Backstage Magazine Digital Edition: May 21, 2020

05.21.20

A Matter of Character Years in the industry have taught Anna Kendrick there’s power in just being yourself

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Talent agents and casting directors talk the latest in commercial industry trends, self-tape advice, and more

Plus:

In conversation with Stephanie

Courtney

The Commercials Issue

(aka “Flo” from Progressive)

Get cast by the “King of the Super Bowl,”

Bryan Buckley

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Contents

vol. 61, no. 11 | 05.21.20

Cover Story

The Green Room

And How Do You Feel About That?

4 7 L.A. commercial CDs to know

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

7 Lauren Lapkus’ big break

Advice 9 CRAFT

Anna Kendrick puts her characters, her career— and herself—under the microscope

6 ways to sell your voice

10 #IGOTCAST

McGregory Frederique

page 12

10 SECRET AGENT MAN When worlds collide

Features 3 BACKSTAGE 5 WITH...

Stephanie Courtney

8 MEET THE MAKER

Ben Sinclair, “High Maintenance” co-creator and executive producer

9 THE ESSENTIALISTS

Bryan Buckley, commercial director

11 IN THE ROOM WITH

Mary Egan Callahan and Brooke Thomas

17 KEEPING IT REAL

There’s one trend in commercial casting you need to know for a longlasting career

24 ASK AN EXPERT

Erik Lingvall on the major differences between casting and booking for commercials versus television shows

Casting 18 New York Tristate 19 California 20 National/Regional Photos on this page and the cover courtesy Anna Kendrick. Cover designed

by Ian Robinson.

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05.21.20 BACKSTAGE

Backstage was founded in 1960 by Ira Eaker and Allen Zwerdling

EDITOR’S LETTER CHIEF EXECUTIVE OFFICER Joshua Ellstein

CHIEF FINANCIAL OFFICER Michael Felman CORPORATE CONTROLLER & VICE PRESIDENT, FINANCE Michael Madia

Dear Backstage Reader, I HOPE YOU’RE STAYING SAFE AND WELL. As we head deeper into this new reality, we here at Backstage understand the need to keep hold of some sense of agency over our day to day; sometimes that means a swipe of lipstick to throw a monologue we love on tape, or a glass of wine and a classic film—honestly, depends on the day—but it’s why we’re working hard to provide you with the advice, news, work opportunities, and best practices to keep you as sharp as you need—and, more importantly—want to be right now.

We’re continuing to examine different corners of the industry to help you better understand how trends are shifting, especially in the midst of the novel coronavirus. This week, we’re focusing on the commercial space.

In this issue, you’ll find conversations with casting directors, actors, and creators to learn how someone like “High Maintenance” co-creator and star Ben Sinclair used commercial contests to learn the craft of filmmaking, or how the new ways brands are thinking about the actors they cast could inform your next self-tape. Anna Kendrick’s got some choice advice on auditioning for commercials in our cover story this week, as does Lauren Lapkus about landing your first agent. Plus, we tell you what Netflix is doing in the era of social distancing, and how voiceover (particularly now) plays a huge role in giving commercials the personality a brand is looking for.

Once you’re done here, continue the conversation on backstage.com/magazine with more on how brands are adapting to casting and airing commercials during COVID-19, as well as how child actors fit into the picture.

We hope Backstage is helping you build a routine and navigate this new life. Thanks for sticking with us.

All my best,

CHIEF MARKETING OFFICER David Grossman

VICE PRESIDENT, CASTING Luke Crowe

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BACKSTAGE, vol. 61, no. 11 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices.

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Editor-in-Chief

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CAITLIN WATKINS

Briana Rodriguez

CHIEF TECHNOLOGY & PRODUCT OFFICER James G. Reynolds

Backstage 5 With...

Stephanie Courtney

By Allie Volpe

Perhaps the most recognizable commercial actor working today, Stephanie Courtney has become a familiar face portraying Flo, Progressive insurance’s peppy sales associate, since 2008. A theater actor and comedian by training—she studied at the Neighborhood Playhouse in New York and has been a company member and performer at the Groundlings for over a decade—Courtney founded her years-spanning commercials career after booking a Super Bowl spot in 1999.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: COURTESY STEPHANIE COURTNEY

What advice would you give your younger self? Forgive yourself. I know it sounds crazy coming from someone who booked a commercial and [still has it] now 12 years later, [but] there’s no big missed opportunity, it’s continuous. If you have to do self-care, do that. There were days where I was like, “I quit acting for four hours today.” I would book a doctor’s appointment; I would take care of myself in that time. It’s OK if you have to stop sometimes. Don’t get demoralized. There’s always another day.

something wild to be seen—which, believe me, is another kind of bravery, which is amazing—that isn’t how I do it.

How did you first get your Equity card? How about SAGAFTRA? That was a touring company called TheaterWorksUSA. You travel around for three months, doing children’s shows for schools. Our area was the American Southeast. We toured in a van and stayed [in motels] and woke up at 6 a.m. and set up at 7 a.m. and did [the show] twice, tore down the set, had lunch, drove to another state, and did that for three months. You’re working really hard, but you get your Equity card and health insurance and some money in your pocket. That was ’94. SAG, that came with my first commercial. I had done bit parts on cable things, but SAG didn’t come up until I booked [a] commercial.

What is your worst audition horror story? I call those the days that you’re ashamed to put “actor” on your tax return.

I remember I did a commercial audition for Sylvan Learning.

The line was, “Your son’s doing great,” and every time I said it, they said, “Can you please stop saying it like you’re making fun of the kid?” I guess I’d better stick to comedy, because I literally can’t say, “You’re doing great” without sounding like I’m making them eat shit. [Laughs]

What performance should every actor see and why? My parents raised us on old movies a lot. I love “Witness for the Prosecution”—Charles Laughton made me laugh so hard.

I remember seeing Meryl Streep in “Sophie’s Choice” and [thinking,] I didn’t know a human being was capable of doing all of this. I remember watching Jan Hooks on “Saturday Night Live,” Martin Short on anything. Jim Carrey on “In Living Color.” Also, Christina Applegate on “Dead to Me.” I went through the Groundlings with Liz Feldman, who created that show. I know Liz, I know her humor, but that show surprised me in such a great way.

What’s the wildest thing you ever did to get a role? I always have this he’s-just-not-that-into-you thing about this business—I’m not going to bend over backward to try to get someone to love me. I can’t really change myself to impress someone. I’m totally fine throwing stuff away and being told “next”—that’s totally fine by me. But in order to do that, I don’t come in with this huge, preconceived thing. I think doing

“Keep auditioning until it’s just a thing that’s a part of your day and it’s not a thing that makes you jump out of your skin with excitement or nerves.”

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05.21.20 BACKSTAGE

HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! @BACKSTAGE

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and fresh in their work for commercials that range from candy company Trolli to Farmers Insurance.

John McCarthy Casting McCarthy is the current president of the Commercial Casting Directors Association, the commercial answer to the Casting Society of America, for which commercial CDs are not eligible. McCarthy uses his eye for talent in commercials and television, and even contributed to an Academy Award–winning documentary.

His acting background also gives him special insight into the audition process, and he is proud to cast kids and adults in union and nonunion projects.

COMMERCIALS

and works in all genres, including comedy, improv, children, and “real people.”

ASG has cast commercials for brands like Nike, and a viral Bud Light spot even earned the team an Emmy nomination.

7 L.A. Commercial CDs to Know

Get into these audition rooms and you’ll be on your way to booking your first commercial

By Elyse Roth

AHC Casting The team at Alyson Horn Casting casts spots for social causes like the Women’s

BACKSTAGE 05.21.20

March, as well as major companies like Planet Fitness.

Since Horn’s origins, the team has moved into casting beauty and editorial lifestyle. Horn has also now partnered with Maya Adrabi and Lindsay Bronson to create a team of CDs who specialize in specific genres, finding the best talent for each project with a compassionate, thoughtful audition process.

ASG Casting ASG does a little bit of everything, but it’s especially known for commercials and branded content. The company searches nationwide,

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Dowd-Roman Casting Founders Mick Dowd and Michael Roman have a flair for the nontraditional while working in mainstream commercials with well-known brands and directors like Ridley Scott and Bill Maher.

You’ll see faces both familiar

Vicki Goggin & Associates Casting Goggin has a long history with commercial casting, and relationships with ad agencies like Saatchi & Saatchi, where she served as their New York CD. BBDO vet Jim Jordan also picked her to cast spots for big brands like Welch’s and Procter & Gamble. Now she stays on top of current trends in casting, with a specialty in finding talent for docu-style performances and foreign language casting.

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EPICSTOCKMEDIA/SHUTTERSTOCK.COM

COMMERCIALS CAN BE ONE of the best ways for earlycareer actors to get work and for actors of any experience level to fund their passion projects. But in order to add the work to your résumé (and get that paycheck), you first need to be cast. For those Los Angeles actors looking for somewhere to start, these commercial casting offices are a great place to get your foot in the door.

Dan Bell Bell earned the award for commercial casting director of the year at the 2019 Heller Awards, and despite doing work for big brands like McDonald’s, Macy’s, and Facebook, and casting for big artists like Beyoncé and Lil Nas X, he has always specialized in real people casting. His résumé is proof he knows how to spot the right face for the job.

Sanford Johnston Casting With outposts in L.A. and Atlanta, Sanford Johnston Casting has two of the country’s three major production hubs covered.

Founder Michael Sanford has cast more than 2,000 commercials, and now serves the general market as well as Spanish-language commercials, real people casting, music videos, digital content, and even film and TV.

The Slate

The Actor’s Quarantine Resource We’re not letting creativity + productivity stop in the face of coronavirus. We’re taking you directly to industry power players through Backstage Forums AMAs, Instagram takeovers and Q&As, YouTube Lives, and most excitingly, Zoom-hosted seminars for interactive group classes!

Guests include: Casting Director Robert Ulrich Casting Director Linda Lamontagne Talent Agent Jason Lockhart Fitness Coach Steph VS Casting Director Melanie Forchetti Talent Agent Chaim Magnum UK Casting Director Sophie Kingston-Smith Makeup Artist Bridie Coughlin Voiceover Actor Laurie Burke Voice Teacher Andrew Byrne and more!

To get all the details and view the full schedule, please visit backstage.com/magazine.

What’s Casting

New Netflix Series Embraces Social Distancing Projects look to alternative shooting to restart production

By Rebecca Welch

STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles!

Please note that shoot dates are subject to state and county COVID-19 quarantine

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“Social Distance” A new kind of series born during the “quarantine era” is looking to produce around the regulations established by the coronavirus pandemic.

Animation projects are about the only ones that can keep a proper distance and continue production, but one new series is proving more can be done in

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COMMERCIALS

Before They Were…

By Casey Mink

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

...WINNERS OF ACADEMY, EMMY, Tony, and SAG Awards, dozens of your favorite actors were paying the bills with commercial gigs. For example, before he was the international superstar he is today, Brad Pitt starred in a 1989 commercial spot for Pringles. And, speaking of Pitt, his “Once Upon a Time in Hollywood” co-star Leonardo DiCaprio appeared in a late-’80s spot for Bubble Yum chewing gum. Courteney Cox did Tampax in 1985, Morgan Freeman did Listerine in the ’70s, Drew Barrymore did Pillsbury in 1979, and, finally, Bryan Cranston did one, too—for Preparation H.

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MARGAUX QUAYLE CANNON

Get cast!

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

restrictions and may change.

Refer to Call Sheet for the latest updates.

“Pachinko” Streaming platforms are taking note of audiences’ blossoming interest in multilingual content. With films like “Parasite” winning big honors at various awards shows, it’s no surprise that those who make projects for the small screen are trying to piggyback on that success—and have

done so with series like “Elite” and “Unorthodox.” Apple TV+ is still new on the streaming scene, but after notable success with properties like “The Morning Show” and new drama “Defending Jacob,” the platform is seeing growth in its original offerings, and looking to vary its programming with “Pachinko.” The eight-episode series will be based on the New York Times Best-Selling novel of the same name by Min Jin Lee. Following a Korean family through four generations of triumph and loss in an ever-isolated world, the series will track the relatives as they immigrate to various countries. To keep the experience authentic, the drama will use the characters’ native languages to tell the stories, creating a trilingual narrative that alternates among English, Korean, and Japanese. Betty Mae Inc. is set to cast the project, which is currently in preproduction. No actors have been cast yet, and the series is eyeing a Fall 2020 start date, like many other productions put on hold due to the pandemic. The project will utilize multiple international locations in Canada, Korea, and Japan.

