstage.com.

• Submit a headshot any relevant demo reels or samples of on-camera work.

• Professional Pay. Pays $500/day plus travel and hotel included (if not based in Philadelphia.).

General Staff + Crew

Asolo Repertory Theatre

• Seeking Equity stage managers for Asolo Repertory Theatre’s 2026-27 Season. Season includes: Mertz

Theatre: “Singin’ in The Rain” (Arthur Freed, Nacio Herb Brown, songs; Betty Comden, Adolph Green, screenplay; Josh Rhodes, dir.-choreo. Rehearsals begin Oct. 13; runs Nov. 21-Jan. 2, 2027); “Ma Rainey’s Black Bottom” (August Wilson, playwright; Chuck Smith in partnership with The Goodman Theatre, dir. Rehearsals begin Dec. 21; runs Jan.15-Feb. 4); “Royal Family” (Edna Ferber, George S. Kaufman, playwrights; Peter Amster, dir. Rehearsals begin Jan. 19; runs Feb. 12-March 4); “The Day the Circus Came to Town” World Premiere (Peter Rothstein, Carla Noack, playwrights; David Darrow, music-lyrics; Peter Rothstein, dir. Rehearsals begin Feb. 12; runs March 27-April 24); “Ken Ludwig’s Baskerville a Sherlock Holmes Mystery” (Ken Ludwig, writer; Chari Arespacochaga, dir. Rehearsals begin April 13; runs May 7-30); The Cook Theatre: “It’s a Wonderful Life: A Live Radio Play” (Joe Landry, playwright; Scott Keys, dir. Rehearsals begin Nov. 13; runs Dec. 5-Jan. 3, 2027); “Provenance” (Jennifer Maisel, playwright; Casey Stangyl, dir. Rehearsals begin April 14; runs May 8-31); “Bootleg: America Sings 1927” (Cat Brindisi, Terrance Jackson, James Monaghan, Peter Rothstein, curators; Peter Rothstein, dir. Rehearsals begin March 30, 2027; runs April 24-May 16).

• Company: Asolo Repertory Theatre. Staff: Cat Brindisi (Asolo Rep), assoc. artistic dir.; Paul Hardt, casting dir.

• Rehearses and performs at Asolo Repertory Theatre in Sarasota, FL.

• Seeking— Stage Manager: all genders, 18+.

• Seeking submissions from FL.

• For consideration, submit your name, email, phone, resume, cover letter, and 3 references to: Apprenticeship@asolo.org Deadline: Tuesday, April 28, 2026.

• For more info, visit: http://www.asolorep.org/auditions.

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

• Professional Pay. Pays $1364/wk. (LORT B non-rep); $1508/wk. (LORT B rep); $1035/wk. (LORT D non-rep); $850/wk.(LORT D rep). Equity LORT Non-Rep Contract.

Great Lakes Theater Season

• Seeking Equity Stage Managers for Great Lakes Theater 2026- 27 Season. Season includes: “The Winter’s Tale” (Rehearsals begin Sept. 15, 2026; runs Sept. 25-Oct. 11, 2026); “Sweeney Todd” (Rehearsals begin Oct. 13, 2026; runs Oct. 24-Nov. 8, 2026); “A Christmas Carol” (Rehearsals begin Nov. 10, 2026; runs Nov. 27-Dec. 20, 2026); “The Comedy of Errors” (Runs Feb. 5-21, 2027); “Les Miserables” (Runs Mar. 12-Apr. 4); “The Importance of Being Earnest” (Runs Apr. 23-May 9).

• Company: Great Lakes Theater Festival. Staff: Sara Bruner, producing artistic dir.; Jaclyn Miller, resident artist; TBD, music director and accompanist.

• Season rehearses and performs in Cleveland, OH.

• Seeking— Equity Stage Manager: all genders, 18+.

• Seeking submissions from OH.