KATRINA MARCINOWSKI/NETFLIX

this time of isolation. Netflix is going forward with “Social Distance,” a Jenji Kohan– produced series that was quickly conceived as a reaction to the current global health crisis. Focusing on the stories of those facing the effects of COVID-19, the deeply personal relationship drama aims to home in on the unprecedented experience of living through such a time of extreme change and uncertainty. The stories will come from individuals showcasing the bewildering and bizarre ways of their new normal. The nature of the series will allow it to move forward with production, despite much of Hollywood being subject to a currently indefinite hiatus. The series will be remotely shot and produced by Netflix, illustrating that in a creative industry, not all is lost when traditional methods of production are impossible. Jennifer Euston is casting the topical anthology that is set to shoot throughout the United States around June.

Lauren Lapkus and Rob Schneider in “The Wrong Missy”

Backstage Live

Lauren Lapkus’ Big Break

The comedy stalwart got her start in commercials for Bing.com and more

By Jalen Michael

The following Backstage Live was compiled by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit questions live on camera.

MARGAUX QUAYLE CANNON

KATRINA MARCINOWSKI/NETFLIX

COMMERCIALS

What Is a Day On a Commercial Set Like?

By Casey Mink

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LAUREN LAPKUS MIGHT have one of the most recognizable faces in comedy today—and that’s thanks to a laundry list of memorable features across mediums (“Orange Is the New Black,” “Jurassic World,” and her latest,

ALWAYS BRING A FORM OF IDENTIfication (passport is best), a phone charger, and your biggest water bottle. When you first arrive, find a production assistant; they’ll get you to hair and makeup and provide paperwork. Once on set, you will get suited up with your microphone—probably down your pants—and retouched. You’ll likely be on set for hours, so remember to breathe, don’t overcaffeinate, and try to take in the moment.

Once you’ve wrapped, stop by “video village” and thank the camera operators and director.

Then, you’re done! For the full story, head over to backstage.com/magazine.

co-starring opposite David Spade in Netflix’s “The Wrong Missy,” among them), a hit podcast, and a group of top-tier talent in her regular roster of collaborators. But Lapkus got her modest start from years of improv and booking commercials for brands like Chevrolet and Snickers. Recently, Lapkus took over Backstage’s Instagram and answered fan questions on how she got her first commercial, as well as how improv is still impacting her acting decisions today.

You never know where you might get your first break.

“I have an interesting story for how I got my first commercial agent: I had no connections, really, in the business except for just other comedians that I knew, but usually it doesn’t really help you that much. But I followed a commercial agent on Twitter; he would give tips and advice for commercial auditions…. At a certain point, he tweeted, ‘It’s my birthday.

The first five people to say happy birthday to me will get a meeting.’ So I just wrote happy birthday and then he’s like,

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‘You get a meeting.’ So then I went into his office, which was at Abrams [Artists] Agency, and ended up getting signed by him and got to do commercials through that when I was first starting.”

Doing her first commercial gave Lapkus the feeling that she’d finally made it.

“I got my SAG card from doing two commercials. I did a commercial for Bing.com, which, I don’t know if it’s a website anymore, but it was a Google wannabe website at the time.

Before I was in commercials, before I got any job ever, I didn’t really understand how you got to be in a commercial. So that was a really cool moment for me because I was like, Wait, everyone in the country, like, my whole family is seeing me in this commercial every once in a while, and that’s legit. So that was the first step to feeling good about doing this stuff.”

Improv training can be used in film and TV work.

“I think both [long-form and short-form improv] are applicable to film and TV, and both are really helpful because they help you think on your feet and you get comfortable being onstage or in front of people, you get confident with your ideas, you get comfortable changing to the next thing if a director comes over and tells you that you need to do something completely different. But my experience is in long-form, and it’s been so helpful to me to have that experience, because I feel like I could rewrite the whole scene right now if you want me to and just talk and do whatever I need to make this go a different way.”

Want to hear more from Lapkus? Watch our full Backstage Live interview at our Instagram page, @backstagecast.

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Ben Sinclair, “High Maintenance” co-creator + executive producer

By Benjamin Lindsay

Rachel Kaly and Ben Sinclair on “High Maintenance”

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on the meager editing skills he’d learned while throwing together his demo reel, he and an acting buddy with a camera got to work. The prompt simply required the use of an “interesting fact” to start things off.

“The fact that we picked was that every year, five people are killed by vending machines,” Sinclair remembers, laughing.

Their commercial showed a man hitting a vending machine out of frustration after his Diet Mountain Dew isn’t properly dispensed; the machine then pelts him to death with bottles of the sugary drink. “It was really fun to stay up all night editing and putting music and sound effects on it…. I found so

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much more agency in that than in acting,” Sinclair admits.

He won that first contest, so the submissions continued. In the early days of YouTube and DIY creator culture, brands like SunChips and Nissan had low-entry commercial competitions that Sinclair would flood with his cheapbut-quality videos; he won top prize often enough that it became not only his on-the-fly film school (“I used them as assignments and taught myself the process of filmmaking through that,” he says), but his main source of income for two years. Additionally, as a storyteller, he remembers the series of prompts allowed him

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DAVID RUSSELL/HBO

WHILE A BAG OF SUNCHIPS and a Diet Mountain Dew may be the chosen munchie snack of one of the Brooklyn stoners featured on “High Maintenance,” they were actually co-creator and star Ben Sinclair’s roundabout way into auteur comedy.

The year was 2007, and Sinclair was a theater and dance graduate from Oberlin College living in New York City, fresh off a nine-month stint in Los Angeles. He was working odd jobs and bouncing around the Off-Off-Broadway scene when, still looking for a way to scratch his itch for film and television work, he got a “hot tip” about a commercial contest for Diet Mountain Dew. Relying

to hone his “rebellious streak” while making “craftily created” corporate commercials that sometimes “pushed the boundaries” of what you’d typically see. “If you’re going to make an off-color joke, it better be good,” he says, nodding to the deathby-machine conceit.

Sinclair eventually went on to bring that same sensibility to “High Maintenance,” first as a web series and now an HBO half-hour dramedy, which wrapped its fourth season earlier this year. Pushing the boundaries is exactly what it does—yes, through its normalization of marijuana use, considering its premise of a bike-riding weed dealer (played

by Sinclair) jumping from client to client, but also in its employment of radical empathy for all of the disparate New Yorkers it spotlights in those momentary transactions. Its vignettes are illustrative of a city that anyone who actually lives in the five boroughs will recognize: virtually all walks of life, all types of people, all forms of expression and privilege and background are given their main-stage due in forms chaotic, unapologetic, and beautiful.

In other words, “High Maintenance” continues to reflect the truthfulness (and, sure, dash of winking rebellion) that informed Sinclair’s earliest work behind the camera. He advises other creatives to get in touch with that part of their sensibility, no matter what it looks like.

“Entertainment is a business of personality. Your personality is your brand. So, lean into whoever you already are first,” he says. “Lean into the truth of who you are, because who you are is easier to remember than who you’re trying to be—and everybody’s trying to be somebody.”

ILLUSTRATION: 578FOOT/SHUTTERSTOCK.COM; “SMAHT PAHK”: COURTESY HYUNDAI MOTOR AMERICA

Meet the Maker

culture +

Spotlighting the people and projects you need to know

THE ESSENTIALISTS

BRYAN BUCKLEY commercial director

They didn’t coin him “King of the Super Bowl” for nothing: For more than a decade, BRYAN BUCKLEY has been at the helm of some of the most instantly famous commercial spots ever made (Monster.com’s “When I Grow Up”?

That was him). Here’s a glimpse into his 30-second brilliance.

Craft

6 Ways to Sell Your Voice

DAVID RUSSELL/HBO

ILLUSTRATION: 578FOOT/SHUTTERSTOCK.COM; “SMAHT PAHK”: COURTESY HYUNDAI MOTOR AMERICA

By Kelley Buttrick

COMMERCIAL VOICEOVER work is lucrative and usually knocked out in short sessions, which makes it an ideal genre for voice actors. How can you book these jobs? Here are a few tips for landing commercial VO gigs on broadcast TV and radio advertising.

1. Listen I know we get paid to speak, but first, you have to listen.

Keep your ears open, especially to national brand advertising.

What types of reads are you hearing over and over again?

Flat? Excited? Cool? Warm?

What did the cadence feel like to you? Was it rhythmic?

Measured? Uneven? What you hear on those national ads are the reads you’ll need to master.

Keep listening, too, because popular commercial VO styles are always changing.

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2. Practice Those read styles you heard?

Now you need to practice them.

Write down the scripts from some of those national commercials and record yourself.

Don’t try to sound exactly like the VO they used, but, rather, mimic the style and feel of the ad voice using your own.

3. Find a Coach As voice actors, we should always be learning. While you’re practicing, find a great VO coach or sign up for a commercial VO class to polish those commercial styles of yours. A good coach will help you identify which reads are going to make you money in commercial voiceover.

4. Create a Commercial Demo A voice actor’s commercial demo can make or break a

By Casey Mink Actors should bring something special. “ ‘The one’ is who you’re going to get something from—you don’t even know what you’re gonna get. A lot of the time, it is not what I envisioned at all, and that’s why I like them. The reactions are completely different than what I would think, but then it opens up a world of possibilities I wasn’t thinking about. I need [actors] to add to the equation.”

That goes for celebrities, too.

“Someone like Tina Fey is completely immersed

career. This is the first demo anyone breaking into VO work should have produced. Notice I used the words “have produced.” Don’t trust this most vital tool in your promotional toolbox to anyone other than a professional VO demo producer.

Your commercial demo should highlight commercial reads you’ve mastered and can easily replicate in a broadcast advertising VO recording session.

5. Read and Analyze Copy When you have an audition, read the specs first. What does casting say they want to hear?

Secondly, do a quick mental read of the audition copy. What is the overall feel? Third, analyze where you want to color a word or two, emphasize or de-emphasize something, or consider adding a nonverbal device like a laugh or sigh.

Finally, record the audition exactly as specified.

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in the commercial and is working with a script writer and she has a million ideas. But a lot of people don’t see the script until they show up on set—and then they don’t want to do it….

[Then] you’ve gone from director to mediating with the agency. You’re getting producers going back and forth, the agent’s trying to mediate a shoot to start. Also, depending on who that talent is, they might not even be an actor. They could be an athlete, they could be a musician, and they might have no talent in that [acting] area.”

6. Compare Work Memes warning us against comparison flood social media, but when you’re trying to master a VO genre, ignore the memes and do the work. When you hear an ad you auditioned for but didn’t book, listen closely to the read they chose. Then go back and listen to your audition. Were you close, way off the mark, or somewhere in between? Learn from comparing your audition read to their chosen VO read.

There is a lot that goes into booking commercial work, but starting with these tips should get you well on your way to landing commercial VO bookings.

Buttrick is a voiceover actor and a Backstage Expert.

Want more?

Read the full interview at backstage.com/magazine

05.21.20 BACKSTAGE

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When Worlds Collide

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internet spot in January could be directing a studio feature by June—we’ve seen it happen!

The only problem here is when the two worlds collide. That always turns into a mess. And most of those messes involve conflicts and availability.

For example, what if you have a film audition and a commercial callback at the same time and they’re on opposite sides of town? Unless you’ve mastered the art of cloning, there’s no way you can make both. So how do you choose? And if you’re represented by different agencies for each project, one of those reps is going to be super pissed no matter what you decide. The commercial agent will blow

When I look at my client list, I see that most of the actors have both theatrical and commercial representation. That’s a good thing.

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McGregory Frederique

By Franchesca Viaud New York–based MCGREGORY FREDERIQUE had no plans to audition for the lead role in a recent project—but when the director saw something special in him, he took an opportunity and ran with it. Here’s how.

Trust in your talents and others will, too. “[For a recent project,] I got involved because it was like nothing I’ve done so far. I could tell from the others cast in the project it was going to be something special.

This wouldn’t have happened if it wasn’t for the director giving me the opportunity to create something so unique.”

When lead roles come knocking, be ready.

“I wasn’t even supposed to play the lead part.

I auditioned for the role of the announcer, but things turned out differently. Instead, I got a huge opportunity.”

Backstage has all the contacts.

“I’ve built so many amazing relationships with so many phenomenal directors and actors, relationships that are going to last a lifetime.

I’m so grateful for Backstage.”

TO SEE YOUR SUCCESS story in print, tweet @Backstage using thehashtag #IGotCast, or email us at igotcast@ backstage.com.

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; FREDERIQUE: MCGREGORY FREDERIQUE

I’M A THEATRICAL AGENT. I’ve never worked on commercials, so I know next to nothing about that business. It’s a totally different world.

When I look at my client list, I see that most of the actors have both theatrical and commercial representation. That’s a good thing. I like to see my people busy in different parts of the business. It’s a creative way for them to make money without having to wait tables. I also like that they tend to audition more frequently for commercials than film or television. All that activity keeps them on top of their game.

Another plus about commercials is how the top directors tend to work in both fields. I get financial goose bumps when one of my clients does a commercial with a director who then goes on to hire the client again for a film or TV show. Repeat business is the best business. These days, a director shooting an

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

their top because you’re missing the callback for a stupid movie, and the theatrical agent will get upset because you’re missing theirs for a stupid commercial!

Here’s another fun example: You just booked a one-day role on “NCIS.” Unfortunately, you’re also on hold for a commercial that might shoot at the same time. The commercial isn’t a sure thing, so you can’t just pass on the television gig. And depending on the dates, there’s a chance you could do both.

The problem is “NCIS” wants you to accept their offer now, and the commercial wants you to wait a few more hours for a possible offer.

Yikes! That’s a whole lot of stress. But here’s the good news: These conflicts can be worked out easily if you’re able to “sign across the board” with a talent agency that handles both theatrical and commercial work. This just means you’re represented for both fields by separate agents who work under the same roof in different departments.

This is an optimal situation, because when a conflict arises, someone like me can figure it out with a co-worker who is right down the hall as opposed to an agent I’ve never met at a different company.

Unfortunately, signing across the board isn’t always an option. An agency’s theatrical department might be interested in working with you, but that doesn’t mean the commercial people will feel the same way. Or maybe the company that just offered you theatrical representation doesn’t even have a commercial department. In those cases, that’s show business, kid, and life goes on. But if you have the opportunity to sign across the board, take it. Putting your fragile eggs in one basket will always make more sense.

culture +

Spotlighting the people and projects you need to know

In the Room With

to say it. It’s saying the same words over and over to sell a product. For actors, it affords you [the ability] to do the things that feed your soul.

Mary Egan Callahan + Brooke Thomas

These commercial actors-turned-CDs now teach others the tricks of the genre

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; FREDERIQUE: MCGREGORY FREDERIQUE

WHILE YOUR ULTIMATE DREAM MAY BE TO LEAD A TV SHOW OR film, commercials offer a variety of opportunities for actors of all skill and experience levels. Those just starting out or who don’t have formal training, for instance, have the chance to get on-camera experience. And actors who are seeking the financial freedom to pursue passion projects can do so with income from commercial projects. But, of course, you have to know how to land the job. That’s where Mary Egan Callahan and Brooke Thomas come in with their commercial audition class, Casting Loop. Callahan, a CD at House Casting, and Thomas, who owns Brooke Thomas Casting, share their must-know tips with Backstage.

What differentiates commercial casting from casting narrative projects? Brooke Thomas: From a casting director’s perspective, it’s time. Commercials come in and they’re gone. They can come in on a Monday and you’re done with the whole

backstage.com

project by Thursday. It’s fast and furious. The TV and film process is a little bit longer. You get the sides, you get a call, maybe in a week you have another call; it’s a longer, drawn-out process.

Mary Egan Callahan: I think from an actor’s perspective, too,

commercials are just fast. You don’t get sides in advance. You show up, you read the sides, and off you go. We also see more people for commercials than casting does for TV or film.

How can commercial work benefit an actor’s career?

BT: First of all, you can make a ton of money on commercials.

For one day of work, it’s bread and butter. If people want to do theater or an independent film, commercials are a great way to be able to fund your ability to do lesser-paying, more creatively fulfilling projects.

Commercials are not creatively stimulating—I’m just going

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What advice do you have for people who want to get into commercial work? BT: When you’re just starting out, do your research. Get online and look up casting directors, look up talent agents. I always tell people who are interested in getting into commercials to take an improv class. It goes hand in hand with commercials. I tell people to get into a beginning acting class. You should always be studying, whether it’s improv or standup or taking an acting class. I think it’s imperative.

Look at breakdowns. Sign up for Backstage to see what breakdowns are coming out.

People who are starting out, but also people who are currently working, should do background work, because it’s smart to get on a set, especially for somebody who’s new, just to see how that works; it’s a learning experience for somebody who is new. You never know, you might get the upgrade. If you’re not working consistently, why not just work for a day? It’s good money and they feed you and you’re around other actors sharing information.

What shouldn’t someone do in an audition for you? MEC: Get mad at me. Tell me what they’re going to do, and not listen to my direction. Don’t show up late and be very cavalier about it and not be apologetic. Have somebody or your agent call and say you are running late. Don’t just assume that it’s going to be OK.

Want more?

Read the full interview at backstage.com/magazine

05.21.20 BACKSTAGE

Anna Kendrick puts her characters, her career— and herself— under the microscope

By Casey Mink

BACKSTAGE 04.02.20

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backstage.com

FIRSTNAME/LASTNAME

FIRSTNAME/LASTNAME

And How Do You F

FIRSTNAME/LASTNAME

FIRSTNAME/LASTNAME

u Feel About That? backstage.com

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04.02.20 BACKSTAGE

BACKSTAGE 05.21.20

quips on Twitter. (She even wrote a book of nonfiction essays, “Scrappy Little Nobody,” that went on to become a New York Times best-seller.) As it happens, learning to unleash the persona inside the person—to embrace rather than smother whatever nonconformity exists within—was a critical turning point in her approach to both acting and auditioning; one which, believe it or not, came courtesy of a certain vampire franchise.

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“I remember auditioning for the family in ‘Twilight’ and running into a friend of mine and both of us being like, ‘Why are we here?’ ” Kendrick recalls. “ ‘[The role] is the bitchy mean girl, they’re going to hire some leggy blonde, because that’s the part.’ I thought, OK, I’ll just go in and do something dumb, because I’m not going to get the job anyway.

Hopefully, the casting director will remember me as being funny, and they’ll bring me backstage.com

ALL PORTRAITS COURTESY ANNA KENDRICK

ANNA KENDRICK HAS AN IDEA. “EVERY character should do a scene with her mother at the beginning of a shoot,” she suggests.

Her theory is that this type of interior work could function as a sort of controlled breakthrough in therapy—but instead of your own lifetime’s worth of baggage, it’s your character’s.

The notion occurred to her during production on her new HBO Max series “Love Life” (debuting May 27), on which Hope Davis portrays her mom. “I learned so much about my character during that episode; you go back to your own childhood stuff,” she says. And though she hadn’t previously considered it in such explicit terms, to hear Kendrick talk about her acting is to realize she’s actually been putting her roles under the proverbial microscope for years.

“Why does that person behave that way?

Why do some people see the world in a different way?” she muses, chatting by telephone from her home in Los Angeles, where she’s been quarantining since mid-March. “And that’s the kind of driving curiosity that, hopefully, makes me effective at my job.”

Of course, having been acting professionally since adolescence, Kendrick knows that what initially lured her to the trade was a good deal less existential. “It would be really insane for me to suggest that finding truth in a person’s psychology interested me at that age,” she says, with just a little bite. “It was more that I knew plays like ‘Annie’ and ‘Gypsy’ meant that I could get on a stage and wear a costume, and people had to pay attention to me. My goals were more streamlined: I wanted to sing really loud and be onstage.”

Streamlined, indeed. Kendrick starred in the 1998 Broadway premiere of “High Society,” for which she earned a Tony nomination at the ripe age of 12, making her one of the youngest performers in history to earn the distinction. Not long after, as it so often does, Los Angeles came knocking. And, as it so often does, it quickly proved less glamorous than advertised.

“I don’t really know what to say about it other than it sucked. It was hard,” Kendrick says of her early days navigating the “business” side of the business. “Every now and then, I’m walking around in L.A. and I notice some back alley, weird entrance, and remember I used to go around to that entrance because they didn’t want you coming in the front entrance if you were there to audition.

It’s a very degrading process to be holding your sides and have some bored receptionist say, ‘Can you use this back entrance?’ And then, obviously, the image of walking into a room and there are 20 girls who look exactly like you.”

Though she hardly recalls the period with rose-hued fondness, it was a necessary steppingstone to becoming the Anna Kendrick we know today, the singular one who is known as much for her turns onscreen as her

back in for something else. It’s such a hideous cliché, but I just had to realize the only times I got a job were when there was something I could do that nobody else could do.”

To again lift that turn of phrase right off the therapist’s couch, it wasn’t just a career breakthrough, but a psychological one. That isn’t to say it suddenly unlocked the secret to enduring Hollywood success, but it did help secure the actor’s first Oscar nomination.

The story—well-documented in the history book of Kendrick’s life by now—goes that the writer-director Jason Reitman already had her in mind when she came in to audition for his new feature “Up in the Air.” The role was a co-lead opposite George Clooney. She got it, obviously, but as the greener of the two actors, how did she step on set and believe, I have a right to be here?

“Um, I didn’t,” she says with a terse laugh.

“George was such an angel, and would say things like, ‘Are you nervous? Got to get nervous for your first day’—and that is complete bullshit. He absolutely does not [get nervous], but I believed it at the time, and that’s what I needed to hear: that I had permission to be nervous. Because it’s one thing to be nervous, and it’s another to be pretending you’re not.”

Now, Kendrick is herself a formidable leading lady, having starred most notably in all three “Pitch Perfect” movies; the series has to date made more than $500 million worldwide and solidified Kendrick as a capital-N Name. In a position quite different from the one she was in about a decade ago, today she tries to practice the same on-set empathy that has been shown to her.

“No, I’m an absolute monster,” she says with just a split-second pause before answering in earnest. “I mean, you try to adjust to your various co-workers. Obviously, there are people who you realize really thrive when it feels spontaneous, and it would be better if we weren’t word-perfect. And then, for other people, it’s those early takes that are really magical and you want to make sure it’s as on-book as it can be.” As for her ideal scene partner, when given a preference, Kendrick does have one in mind.

“I like it when they’re women,” she says.

“Women, in my experience, are the most generous scene partners. I have worked with a lot of talented men, and sometimes I feel like they have decided on their performance beforehand. And, no matter how good it is, it sort of weirds me out when it doesn’t seem like they’re engaging me. It’s less that either gender is working from a deficit and more that, I guess, I just personally connect more with female actors.”

Gender aside, Kendrick has come to recognize that what works for her may not work for others. An actor’s approach to any given role or material will be informed entirely by what they have in their toolbox. Naturally, she describes it more colorfully: “There are times when I’ll have this kind of supernatural desire to inhabit Angelina Jolie’s body for a day, just to act as her and be like, ‘Holy crap, this is such a different set of tools.’ I would play the instrument differently than she plays her instrument—” she cuts herself off.

“Sorry, I feel like that’s so pretentious.”

“It’s such a hideous cliché, but I just had to realize the only times I got a job were when there was something I could do that nobody else could do.”

ALL PORTRAITS COURTESY ANNA KENDRICK

What she’s getting at, though, is really an extension of the character psychosis she’s already been probing: that a role is irrevocably yours once you have played it, because no one else can and no one else will do it like you.

It’s no wonder that by the end of a shoot, Kendrick is usually of the mind that no one understands her character better than she does. How could they? “There’s no amount of prep that I can do for a movie where I’ll feel like I know the character better than the writer,” she says. “But if we’re doing press for the movie [afterward] and I hear a director say, ‘Well, Anna’s character is really X-Y-Z,’ I’ll probably think, You don’t know her. She’s mine! Even if they wrote it. Once you start backstage.com

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05.21.20 BACKSTAGE

WANT TO BOOK COMMERCIALS? TRY BEING A JERK

working on something, you find things in the moment. Like on ‘Love Life,’ I just felt like I knew this character better than anybody, because I’ve actually lived these situations now and had to react honestly.”

In addition to that ownership of her BACKSTAGE 05.21.20

character, Kendrick has another deep investment in “Love Life.” The series, created by Sam Boyd, marks her first venture into producing. The decision to sign on as executive producer was in no small part derived from a desire to have more input both creatively and practically. “I think part of it is just being allowed to be as bossy as I can be normally,” she says. “Being allowed to look at the shot as it’s getting set up and say, ‘Wait, why are we using such a wide lens?’ Now, I’m allowed to say, ‘No, let’s not do that.’