• For consideration, submit a resume, and cover letter by email at casting@ idahoshakespeare.org, or by mail to Great Lakes Theater ATTN: Jaclyn Miller 1501 Euclid Ave. Cleveland, OH - Ohio 44115. Submission deadline Aug. 1.

• For more info, visit http://www.greatlakestheater.org/.

• Equity’s contracts prohibit discrimination. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

• Professional Pay. Pays $1446/wk. (Stage Manager) & $1229/wk. (Assistant Stage Manager) Equity LORT Non-Rep (LORT B) Contract.

Maltz Jupiter Theatre Season

• Seeking Equity stage managers for Maltz Jupiter Theatre’s 2026-27 Season. Season includes: “Orphans” (Lyle Kessler, writer; Marcia Milgrom Dodge, dir. Rehearsals begin Oct. 6; runs Oct. 29-Nov. 8); “Ain’t Misbehavin” (Thomas “Fats” Waller, music; Richard Maltby, Jr., Murray Horowitz, conceived by; Ariel Reid, dir.-choreo. Rehearsals begin

Nov. 10; runs Dec. 3-13); “La Cage Aux Folles” (Harvey Fierstein, book; Jerry Herman, music-lyrics; Denis Jones, dir.-choreo. Rehearsals begin Dec. 15; runs Jan. 7-24, 2027); “Wait Until Dark” (Frederick Knott, writer; Peter Flynn, dir. Rehearsals begin Jan. 19, 2027; runs Feb. 11-21); and “Jesus Christ Superstar” (Andrew Lloyd Webber, music; Tim Rice, lyrics; Mark Martino, dir.; Ian Coulter-Buford, choreo.; Eric Alsford, musical direction. Rehearsals begin Dec. 15; runs Jan. 7-24, 2027).

• Company: Maltz Jupiter Theatre, Inc. Staff: Andrew Kato, prod. artistic dir.chief exec.; Eloisa M. Ferrer, prod. assoc.-company mgr.

• Season rehearses and performs in Jupiter, FL.

• Seeking— Equity Stage Managers: 18+, all ethnicities.

• Seeking submissions from FL.

• For consideration, submit your resume to seasonauditions@jupitertheatre.org.

Submission deadline is April 13.

• For more info, visit jupitertheatre.org.

• The mission of the Maltz Jupiter Theatre is to entertain, educate and inspire our community. Equity, diversity, and inclusion are an integral part of our theatres mission and values. We believe that the arts are a powerful platform for social change, and our commitment to the community begins at the core of our work.

• Professional Pay. Pays $1751/wk. (stage manager); $1472/wk. (assistant

stage manager). Equity LORT B+ Non-Rep Contract.

Philadelphia Theatre Co.

• Seeking submissions from Equity Stage Managers for Philadelphia Theatre Company’s 2026-27 Season.

• Season includes “Liberation” (Bess Wohl, playwright; Taibi Magar, dir. Rehearsals begin Sept. 10; runs Oct. 9-25); “Purpose” (Brandon Jenkin-Jacobs, playwright; Amina Robinson, dir. Rehearsals begin Jan. 7, 2027; runs Feb. 5-28); and TBA (Rehearsals begin March 11; runs April 9-14).

• Company: Philadelphia Theatre Company. Staff: Tyler Dobrowsky, artistic dir.; Brenna Geffers, casting assoc.

• Rehearses and runs in Philadelphia, PA.

• Seeking— Stage Manager: 18+.

• Seeking submissions from PA.

• For consideration, submit your resume, and cover letter to casting@philatheatreco.org.

Submission deadline is April 15, 2026.

• Professional Pay. Pays $1097/wk. (stage manager); $901/wk. (assistant stage manager). Equity LORT Non-Rep D contract.

PlayMakers Repertory Co.

• Seeking Equity stage managers for future consideration for PlayMakers Repertory Company’s 2026-27 Season. All positions have been filled. North Carolina Triangle-

based stage managers are encouraged to submit.