“It’s nice to feel like I’m not just a yappy dog annoying everybody,” she adds. “To feel like I’m allowed to have my opinion, and that my opinion is, frankly, valued.”

Along with “Love Life,” this year also saw Kendrick star in and executive produce the

16

Quibi comedy “Dummy.” And while she doesn’t necessarily plan to anchor every project from both in front of and behind the camera, she will continue to seek opportunities that, above all else, engage her natural curiosity. Well, for the most part.

“I’m sure that there will be times when I’m like, Am I done learning? Do I know everything yet?,” she prods before hanging up. “Isn’t it human nature to occasionally be like, Have I mastered it yet? Jesus, enough already.” backstage.com

KENDRICK: COURTESY ANNA KENDRICK; “LOVE LIFE”: ZACH DILGARD/HBO MAX; HILTON AD: EMILY SHUR/HILTON

With Zoe Chao on “Love Life”

“I DON’T KNOW IF MY ADVICE SHOULD be, like, ‘Yeah, just be a dick in the audition for your next commercial,’ ” Kendrick says. Maybe not, but so far, it’s working out. Allow her to explain.

“It’s been a sort of similar trajectory to my experience on social media,” she says of her burgeoning list of commercial work. “When I start working with a brand like Hilton, the first couple of hours of the day where we’re shooting a commercial, I think they’re a little nervous when I pitch something like, ‘What if I’m kind of mean to a group of kids who are playing soccer?’ Obviously, that’s not normally something that a brand wants to do.”

The actor has shot nearly a dozen commercials for Frito-Lay and, more recently, Hilton Hotels (the chain, ironically, factors considerably in her Oscar-nominated role in “Up in the Air”). Each spot is hardly a straight-to-camera endorsement, and rather, depends on Kendrick to deliver her trademark, well, Kendrick.

For that reason, perhaps even more than film or television acting, she argues that being authentic to your brand—and your sense of humor—is a virtue when it comes to commercials. “It’s more like, ‘I promise this is who I am, and I think people will get it,’ ” she says. “And it’s so interesting that the more I’m kind of a jerk in those spots, the more people do get it, because I think everybody has a little bit of a sadistic side to them, and that’s the thing they’re responding to.”

She clarifies once more, though: If you do go the route of the jerk, do so at your own risk. “I have no idea if that translates into commercial auditions,” she says. “But I don’t know, you could try it!” With Kendrick as your model for success, why not?

Keeping It Real There’s one trend in commercial casting you need to know for a long-lasting career

LIGHTFIELD STUDIOS/SHUTTERSTOCK.COM

By Benjamin Lindsay “IN COMMERCIALS, I ALWAYS talk to actors as if they’re a product,” says Jeff Gerrard of Jeff Gerrard Casting. “What is your product that you’re putting out there? What are you selling? Is your product groomed and up to date?

“Some people don’t realize that at the beginning; they think, Oh, it’s a commercial, I can just go in there and smile and make my eyes bright and I’ll book it,” he continues. “You might get lucky and book one or two, but in the long run, if you want a full-on career, you want to make sure that your instrument is finetuned constantly to reflect what’s going on.”

A number of trends in the industry over the last handful of years would seem to forgive such an assumption from the

backstage.com

fledgling commercial actor. For one, consider the bend toward what Gerrard calls everyperson “Americana” in casting.

“A number of years ago, there was this big trend that came in, and everybody was using the same terminology: bring it down, make it small, throw it away; we want to make it conversational, subtle. These were all the terminologies that directors were using because they didn’t want something as big and over-thetop as they did in the ’70s and ’80s. They just wanted a slice of life,” he explains.

Vicki Goggin of Vicki Goggin & Associates Casting agrees, elaborating that the change came as a strong reaction against the formulaic acting seen across the medium for years. “A lot of actors are sort of fighting against this

because they’ve been force-fed for so long to drink the Kool-Aid of the predictable formula read, doing bad old commercial tactics, [feeling] like they have to do a button to their audition or they have to ‘billboard’ the product.”

That more appealing, realitybased approach is seen in the casting, too. “It’s a wonderful time period that we’re in right now because it is reflecting America,” Goggin says. “It’s nothing but diversity right now.

Not only is it diversity in ethnic backgrounds, but gay, straight, bi, transgender—in the last year and a half to two years, I have gotten so many real people jobs.”

The business side of the industry has also shifted to reflect the trend, both because it saves clients money on the front end and because it allows them to cast ostensibly real people for that “slice of life.” Talent agent Chaim Magnum of Lemon Lime Agency estimates that in the last five years, 70 percent of Los Angeles– area commercial gigs have gone

17

from union to nonunion.

“Everything’s pretty much digital at this point, so advertisers decided that they didn’t want to spend the big money the way they do on broadcast commercials that are running on national networks and cable. They started shooting with smaller digital agencies, and it just kind of picked up steam,” Magnum says. A commercial agent for the last 25 years, he adds that nonunion work has always been in the mix, though typically for local restaurants and other family businesses. “But we’re now seeing the biggest advertisers in the world have gone nonunion, and I don’t see them coming back to union quite yet.”

Still, commercial actors at all stages of their career should take note: The casting trend may be aligning with the real person and the nonunion actor, but to Gerrard’s first point, longevity still relies on one’s training in the craft.

“If you want to sign up and have that tag on your person that says ‘actor,’ I want to know that you’ve done your homework; I want to know that you’ve trained; I want to know that you’ve studied.”

Goggin says that theatrical actors and comedy and improv performers with that training have caught on, too. “We want real people in commercials, but it’s understood that actors are also real people,” Goggin says, adding that the most successful actors bring their training and technical know-how into the room or onto the self-tape in tandem with “the authentic nooks and crannies of their own personality.”

In a world where more than 125 people audition per day in a streamlined, two-day casting process for 20 roles, it’s more important than ever to stand out from the pack—quirks and all.

“The whole trend right now in commercials is just letting the actor be the character,” Goggin concludes. “Yes, their skills and their training come to the table, but also everything that makes them uniquely a real person in real life is absolutely perfect.

It’s the same person in the lobby as in the studio; it’s the same person who came up in the elevator; it’s the same person who drove there.”

05.21.20 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays Arc Stages 2020-2021 Season

• Casting Equity actors for the Arc

Stages 2020-2021 Season. Season includes “See What I Wanna See” (Michael John LaChiusa, playwright.

Rehearsals begin Sept. 7; runs Oct. 2-18, Fri.-Sun.) and “True West” (Sam Shepard, playwright. Rehearsals begin Jan. 11, 2021; runs Jan. 29-Feb. 14, 2021, Fri.-Sun.).

• Company: Arc Stages. Staff: Adam

David Cohen, artistic dir.; Ann-Ngaire Martin, dir.

• Season runs in Pleasantville, NY. • Seeking—Equity Actors: all genders,

18+.

• Equity Principal Auditions will be held

June 15 from 10 a.m.-6 p.m. (lunch, 1-2 p.m.) at Ripley-Grier Studios (520), 520 8th Ave., 16th fl., New York City, NY 10018-6507. EPA Procedures are in effect for this audition. An Equity Monitor will be provided.

• Prepare a brief contemporary mono-

logue; or a brief song; or a one minute monologue and 16 bars/very brief song if auditioning for both. An accompanist will be provided. Total audition time should not exceed two minutes. Bring picture and resume.

• Pursuant to the terms of a concession

made to this employer’s agreement, the employer has agreed that any Equity member who attends this call will have an opportunity to be seen. Actors of all ethnicities encouraged to audition for all roles.

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.

Seeking submissions from Equity members only for principal roles.

Casting picks of the week

• Staff: Woodshed Collective and Jason

Kim, conceived by; Jason Kim, book; Helen Park, music-lyrics-music production; Max Vernon, music-lyrics; Teddy Bergman, dir.; SeonJae Kim, assoc. dir.; Jennifer Weber, choreo.; Bo Park, assoc. choreo.; Sujin Kim-Ramsey, music dir.; Tim Forbes and Joey Parnes, prods.; Tara Rubin Casting/Claire Burke, CSA, casting.

BY LISA HAMIL

stage

Arc Stage 2020-2021 Season Join “True What” and other excellent Equity productions in Pleasantville, NY

• Rehearsals begin on or around January

2021 in NYC; runs TBD 2021 on Broadway in NYC.

• Seeking—Equity Actors: 18+.

• Seeking submissions from NY. • For consideration, submit a private link

tv

to a video of yourself singing a short contemporary K-pop or Pop song with your picture and resume to kpopbroadwaycasting@gmail.com. Submissions deadline is May 22.

‘Fatal Attraction’ Solve crimes in Knoxville, TN for this TV One series

musical

• Pays $2,168/wk. Equity Production

(League) Agreement.

SpeakEasy Stage Co Musicals Belt out “Bright Star” or “Once On This Island” in Boston, MA

National Commercials

film

‘Cullinan’ Find your identity in this comingof-age indie in Glendale, CA

‘No More Eyebags’

• Casting talent for infomercial and TV

spots for new under-eye cosmetic treatment.

tv

• Company: Richman Films. Staff:

‘Late Late Show With James Corden’ Video chat with your parents and James Corden for his CBS late night series

Sheldon Richman, coord.

• Shoots sometime in mid-late June in

North Jersey.

• Seeking—Spokesperson: female,

45-70, all ethnicities, must be a capable interviewer and product demonstrator.

• Seeking submissions from NJ and NY. • Apply on Backstage.com.

• Auditions will consist of self-tapes.

• Pays $500/day, plus travel and

Jackson).

• Theater Director states: “You will learn

expenses covered.

Musicals

‘COVID-19 Prep for Actors’ Master Workshop Intensive

the importance of following guidelines for industry-standard headshots and create a resume that catches the attention of industry professionals. You will learn the importance of online branding and its effectiveness during these trying times. This master ZOOM class is priceless - covering COVID-19 and actors.”

‘KPOP,’ Broadway, Equity Video Submissions

hour zoom intensive for the Ensemble Artists NYC “Business of Acting amidst COVID-19 “ master workshop taught by actress, media contributor and super Mom: Xen Sams (who is also currently appearing in “The Banker “(Samuel L.

and not getting called in? Tired of agents telling you that you are not ready? Tired of hearing others book jobs and you are left wondering ‘Why not me?’ Have you ever thought ‘What am I doing wrong?’ Are you not certain

• 2020-2021 salary pending. Current

min: $309/wk. Equity SPT 2 Agreement.

• Seeking Equity actors for “KPOP.” Note:

Due to COVID-19 and Social Distancing Efforts, accepting Video Submission Auditions in lieu of live EPAs in NYC.

BACKSTAGE 05.21.20

Workshops • Seeking ten participants to fill a one

• Company asks: “Tired of submitting

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what your resume should include or what headshots to use? Is your look ‘in’ or ‘outdated’? When will film and tv prod. co get back up and running?How will castings be done?”

• “We are a ‘for artists, by artists’ organi-

zation, specializing in training and educating entertainers on how to ‘make it’ in the industry. We focus on marketing steps, tools, and techniques artists need to take to get represented, noticed, and booked. Our intensive career-changing workshop covers marketing, business, taxes, steps, and overall strategies one must take to get work and representation effectively in the NYC/L.A. areas. We believe in karma, so we offer this Master Workshop once a month for free and at a reduced cost to those we select, via a casting process.

This is simply a way to give back to the aspiring artists in our entertainment community.”

• Company: Ensemble Artists NYC. Staff:

Ruvi Lopez, community outreach coord.; Steven Hollander, legal affairs; Chris Lanston, social media; Steven Crawford, in house visuals/photography dept.; Xen Sams, class mentor-cofounder (instagram.com/xensams).

• Free Zoom sessions will be held on

Zoom. You will receive a personal zoom ID link and password- if you are selected. Note: Free hour Workshop take place approx. every 10 days. 10 people are selected at a time. Talent may only apply if they are available on the date and during the specified time frame.

• Seeking—Actors/Models/Entertainers:

18+, all ethnicities, must be a serious entertainer, with an active resume and basic headshot.

• Seeking submissions from NY. • Send submissions to

EnsembleArtistsNYC@gmail.com.

• To apply, submit your headshot and

resume or bio. Explain why you should be considered for the free intensive.

Tell workshop personnel about yourself and your commitment to the entertainment industry and some of your past experiences. Class is limited to 10 participants. Director states: “If you qualify, you will receive an invitation to attend for free.”

• For more info, visit www.facebook.

com/ensembleartistsnyc or www.

EnsembleArtistsNyc.com.

• Company states: “The Ensemble

Artists NYC program began six years ago and we have had hundreds who have come to the workshop, most of whom are now represented by a theatbackstage.com

California casting

rical agent and print agent, and many of whom have reported making consistent income. Ensemble Artists NYC is here to give you the practical knowhow that will give you the ins and outs of the modeling, acting, and entertainment industry; help you gain selfesteem; and give you guidance and motivation to build your dreams with a realistic approach. We also offer intensive Zoom workshop to parents with aspiring child actors and models between the ages of 2 to 14 years old, via our sister company: The Kids Establishment offers (45 min master workshop for the parents on www.kidpass.com should one require a more tailored approach for their child see our website www.thekidsestablishment.com.”

• The entire workshop is free if you are

selected. Theater director states: “An optional post-workshop one-on-one consultation with Xen costs $45 for 25 minutes (based on availability for private Zoom). We are giving away 10 free spots (twice a month to serious talent ) who truly need the help and guidance during Covid-19 and want to understand how to adapt their careers to these ever changing times.”

Southern California Feature Films ‘Cullinan’

• Casting the male lead in “Cullinan,” a

feature film.

• Company: Humpback Whale Studios.

Staff: Andrii Lantukh, dir.

• Shoot dates TBD (flexible, dependent

on COVID-19 lockdown restrictions) in Glendale, CA. • Seeking—Wanderer: male, 28-29,

White / European Descent, He is a cautious, extremely emotional small time thief. He grew up in an orphanage.

Never knew his parents. Never really had anything in his life of his own.

Obsessed with music. The only thing that helps him through the loneliness and rough years of robbing stuff, only thing that helps him to stay on his feet.

The man is a bit stoic who just fell into his own abyss he built for himself. He dreams of something that perhaps will change his life. Something or someone.

He is not sure. He dreams of life taking him to a different brighter place but he’s afraid to do it himself. If I were to describe Wanderer in a few words I’d just say “a man who struggles for identity”.

• Seeking submissions from CA. • Send submissions to bayibsa@hump-

backwhalestudios.com.

• Accepting self-tape auditions only.

We’ll provide you with sides so you can send in a self tape. Callbacks will be held after lockdown is over. See character description.

• Pay deferred.

backstage.com

Short Films

principal character role would help as well.

‘American Anarchy Vol. 1’

vimeo.com/282356817 (scene) or https://vimeo.com/233543562 (short).

• To view previous work visit https://

• Casting “American Anarchy Vol 1,” a

Rotoscoped animated short set in postapocalyptic Utah (approx. 5 minutes).

Synopsis: Johnny and Josie are looking to escape the town of Whitewater, a Western 80’s punk town, through the local biking gang; The Sons of Liberty.

They fall into a trap however as the gang seeks to take what they’re worth, when, they are interrupted by a gunslinging bounty hunter. Note: As this is a rotoscope short acting will be similar environment to that of green screen with actors/character in costume for visual reference.

• Pays $100/day (principal actors) and

$50/day (extras) plus food and travel.

Student Films ‘Cult From the Same Cloth’

• Casting “Cult From the Same Cloth,” a

short student TV pilot filmed remotely.

Synopsis: In the 1970s, a cult leader predicted the world would end in 2020.

Now that his prophecy is coming true, he wants to revive his cult and fulfill his vision. As his children fight to be second-in-command, the reformed cult members have to deal with the absurd initiation process and corrupt family at the helm.

• Company: Wicked Pixie LLC. Staff: Nick

Wohlfarth, dir.-animator; Nick Hancock, AD; Brannon Gee, DP; Martha Landeros/PA; Jake Messina, ADP; Yuki Bomb, hair & makeup.

• One rehearsal day with Principal actors

then full production to shoot in Anaheim for three days. One additional day for principal actors in post-production for ADR. Locations will be confirmed once actors have sent their schedules.

• Company: Columbia College Hollywood

Productions. Staff: Noura Ghannam and Jasmine Duenas, crew.

• Shoots remotely from mid-May-early

June.

• Seeking—Geoffrey: male, 60-75,

White / European Descent, must have at least two devices to film remotely.

A sexist and older hippie. Stuck in the old days, patronizing, and relaxed.

Father of Brad and Carol, and leader of the once famous Doomsday cult in the 1970s. He thinks Brad is more fit to run the cult as opposed to Carol because he’s a man. Carol: female, 25-35, White / European Descent, must have at least two devices to film remotely. The brains of the family.

Daughter of Geoffrey and sister of Brad. Uptight, cunning, and determined. She wants to lead the cult instead of Brad, and is offended that she was pushed aside because of her gender. She’s in it for money and to prove herself to Geoffrey, and still considers herself as smarter and better than Brad. Brad: male, 30-40, White / European Descent, must have at least two devices to film remotely.

A follower, not a leader. Son of Geoffrey and brother of Carol. Lazy, an ass-kisser, and egotistical. He wants to please his dad and lead the cult, but he’s in it for the money. Brad and Carol battle for their father’s attention. Dakota: female, 25-35, must have at least two devices to film remotely. Investigative journalist for an online site. Cousin of Josh.

Stealthy, naive, and curious. She’s desperate for a good story to write about, and remembers that her cousin, Josh, talked about a Doomsday cult. She wants to join the cult to write an expose on them and make it big in her career, but she’s in over her head with this cult. Mason: male, 18-25, must have at least two devices to film remotely. A college football player looking for college credit. Oblivious, sweet, and a typical jock. He found the Doomsday manifesto and joined the cult because Brad offered him the college credit needed to stay on the football team.

Ironically a direct blood relative to

• Seeking—Anastasia Belinksy: female,

18-29, White / European Descent, Gunslinger/Mercenary type. Little in the way of speaking and prefers action over talking. Reference: https://www. artstation.com/artwork/8lG83O. Josie: female, 18-29, White / European Descent, 1/2 of the couple looking to escape the town of Whitewater.

Looking to barter with the local biker gang to escape the area. Johnny: 18-29, all ethnicities, 1/2 of the couple looking to escape the town of Whitewater.

Looking to barter with the local biker gang to escape the area. Randolph: male, 22-35, all ethnicities, leader of the biker gang Sons of Liberty; a chromed out gang hanging out in the Mystic Diner. Harsh voice and wears a visor over his eyes for thermal imaging. Gang Member #1: 18-30, all ethnicities, Member of the Sons of Liberty, a chromed out biker gang in Whitewater, Utah. Relaxing in the Mystic Diner.

Reference: https://cdna.artstation. com/p/assets/images/ images/019/356/364/4k/nickwohlfarth-sons-of-liberty. jpg?1563131786. Gang Member #2: 18-30, all ethnicities, Member of the Sons of Liberty, a chromed out biker gang in Whitewater, Utah. Relaxing in the Mystic Diner. Reference: https:// cdna.artstation.com/p/assets/images/ images/019/356/364/4k/nickwohlfarth-sons-of-liberty. jpg?1563131786. Gang Member #3: 18-30, all ethnicities, Member of the Sons of Liberty, a chromed out biker gang in Whitewater, Utah. Relaxing in the Mystic Diner. Reference: https:// cdna.artstation.com/p/assets/images/ images/019/356/364/4k/nickwohlfarth-sons-of-liberty. jpg?1563131786.

• Seeking submissions from CA. • Apply on Backstage.com.

• Visual reference would help with por-

trait photos: Front, 3/4, and profile.

• Any video reading of the script for a

19

Charles Manson, but isn’t aware of it.

Brenda: female, 18-25, must have at least two devices to film remotely.

Stereotypical social media influencer who just hit 100K followers on Instagram. Ditzy, strategic, and unapologetic. She pitches herself to Carol as someone who can help bring new followers to the cult with her social media presence. Carol uses Brenda to appeal to Geoffrey.

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

columbiacollege.edu.

• Credit and copy provided.

‘If I Didn’t Have You’

• Casting “If I Didn’t Have You,” a stu-

dent short drama about the struggles of a young mother with no husband, three kids, and another unexpected one on the way.

• Company: John Paul the Great Catholic

University. Staff: Clare Schmidt, lead prod.

• Shoots June 12-14 in Escondido, CA. • Seeking—Teela: female, 24-34, Latino /

Hispanic, overworked, recently single mother of three and a surprise one on the way. Char: female, 30-38, Latino / Hispanic, extra, sassy, loves Teela’s kids, wears knock-off Gucci; supports Teela in crisis. Nina: female, 7-8, Latino / Hispanic, Teela’s only daughter; adorable and loving; plays large part in climax.

• Seeking submissions from CA. • Send submissions to cschmidt001@pel-

icans.jpcatholic.edu.

• Due to COVID-19 safety measures,

there will be social distancing and sanitation on set. Be prompt in submissions and responses, as time is of the essence. Not all cast members needed every day.

• Pays $13/hr. Meals provided.

‘Mackenzie’s Shift’

• Casting “Mackenzie’s Shift,” a short

comedy-drama student film set in a convenience store about being afraid to open up and risking embarrassment when it comes to young love.

• Company: New York Film Academy.

Staff: Juan Pablo Rosado, filmmaker.

• Dates TBD (possibly in the fall) based on

the current health situation.

• Seeking—T.J.: male, 18-19, intro-

verted. Hopeless romantic. Prefers to stay out of stressful situations if he can avoid them. Anxious. He is in love with Mackenzie and hopes to let her know before they graduate from high school. Mackenzie: female, 18-19, free-spirited and hardworking, but she is also an overachiever. She works at a mom-and-pop convenience store where she tries to make the best of her shift every day. She has high hopes for her future after having broken up with her boyfriend. Clark: male, 18-19, T.J.’s closest friend.

Athough Clark does have a bunch of other friends, he feels T.J. will never survive without him. He tries to get T.J. a girlfriend, so he will stop complaining about feeling lonely.

• Seeking submissions from CA. • Send submissions to juanpabloro-

sado98@gmail.com.

• Meals and copy of film will be provided.

05.21.20 BACKSTAGE

casting National/Regional

Scripted TV & Video ‘Junior’s’ Brat TV Digital Series

• Casting “Junior’s,” a ten-episode, digi-

tal soap opera to be posted on Brat TV’s YouTube channel. Synopsis: Follows ten characters as they navigate intertwining storylines. This will be shot remotely so actors must be able to film themselves and submit the footage to production company’s editors.

• Company: Brat TV. • Records remotely.

• Seeking—Jane: female, 18-24, one of

our leads finds her ex-boyfriend Matty’s phone and gets wrapped up in their love story, which unfolds in text messages to one another. After our lead seeks her out in person, Jane and our lead develop a friendship and then feelings for each other. She’s best friends with Bianca (supporting) and dating Matty (supporting), and all three have scenes together. Must live with two actors to film scenes together in quarantine. Matty: male, 18-25, previous owner of a lost phone. He was dating Jane until he went off to war. We’ll see him in the lead’s imagination as the text messages play out in reenactment style daydreams. He’s Bianca’s brother and Jane’s boyfriend, all three have scenes together. Must live with 2 actors to play Jane & Bianca because of quarantine.

Bianca: female, 18-25, Matty’s sister and Jane’s best friend. She’s loud and opinionated and distracted enough by her own life she doesn’t realize that there’s a love story happening right under her nose. She’s best friends with Jane and Matty’s sister, all three have scenes together. Must live with two other actors because of quarantine.

• Seeking submissions from CA. • For consideration, submit a reel or

headshot and best email address to reach you to brat-talent@brat.com.

• Pays $200/day.

Local Commercials Children’s Hospital Los Angeles/Kohl’s Cares for Kids Spots

• Casting two short spots for PBS for

Children’s Hospital Los Angeles (CHLA)/ Kohl’s Cares for Kids. Seeking a mother and one child for one spot and a mother and a two-year-old and four-year-old for a separate spot.

• Company: Tyrus Woodson Production.

Staff: Ty Woodson, dir.

• Dates TBD. • Seeking—2 Mothers: female, 30-45,

Asian, Black / African Descent, Latino / Hispanic. Two-Year-Old: 2-3, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic. Four-Year-Old: 3-4, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic.