• Season includes “Oedipus: King/Colonus” (Carey Perloff, adaptation-dir. Rehearsals begin Aug. 11; runs Sept. 12-27); “Angry, Raucous, and Shamelessly Gorgeous” (Pearl Cleage, playwright; rehearsals begin Sept. 15; runs Oct. 17-Nov. 1); “Our Town” (Thornton Wilder, playwright; Tracy Bersley, dir. Rehearsals begin Oct. 20; runs Nov. 21-Dec. 6); “The Piano Lesson” (August Wilson, playwright; rehearsals begin Dec. 29; runs Jan. 30, 2027-Feb. 14); “John Proctor is the Villain” (Kimberly Belflower, playwright; Vivienne Benesch, dir. Rehearsals begin Feb. 2; runs March 6-21); and “The 39 Steps” (Patric Barlow, adaptation; rehearsals begin March 9; runs April 10-25).

• Company: PlayMakers Repertory Company. Staff: Vivienne Benesch, producing artistic dir.; Chelsea James, assoc. prod.

• Rehearses and runs in Chapel Hill, NC.

• Seeking— Equity Stage Managers: all genders, 18+.

• Seeking submissions from NC.

• For future consideration, submit your resume to Chelsea James, Associate Producer at PRCartistic@ unc.edu. Submission deadline is April 18.

• Professional Pay. Pays $1,097/wk. (stage manager); $901/wk. (assistant stage manager). Equity LORT D Non-Rep contract.

Ask an Expert

I am an actor interested in UGC work. What is the best way to break into that space?

●BRANDS FROM GLOSSIER TO HELLOFRESH ARE LEANING heavily on user-generated content. The growing demand has opened up a career path for actors. Baotran Tran says performers already have many of the qualities brands want: on-camera presence, storytelling chops, authenticity. Here are ve practical ways actors can position themselves for UGC work.

Build a UGC portfolio.

As more creators enter the space and brands become increasingly selective, a strong UGC portfolio is no longer optional. Rather than functioning as a simple gallery of videos, an e ective UGC portfolio should clearly communicate your value and back it up with results. Tran says to build your portfolio with “brand reviewers in mind, not just aesthetics.”

on functionality: “It’s so easy to clean!” Another might lean on health bene ts: “Studies show that blending your breakfast can boost nutrient absorption—here’s how the XYZ blender makes it e ortless.”

Create sample content.

If you want to produce UGC for a brand you already use, try making content—such as product reviews, testimonials, and lifestyle integrations—with products you own. This allows brands to immediately see what you’re capable of creatively, while also signaling that you’re a self-starter they won’t have to micromanage to get quality UGC.

But don’t overdo it. Tran says, “Visuals that are satisfying to watch, feel natural, and invoke positive emotions about their product are going to stand out much more than content that feels unnaturally staged, too polished, or overexaggerated.”

Show off your hookcreating abilities.

With short-form content, the rst few seconds determine whether someone keeps watching or scrolls past, which is why brands often prefer creators who can deliver multiple hook variations rather than a single polished clip.

Imagine two di erent hooks for the same blender. One might focus

Make yourself discoverable. Cold pitching can help get your foot in the door, but it’s rarely the most e ective long-term strategy on its own. UGC success increasingly depends on discoverability, not volume outreach. Creator agencies like Billo and Insense often nd creators using relevant hashtags or trending audio, so prioritize building a personal brand that attracts brands organically.

“Over time, we’ve seen that creators who have more lifestyle ‘in uencer-like’ personal brands not only grow faster but also get more inbounds,” Tran says. Posting consistently also makes you searchable, familiar, and trusted.

Communicate effectively with brands.

How you engage with a brand is just as important as your creative abilities. Tran emphasizes that brands consistently value “timely communication and content delivery— anything within three days is ideal.” Responsiveness and clarity signal professionalism and reliability. And being proactive by o ering content suggestions allows the brand to visualize the nal product before it’s even created, but also helps reduce revisions and ensures your alignment with the brand’s goals. —Kyle DeGuzman

Baotran Tran is a UGC creator and coach.

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