BACKSTAGE 05.21.20

camera. Zoe: female, 26-33, all ethnicities, chef.

• Seeking submissions from CA. • Pays $75 flat rate (no longer than a cou-

ple of hours).

• Seeking submissions from CA. • Send submissions to xueru.tang@hun-

grypandaproductionsinc.com.

• Casting via Zoom.

• Pays $300 for four-hour shoot.

Online Commercials & Promos

Premium Hair Dye Brand for Men, Social Media Ad

• Casting a social media ad for a premium

hair dye brand. The brand uses non toxic ingredients.

Fitness Trainers for Mobile App

• Staff: TJ, casting assist.

• Works remotely.

• Seeking—35-60 yr-old male, first time

• Seeking one male and and one female

to play the roles of fitness trainers for a mobile app that helps fitness trainers become more efficient at running their fitness business. The app helps with client management, scheduling and automated billing.

• Production states: “We are looking for

athletic/toned fitness trainer types.

Attractive but not a supermodel.

Muscular, or athletic, but not bodybuilder type. This could lead to an ongoing position as hosts for additional future videos. So reliability and professionalism will be a consideration in addition to the talent and appearance.”

• Company: InsungFilms. Staff: Insung

Hwang, dir.-prod.

• Shoots June (TBD dates) in the

Carlsbad, CA area.

• Seeking—Ian: male, 24-34. Jen: female,

24-34.

• Seeking submissions from CA. • Send submissions to insung@insung-

films.com.

• The role will require memorizing large

chunks of dialog so if you have on-camera hosting samples, submit those.

• Production states: “If you live near San

Diego or Orange County, this is a plus (but not a requirement). Auditions, if they are live, will be held in LA or near Long Beach area. Otherwise, the audition will be held virtually. Due to the Coronavirus, auditions may be through a Zoom meeting or similar. We’re hoping that this will ease by then as we prefer a live audition. The shoot will be scheduled as a safe situation permits.”

hair dyer: male, 35-60, all ethnicities, has never tried hair dye before. This brand is well known for their female dyes that use non-toxic ingredients.

Their line of male-orientated products are geared towards those who are beginning to notice their first signs of gray hair. You will talk about your hair, and the first time you began noticing grays and any other personal anecdotes. You will demonstrate using the product on camera, and will review the final results. The product will be delivered to you for free to use during the shoot.This is something you’ll film from home on your smartphone. 50+ year old male to dye hair: male, 50-75, all ethnicities, looking to dye hair. This brand is well known for their non-toxic hair dyes, and their line for men is designed to work with your natural grey hair for a more distinguished salt and pepper look. You will talk about your hair, demonstrate using the product on camera, review results, and model you hair before and after.The product will be delivered to you for free to use during the shoot. This is something you’ll film from home on your smartphone.

• Seeking submissions from CA. • Send submissions to tj@narrativeads.

com.

• An audition tape may be requested.

• Pays $100.

Northern California

• Pays $250/day, $125/half day. Mileage,

meals for full days, and copy of finished videos for use in demo reels (any usage embargoes will apply based on client needs) provided. Note this will most likely be a weekend shoot plus a half day for pick-up shots.

Plays

Online Store Video Shoot

Magic Theatre Season

• Casting a few short videos for an online

female product brand. Production states: “We will have total of six crew members. All crew members will wear a face mask at all times. The makeup artist will be wearing gloves.”

• Seeking video submissions from Equity

actors for Magic Theatre’s 2020-2021 season. Season includes: “The Virgin Play Festival;” “Monument, or Four Sisters: A Sloth Play” (Sam Chanse, writer); “The Kind Ones” (Miranda Rose Hall, writer); and “The Broken Machine” (Liz Duffy Adams, writer).

• Company: Hungry Panda Production.

Staff: Xueru Tang, coord.

• Scheduled to shoot May 23 (specific

time frame for each actor TBD).

• Seeking—Melissa: female, 35-40, all

• Company: Magic Theatre. Staff: Sonia

ethnicities, fitness instructor. Maya: female, 17-22, all ethnicities, college student. Must be comfortable being in underwear on-camera. Aisha: female, 29-38, all ethnicities, writer. Jordan: female, 31-40, IT person. Must be comfortable being in underwear on-

Fernandez, assoc. artistic dir.-casting dir.

• Season runs September 2020-June

2021 in San Francisco, CA.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from CA. • For consideration, prepare one mono-

20

logue or two contemporary contrasting monologues of your choice for a total of three minutes. Attach a copy of your headshot and resume to the body of the email, along with the video of the audition and email to auditions@magictheatre.org. Receipt will be confirmed within 2 business days. Submission deadline is May 27.

• For more info, visit www.magictheatre.

org.

• Equity’s contracts prohibit discrimina-

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

• Pays $664/wk. Equity Bay Area

Theatre.

National/ Regional Plays 2020 New Play Development Workshop Scene Showcase • Casting the New Play Development

Workshop Scene Showcase. Project description: “Features the work of seven incredible Chicago-based playwrights. Each playwright and director team will present 10-15 minutes of a brand new play. This is a wonderful opportunity to help develop new work.

Some scenes may have adult themes and language.”

• Company: Women’s Theatre Alliance.

• Rehearsals begin June 13, in Chicago,

IL. Tentative performance July 22.

• Seeking—Woman 1: female, 17-80. Man

1: male, 21-60. Woman 2: female, 2-40, Latino / Hispanic. Italian Woman: female, 20-40. Irish Woman 1: female, 15-20. Irish Woman 2: female, 70-85.

Jewish Woman: female, 18. Woman 3: female, 17-30, Black / African Descent.

German Woman: female, 16.

• Seeking submissions from IL. • Sign up at www.tiny.cc/

womenstheatre.

• No pay.

Purple Rose 2020-21 Season

• Seeking video submissions from actors

of all gender identities, ages 18+ for principle, supporting, and understudy roles in The Purple Rose 2020-2021 Season. Both Equity and Non-Equity actors are welcome. Season includes “Paint Night” (Carey Crim, writer.

Rehearsals begin Aug. 18; runs Sept.

17-Dec. 19); “Norma & Wanda (Jeff Daniels, writer. Rehearsals begin Dec. 8; runs Jan. 14, 2021-Mar. 6, 2021); “Sherlock HOlmes and the Adventure of the Ghost Machine” (David MacGregor, writer. Rehearsals begin Feb. 23, 2021; runs Mac. 25-May 29); and “A Jukebox for the Algonquin” (Paul Stroili, writer. backstage.com

National/Regional casting

Rehearsals begin May 18, 2021; runs June 17-Aug. 28).

• Company: Purple Rose Theatre. Staff:

Guy Sanville, artistic dir.

• Season rehearses and performs in

Chelsea, MI.

• Seeking—Equity & Nonunion Actors: all

genders, 18+, all ethnicities.

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

tion with two contrasting contemporary monologues, that are each one minute in length, along with headshot and resume, to Sanville@purplerosetheatre. org. Submissions accepted immediately. Submissions deadline is June 15.

• Equity’s contracts prohibit discrimi-

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

• Equity SPT Contract. Note: The Purple

Rose Theatre has the option for a Bi-Weekly Payroll. Payroll schedule (Bi-Weekly or Weekly) would be communicated when roles are officially offered to the Acting Company. Pay dates would be supplied no later than the first day of employment.

SpeakEasy Stage Co. 20-21 Season Plays

• Seeking video submission auditions

for the SpeakEasy Stage Co.’s 20202021 season plays in lieu of live EPAs locally at the theatre in Boston, MA. Plays include “Slave Play” (Jeremy O. Harris, writer; Tiffany Nicole Greene, dir.) Rehearsals begin Aug. 17; runs Sept. 11-Oct. 11 with a possible extension through Oct. 18); “People, Places & Things” (Duncan Macmillan, writer; David Gammons, dir. Rehearsals begin Dec. 14, 2020; runs Jan. 8-Feb. 6, 2021); and “The Inheritance” (Matthew Lopez, writer; Paul Daigneault, dir.

Rehearsals begin Mar. 22, 2021; runs Apr. 30-June 19, 2021 with a possible extension through June 26, 2021).

Note: For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast.

• Company: SpeakEasy Stage Company.

Staff: Paul Daigneault, prod. artistic dir.; Shira Gitlin, artistic fellow.

• Performs in Boston, MA. • Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MA. • For consideration, email your Equity

status, full name and pronouns, contact info, the shows for which you would like to be considered, your headshot/ resume as a PDF titled “Last Name, First Name (2020)”, and your video submission link to auditions@speakeasystage. com. Use a private link on a streaming service or website such as YouTube or Vimeo (not an attachment) and send the link via email. Submissions deadline is May 29.

• Audition Video Info: Submissions

should not exceed 5 minutes. Actors may read one or more scenes from backstage.com

Musicals

the season’s plays, perform one or more monologues, or prepare a combination of scene(s) and monologues(s) from other sources.

SpeakEasy suggests, if not performing scenes, to choose two contrasting monologues. Production scripts can be accessed by contacting Stage Source.

‘Aladdin Jr.’

• Casting “Aladdin, Jr.,” a musical.

Project description: “Based on the 1992 Academy Award®-winning film and the 2014 hit Broadway show about the ‘diamond in the rough’ street rat who learns that his true worth lies deep within. Aladdin and his three friends are down on their luck until Aladdin discovers a magic lamp and the Genie who has the power to grant three wishes.

Wanting to earn the respect of the princess, Jasmine, Aladdin embarks on an adventure that will test his will and his moral character. With expanded characters, new songs, and more thrills, this new adaptation of the beloved story will open up ‘a whole new world.’”

• Equity’s contracts prohibit discrimina-

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

• Pays $506/wk. Equity NEAT Cat 6

Contract.

• Company: Fleetwood Community

‘What You Will’ (‘Twelfth Night’)

Theatre.

• Performances run Dec. 11 and 12 in,

Fleetwood, PA.

• Seeking video submissions from Equity

members in lieu of live local EPAs for “What You Will (Twelfth Night)” in Nashville, TN. Local TN area Equity actors are strongly encouraged to submit. SM & ASM positions are not available, but submissions for future employment will be accepted.

• Seeking—Aladdin: male, 10-18, a poor

street urchin, longs to make his mother proud, but sometimes loses his way.

He’s the thief with a heart of gold, charismatic, versatility to play both the playful prankster and romantic lead.

Heavy-singing role. Vocal range top: E4 Vocal range bottom: G2. Babkak, Omar, and Kassim: all genders, 10-18, Aladdin’s three loyal and playful pals.

Babkak is the Agrabahn foodie who loves to snack, kindhearted Omar has a sensitive soul, and stubborn Kassim yearns to be a leader. They should be a truly tight-knit trio of strong singers and actors. Genie: all genders, 10-18, The fast-talking, fun-loving, scenestealing wisecracker who lives in the lamp and yearns to be free. Genie needs great comic timing and a flashy and fun sense of showmanship. Vocal range top: D#4 Vocal range bottom: G2. Iago: 10-18, The fawning and funny sidekick to Jafar. Only one lyric to sing, sarcastic asides with comedic flair.

Vocal range top: E4, Vocal range bottom: Bb2. Isir, Manal, and Rajah: female, 10-18, Jasmine’s devoted attendants, keep the Princess grounded with their honesty and openness. Isir, whose name means “inspiration,” is optimistic; Manal, “achievement,” is assertively encouraging; and Rajah, “hope,” is the most protective, strong singers. Vocal range top: Eb5, Vocal range bottom: B3. Jafar: male, 10-18, The power-hungry and crooked Grand Vizier. He has two-faced personality – loyal advisor to the Sultan and scheming villain. Has several delicious comedic moments with his lackey, Iago.

Vocal range top: Eb4, Vocal range bottom: Bb2. Jasmine: female, 10-18, The Princess of Agrabah, longs to experience the world outside the palace walls. Curious and assertive, she knows what she wants and craves the freedom to make her own choices. She is the romantic lead and a young woman caught between her responsibilities to her people and to herself. Vocal range top: E5 Vocal range bottom: G3.

Sultan: male, 10-18, The warm-hearted ruler who dotes on his daugther, is committed to upholding the ancient laws of Agrabah. Must play the father

• Company: Nashville Shakespeare

Festival. Staff: Jim Warren, dir.; Denice Hicks, NSF artistic dir.

• Rehearsals begin Aug. 3; runs Aug.

27-Sept. 20 in Nashville, TN.

• Seeking—Viola: 20-30. Olivia/

Valentine: 20-40. Maria/Sebastian: 20-30. Malvolio/Captain/Andrew: 25-60. Toby/Antonio: 25-60. Orsino/ Musician: 20-40.

• Seeking submissions from TN. • For consideration, upload your video to

a sharing platform such as YouTube, and send a link to videosubmission@ nashvilleshakes.org along with your headshot and resume. Submissions deadline is June 12.

• Audition preparation instructions:

Slate your audition either at the beginning or end. Perform 90 seconds of Shakespeare (two short contrasting pieces that showcase versatility), at least one verse piece preferred. Optional: 16 bars of a song (one minute or less) acapella, selfaccompanied, or with prerecorded accompaniment.

• Note: All roles are any ethnicity, any

gender. Male and female characters may be played by actors of differing genders from the characters. There is one AEA contract anticipated to be cast among the available roles.

• For more info, visit nashvilleshakes.

org/audition.

• Equity’s contracts prohibit discrimi-

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

• Pays $526.50/wk. Equity LOA

Agreement. Note: There is one AEA contract anticipated to be cast among the available roles.

21

figure convincingly. Vocal range top: C4 Vocal range bottom: Ab3.

• Seeking submissions from PA. • Auditions will be held Sept. 13-14. For

consideration, send submissions to fleetwoodct@ptd.net.

• Prepare “Proud of Your Boy Reprise”

(for males), “These Palace Walls” (for females) and “Friend Like Me” (for the Genie specifically).

• No pay.

‘Seussical A Virtual Musical’

• Casting “Seussical,” a virtual musical.

• Production states: “Given the current

atmosphere, none of us are sure when live performances will return; so, we’ve decided to take to the virtual stage.

Every actor will record their roles from their own home and, with the use of creative editing, we will put together a full show. Singers must feel confident in their musicianship, as everyone will be required to teach themselves their music, with guidance from the creative team.”

• Company: The Virtual Stage Co. Staff:

A. Schecter, casting.

• Recording tentatively begins by the end

of June. The creative team will put together a schedule of deadlines for when each number/scene is due.

Actors are only responsible for recording their roles, and are not involved in the editing post-production process.

• Seeking—Horton the Elephant: male,

18-50, all ethnicities, the protagonist - a compassionate elephant. Physically and socially different than the other animals, Horton is an easy scapegoat. He is steadfast and holds deeply-grounded beliefs. (Baritone/Tenor). Gertrude McFuzz: female, 18-30, all ethnicities, a shy bird who falls in love with Horton and endeavors to help him. She is a bird of great spirit, but little grace. Socially and physically awkward, she is a little off-beat, but delightfully so. (Soprano).

Mayzie La Bird: female, 18-40, all ethnicities, Horton’s vivacious, yet lazy and self-centered, bird neighbor. (Soprano/ Mezzo Belt). Sour Kangaroo: female, 18-50, all ethnicities, a tyrannical marsupial with attitude, style, and flair. She has a commandingphysical presence, countered by her daughter, the Young Kangaroo - a puppet voiced by the same actor. (Mezzo Belt). JoJo: 8-25, all ethnicities, role can either be played by a young male or an adult female who can pass for a young male with the help of costuming. JoJo wants to be valued and loved for himself. He lives in a society that doesn’t seem to notice or care about any of the things he holds dear to his heart. Mr. Mayor: male, 30-60, all ethnicities, Mr. Mayor wants to be a good leader and father. He is a recently-elected official who is proud of his new role and eager to prove his abilities. (Baritone). Mrs. Mayor: female, 25-50, all ethnicities, quirky and caring, Mrs. Mayor wants what is best for her son, JoJo, though she is not sure what that really is. (Soprano or Mezzo). Bird Girl 1, 2, & 3: female, 18-40, all ethnicities, the three bird girls serve as the Greek chorus of the story. Must be strong musicians and comfortable with learning tight harmonies. (Soprano, Mezzo). Wickersham Brother 1, 2, & 3:

05.21.20 BACKSTAGE

casting National/Regional male, 18-35, all ethnicities, The Wickersham Brothers live to impress the world with their strength and prowess. They are impulsive bad boys who like to monkey around and create havoc for fun. Some choreo will be involved in this track. Note: Each Wickersham will also be a member of the ensemble.

(Tenor, Baritone, Bass). Ensemble: 18+, all ethnicities, each ensemble member plays various characters throughout.

Strong vocals and musicianship is a must. (Soprano, Alto, Tenor, Bass).

Contract.

catcher, team manager, and coach of the Indianapolis Clowns. Doubles with other characters in the ensemble. Elzie/ Ensemble: male, 35-45, Black / African Descent, a tough talking member of the Indianapolis Clowns whose swagger and macho mannerisms often cover up his closeted sexuality. Doubles with other characters in the ensemble. Jimmy/ Ensemble: male, 25-35, Black / African Descent, newest addition to the Indianapolis Clowns. Doubles with other characters in the ensemble.

you would like us to view. We’re looking for, ideally, 16-32 bars of a song in the style of the show.

Short Films

and resumes to casting@alliancetheatre.org with the subject line “Toni Stone.” Submissions deadline is May 22.

already submitted to the listing on another site. In the “Cover Letter” section, note if you have a spot in your current quarantine location to record, and what that area looks like.

• Casting “Lion’s Head,” an MFA thesis

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Note: “STAR” the clip on your profile

• Do not double submit if you have

• No pay.

SpeakEasy Stage Co. 20-21 Season Musicals

• Seeking video submission auditions for

the SpeakEasy Stage Co.’s 2020-2021 season in lieu of live EPAs locally at the theatre in Boston, MA. Musicals include: “Once on this Island” (Lynn Ahrens, book and lyrics; Stephen Flaherty, music; Pascale Florestal, dir.; David Coleman, music dir. Rehearsals begin Sept. 28, 2020; runs Oct. 23-Nov. 22 with a possible extension through Nov. 29) and “Bright Star” (Steve Martin & Edie Brickell, music & lyrics; Steve Martin, book; Paul Daigneault, dir.

Rehearsals begin Feb. 1, 2021; runs Feb. 26-Mar. 27, 2021).

• Note: For pre-cast roles, auditioning

performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast.

• Company: SpeakEasy Stage Company.

Staff: Paul Daigneault, prod. artistic dir.; Shira Gitlin, artistic fellow.

• Performs in Boston, MA. • Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MA. • For consideration, email your Equity

status, full name and pronouns, contact info, the shows for which you would like to be considered, your headshot/ resume as a PDF titled “Last Name, First Name (2020)”, and your video submission link to auditions@speakeasystage. com. Use a private link on a streaming service or website such as YouTube or Vimeo (not an attachment) and send the link via email. Submissions deadline is May 29.

• Submissions should not exceed 5 min-

utes. Actors are encouraged to perform musical selections in the style of the show. May also feature your skills with piano, accordion, mandolin, guitar, banjo, viola, violin, fiddle, cello, upright bass, percussion, or other instrument.

• Note: No nudity or any form of sexual

contact will be required as part of an actor’s audition. We will not ask prospective participants to perform violence or sexual contact as part of an audition without disclosing this expec-

BACKSTAGE 05.21.20

tation in the audition notice or invitation. Actors of color are strongly encouraged to audition, and all roles are open to inclusive casting.

SpeakEasy Stage Co. shall conduct all auditions/interviews in a manner that promotes fair consideration to persons of all races, ethnicities, national origins, genders, sexual orientations, ages, and ability statuses. SpeakEasy Stage Co. is an EOE. • Pays $506/wk. Equity NEAT Cat 6

• Seeking submissions from NY and GA. • For consideration, submit headshots

• Pursuant to the terms of a concession

‘Lion’s Head’

made to this employer’s agreement, the employer has agreed to request video audition submissions from a set number of Equity members who submit. There currently are no SM or ASM positions available.

film about a distant mother and son who reconnect through cooking together.

• Staff: Ruoyu Li, writer-dir.

• Rehearses in July in Boston or online;

• Pays $969/wk. Equity LORT B Non-Rep

shoots in the early fall in Boston, MA

Contract.

• Seeking—Mom: female, 40-60, Asian.

Ming: male, 18-35, Asian.

• Seeking submissions nationwide.

• Send submissions to theruoyu@gmail.

com.

Student Films

availability.

‘Jazmin’

and meals provided.

that tackles the disparities of missing black women in America.

• In your cover letter, note your • Pays $100/per day, plus travel, lodging,

• Casting “Jazmin,” a mystery short film

‘Toni Stone’

• Company: University of North Carolina

School of the Arts. Staff: Abigail Meaux, casting dir.

• Seeking photo/resume submissions

from Equity Members only for Milwaukee Repertory Theatre and the Alliance Theatre’s co-production of “Toni Stone.” Note: Due to COVID-19 and Social Distancing Efforts, these submissions are in lieu of live EPAs locally at the theatre in Atlanta and also in NYC.

• Rehearses in the fall; scheduled to

shoot in late November (dates TBD) in Winston-Salem, NC.

• Seeking—Jamila: female, 20-25, Black /

African Descent, attends college. Cold with a bad attitude. Older sister of Jazmin. Returns from school when she learns her sister has gone missing.

Audrey: female, 16-22, Black / African Descent, senior in high school. From a rough neighborhood. She has a natural calm and cool swag about her. She has a boyfriend named Dom who was murdered three months before Jazmin’s disappearance. Jazmin is her best friend. Tina: female, 21-25, Black / African Descent, a single mother of a six-year-old daughter named Michelle.

Tina continues her education by attending a community college. She is warm and inspiring. Often tries to build everyone around her up. She has grounded, older sister energy to her.

Best friend of Jamila and childhood friend of Jazmin and Jamila. Ms. Williams: female, 38-48, Black / African Descent, mother of Dom (Audrey’s deceased boyfriend). Everyone in town calls her Mama. She only had sons, no daughters. Wise and tough. Jazmin: female, 14-18, Black / African Descent, a burst of optimism and light. Hopeful, imaginative, and naïve. Junior in high school. She is missing. Detective Wayne: male, 30-39, Black / African Descent, a young, controlled, and hardto-read detective who has been leading the missing persons’ cases in the town.

• Company: Alliance Theatre. Staff: Jody

Feldman, prod.-casting dir.; Lydia R. Diamond, writer; Tinashe KajeseBolden, dir.

• Rehearsals begin Dec. 8, 2020; runs

Jan. 5-31, 2021 in Milwaukee. Rehearsals begin Feb. 16, 2021 in Atlanta; runs Feb. 24-Mar. 14 in Atlanta, GA. Contracts are contingent.

• Seeking—Toni Stone: female, 25-39,

Black / African Descent, star player of the Negro Baseball Leagues for nearly a dozen years. Alberga/Ensemble: male, 18+, Black / African Descent, “a young and sexy 63”; a Jamaican businessman and Toni’s eventual husband. Millie/ Ensemble: male, 35-49, Black / African Descent, female (played by a male/masculine-identifying actor); Toni’s female confidant. Doubles with other characters in the ensemble. Spec/Ensemble: male, 25-39, Black / African Descent, the smartest member of the team; professorial. Doubles with other characters in the ensemble. King/Ensemble: male, 30-45, Black / African Descent, the celebrity of the team, King has baseball in his blood. Doubles with other characters in the ensemble. Woody/Ensemble: male, 25-35, Black / African Descent, a Casanova that sometimes fails to arouse. Doubles with other characters in the ensemble. Stretch/Ensemble: male, 25-35, Black / African Descent,

• Seeking submissions nationwide.

• For consideration, or for any questions,

email jazminfilm@gmail.com.

22

• No pay. Screen credit, IMDb credit, and

copy of film will be provided. Meals on set provided on shoot days. Room and board provided for out-of-state talent.

‘Twelve Real-Life Bad Date Stories’ • Casting “Twelve Real-Life Bad Date

Stories,” a comedic/drama student film.

Synopsis: This is a compendium of bad dates, produced over Zoom.

Specifically casting a dialogue scene of two people sitting and talking, with voiceover of the dater’s inner thoughts.

• Company: Feirstein Graduate School of

Cinema. Staff: Ajit Dias, dir.

• Shoots in July.

• Seeking—The Dater (Person on a Bad

Date): all genders, 18+, person on a bad date. The Datee (Person Who is the Bad Date): all genders, 18+, person who is the bad date. The Writer: 18+, to help write the dialogue for the bad date, based on real-life experience. Person with Story: 18+, share your story with a writer to dramatize and develop your bad date story to screen. Real-life first hand situations preferred.

• Seeking submissions nationwide.

• Send submissions to ajitdiasfilms@

gmail.com.

• Must have a reasonable Internet

connection.

• Credit and footage for reel will be

provided.

Scripted TV & Video ‘Fatal Attraction’

• Casting the TV One true crime TV

series “Fatal Attraction.” Project description: “The series features nonfiction narratives of crimes committed by a partner in a passionate relationship.” Casting dir. states: “ In light of the current climate in our nation, we are taking extra precautions to abide by the 10 or less gathering suggestion, and will limit people on set. Social distancing will be practiced and the crew will take extra precautions for sanitation. Do not submit if you are not comfortable wearing a mask on set -you may be asked to leave if you do not follow mask wearing protocol, and therefore won’t be paid. In addition to local talent only, all talent must be prepared to do their own hair/makeup and wardrobe styling for this shoot.”

• Company: The Hive Casting, TV One,

Jupiter Entertainment. Staff: Julie Turner, casting dir.

• Shoots May 26-27 in Knoxville, TN.

Talent must reside within a 30 mile radius of Knoxville.

• Seeking—Becky’s Stepdad: male,

40-49, White / European Descent, average height & build, phone call with Barbara, worried that Becky is missing. Detective #1 & #2: all genders, 25-55, Black / African Descent, average height & fit build, must own professional wardrobe, must be comfortable with fake blood, violence & holding a prop gun, must be willing to go clean shaven for role. backstage.com

National/Regional casting

• Seeking submissions from TN. • Send submissions to julie.turner@the-

• Seeking—Carol: female, 20-29, White

• Include name, location, current pho-

• Seeking submissions from TN. • Send submissions to candice.lively@

hivetv.com.

tos, height, weight, and demo reel.

• Pays $150/day.

Late Late Show With James Corden - New Episode of “Face Your Parent”

• The Late Late Show is seeking parent/

child pairs for a new episode of “Face Your Father” (for Father’s Day coming up!). Participants must be 18+. Casting nationwide, specifically seeking father/child pairs for this episode.

Example secrets can include: you have a tattoo they don’t know about, a relationship they don’t know about, a crazy story they don’t know about.

Company asks: “Have you found out anything interesting about them during the quarantine? Both Father and Kid (son or daughter) must have something to share!”

• Everything is done remotely from

your home via Zoom. Tech savvy folks are a plus, since you’ll be Zooming with James Corden!

• Company: CBS. Staff: Fabianne

Meyer, casting dir.

/ European Descent, suspect, thin build, brunette. thehive.com.

• Include your name, location, current

• Seeking—’Face Your Parent’ Pairs!:

18+, real father/kid pairs to participate in this reality style project. Not an acting role. Must have a surprise/secret to share with the other.

• Seeking submissions nationwide.

• Send submissions to fmeyer@first.

media.

• For consideration, include at least

one secret the other doesn’t know in your submission (don’t tell them yet!) and your age/occupation/location.

• Pays $50 to each participant.

‘Snapped: Killer Couples’

• Casting the Oxygen Network true-

crime TV series “Snapped: Killer Couples.” Project description: “Features couples whose passion drives them to commit terrible criminal acts. Through recreations and gripping firsthand accounts, each episode takes a deep dive into the stories behind the couples’ romance, how their relationship evolved once love turned into manipulation and what ultimately drove them to commit the crime.” Casting dir. states: “In light of the current climate in our nation, we are taking extra precautions to abide by the 10 or less gathering suggestion, and will limit people on set. Social distancing will be practiced and the crew will take extra precautions for sanitation. Do not submit if you are not comfortable wearing a mask on set -you may be asked to leave if you do not follow mask wearing protocol, and therefore won’t be paid. In addition to local talent only, all talent must be prepared to do their own hair/makeup and wardrobe styling for this shoot.”

• Company: Oxygen Network, The Hive

Casting. Staff: Candice Lively, casting dir.

• Shoots May 21-22 in Knoxville, TN.

Talent must have residing address within 30 miles of Knoxville. backstage.com

Segura, PA.

• Shoots on dates TBD in hometown of

family cast.

• Seeking—Entire Family: 13+, all eth-

nicities, entire family will be selected to be part of this new reality show.

Online Commercials & Promos

• Seeking submissions nationwide.

• For consideration, email nicole.

International Voiceover Artists, Native Speakers

• No pay.

over artists with home recording setups to record copy as needed. Need native speakers. Work could be recurring for a variety of products, including financial apps, makeup and clothing.

(Updated with Irish and Welsh accent).

• Shoots a half-day in late May/June

‘Red Table Talk’ Hosted by Jada Pinkett Smith

ble. Work from home.

• Seeking—Female Actor/Model:

featured on Red Table Talk (hosted by Jada Pinkett Smith).

photos, height, weight, and demo reel.

• Pays $150/day.

Untitled Kickstarter Video

• Casting an untitled Kickstarter video.

Project description: “Kickstarter video for a new line of heels by local Philadelphia designer.”

• Company: Chocolate Bar Studios.

Staff: Gregory Gant, casting dir.

(pending restrictions), in Philadelphia, PA. female, 18+, video will consist of lifestyle photos and video b-roll of you wearing the shoe outside.

• Seeking submissions from PA. • Send submissions to ggant@choco-

latebarstudios.com.

• To apply, submit pix & résumés.

• Pays $300.

• Records remotely - talent can be any-

where in the US!

• Company: Stage 29. Staff: Nicole

Reality TV & Documentary Major Network/Prime Time Reality Show, Family with Issues • Casting families with problems for a

network/prime time reality show.

• Production assistant states: “Do you

love ‘Keeping Up With the Kardashians’ or ‘Christly Knows Best’?

Do you think your family should be a reality show? Has COVID-19 created chaos in your household? This is a fantastic opportunity to not only be seen by millions of viewers but to also explore your family dynamic and potentially strengthen your bonds in the process.”

• Seeking families of all types (includ-

ing parents, kids, teens, brothers, sisters, aunts, uncles, grandmas, and grandpas), with varying parenting techniques, and an array of unresolved and complicated issues.

Producer asks: “Are you always dreading the holidays because of family blow-ups? Are you a concerned parent because your oldest son is a womanizer? Are you a parent who does not like your daughter’s fiancé? Are you BFF with your kids, and you’ve totally lost control? Are you not speaking to someone in your family and it’s tearing the family apart?”

• “This new primetime reality docuse-

ries wants to hear all of your stories and experiences--the good, the bad, and the ugly. Everyone has a family and everyone in that family has a different tale to tell. This new reality show is ready to shine a light on the American family that is going through the coronavirus pandemic, parenting experiences, and family relationships.”

segura@cbs.com with the following info: names and ages of everyone in the family; contact info (phone number, email, and Facebook); city of residence; and a little bit about your family and their drama.

• Seeking real people nationwide to be

• Production states: “Red Table Talk is

currently putting together an important video montage of women (all ages, races), simply stating how gun violence has affected them. The final, edited videotape package, consisting of many unique voices, will become an important segment in an entire episode dedicated to how women are uniquely affected by gun violence. “ • Company: Red Table Talk.

• Records remotely.

• Seeking—Women Affected by Gun

Violence: female, 18+, women who have been directly affected by gun violence and can record a short video telling their story.

• Seeking submissions nationwide.

• Send submissions to carlelle.parr@

redtabletalk.com.

• Submit for more details on how to be

involved.

• No pay.

Local Commercials SP Credit Union Spots

• Casting talent for lead and supporting

roles in three spots for SP Credit Union. Production states: “This production will be on-location with only necessary crew and cast.”

• Company: Digital Cave. Staff: N.

Kovacic, casting.

• Shoots May 28 in Maryland.

• Seeking—Truck Owner: male, 45-55,

owning a truck is preferred for this role. Message us if you have a truck.

Computer Guy: male, 25-33. Dog Owner: female, 25-33, must not be allergic to dogs.

• Casting international professional voice

• Staff: E. Kennedy, casting.

• No rehearsal. Dates are TBD and flexi-

• Seeking—Female - English Broad (BCC-

like): female, 25-65, with a voice that sounds like you are between the ages of 30 to 50. Native speakers only.

Female - Scottish: female, 25-65, Scottish, broad/trusted, with a voice that sounds like you are between the ages of 30 to 50. Native speakers only.

Female - Welsh: 25-65, Welsh, broad/ trusted, with a voice that sounds like you are between the ages of 30 to 50.

Native speakers only. Welsh accented English, no need to speak Cymraeg.

Female - Australian: 25-65, broad Australian, with a voice that sounds like you are between the ages of 30 to 50.

Native speakers only. Female - German: female, 25-62, fluent in German, with a voice that sounds like you are between the ages of 30 to 50. Native speakers only. Female - Spanish: female, 25-65, Worldwide Spanish, with a voice that sounds like you are between the ages of 30 to 50. Native speakers only.

Female - Irish: 25-60, with a voice that sounds like you are between the ages of 30 to 50. Native speakers only, Irish accented. No need to speak Gaelic.

• Seeking submissions worldwide.

• Apply on Backstage.com.

• For consideration, submit you voice

reel. If you sound like a fit, we will send audition copy.

• Non-union, all media buyouts in perpe-

tuity. Pays $150-$250 for scripts that range from 10-20 sentences.

Lo Loestrin Fe Ad Campaign

• Casting women who are currently tak-

ing Lo Loestrin for pregnancy prevention and are willing to tell their story in a video for a national campaign for Lo Loestrin Fe. • Staff: TBD. • Shoots remotely in the woman’s home

with equipment provided by production.

• Seeking—Woman: female, 20-35, all

• Seeking submissions from MD and DC. • For consideration, submit an audition

ethnicities, talent must use Lo Loestrin to prevent pregnancy, production will need verification of this.

• Script: “A lot of people wonder about

coop.

video with the following script to info@digitalcavemedia.com.

the name FC Federal Credit Union. But to me, it’s simple, it’s about financial security. Like the security they gave me when I refinanced my truck, protecting my finances, and protecting my ride. I just wish I hadn’t already hired this Samurai to protect my truck.”

• Pays $200. Buyout.

23

• Seeking submissions nationwide.

• Send submissions to sarah@savvy.

• Requirements: You have been pre-

scribed Lo Loestrin Fe for pregnancy prevention. No off-label uses of the product will be permitted. You are comfortable sharing your story on camera.

You are not a smoker. Women with certain health issues may not qualify. Body mass index.

05.21.20 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q:

What are the major differences between casting and booking for commercials versus television shows?

—@LittleButFierce

Our Expert

*Submit questions for our Experts on Backstage’s Facebook or Twitter accounts or via our forums page at backstage.com/forums!

The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.

BACKSTAGE 05.21.20

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; LINGVALL: COURTESY ERIK LINGVALL

Erik Lingvall is an acting coach and a Backstage Expert.

As an acting coach, I’m an amalgam of all the perspectives I’ve acquired over the years. That’s also the case with this question, for which I consulted one of my busiest working actors in commercials and TV, Brittany Wilkerson, and one of the most experienced and insightful TV and commercial casting directors I work with, Jen Kelley of Big Picture Casting. Their feedback was invaluable and is tethered throughout this response.

First, there are many similarities to keep in mind. With both commercial and TV castings, your look plays a major role in the process. More often than not, the production or client is looking for an actor who can most effectively bring the idea or story to life, whether that be for a sitcom or a sandwich.

Another important aspect in both cases is your energy and how it comes across. Are you subtle and dry or are you someone who is more outspoken and lively? That’s not to say you can’t encompass many adjectives as an actor, but most, especially in the early stages of their careers, generally exude a certain vibe or energy. This will play a major factor in the booking. The third similarity from an actor’s perspective is the importance of improv. Being able to think on your feet and be malleable are key aspects to the process in both instances. Improv is a wonderful tool to sharpen the aforementioned!

As for specific differences, in commercial bookings, the director and ad agency team will typically agree on their top picks for each role. Usually, there’s a first and second choice for each role. Then they present those picks to their end client, like Coke or McDonald’s. Once they get approval from the client, casting proceeds with booking the actor through their agent. For TV, the end client is the network, and casting needs their sign-off before they can offer the role to talent. Once approved, negotiations begin with the agent. An offer is made and the agent accepts or makes a counteroffer. If a counteroffer is made, the network is needed for approval. If terms are agreed, casting moves forward with the booking.

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