Backstage Magazine Digital Edition: August 6, 2020

08.06.20

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5+ Pages OF CASTING NOTICES

Emmy Watch

“Better Call Saul,” “Black Mirror,” “Curb Your Enthusiasm,” more

Ramy Youssef

on why his hit Hulu series is just the beginning

“I really think that social change pushes Hollywood”

WILLIAM ESPER STUDIO CONGRATULATES OUR 2020

EMMY NOMINATED ALUMNI

RAMY YOUSSEF TRACEE ELLIS ROSS MAMOUDOU ATHIE AMY SCHUMER LARRY DAVID

NOW INTERVIEWING SEPTEMBER 2020

ONLINE INTENSIVE

ESPERSTUDIO.COM

Contents

vol. 61, no. 17 | 08.06.20

Cover Story

The Real Ramy Youssef

Getting to know the mind behind the Great American Muslim millennial comedy page 12

The Green Room 4 The 2020 Primetime Emmy Award nominations 6 This week’s roundup of who’s casting what starring whom 7 Alison Brie offers advice on creating a multifaceted career

Advice 9 NOTE FROM THE CD Auditions during lockdown 10 # IGOTCAST Candyce Weir 10 SECRET AGENT MAN Going digital

Features 3 BACKSTAGE 5 WITH...

Andrew Scott 8 MEET THE MAKER Peter Gould, “Better Call Saul” showrunner 9 THE ESSENTIALISTS Jeff Schaffer, showrunner 11 IN THE ROOM WITH Cornelia Mareth and Maria Rölcke 17 Y OUR EMMYS CHEAT SHEET Here’s the 101 on TV’s highest honors— including this year’s unusual iteration 24 ASK AN EXPERT Mel Mack on choosing a good backdrop for self-tapes

Casting 18 New York Tristate 19 California 21 National/Regional Ramy Youssef photographed by Koury Angelo on July 7 in Los Angeles. Cover designed by Ian Robinson.

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Backstage 5 With...

Andrew Scott

By Benjamin Lindsay

Long a beloved actor in the U.K., Andrew Scott made his international breakout opposite Phoebe Waller-Bridge on Season 2 of “Fleabag.” While his turn as the Priest missed out on the Amazon Prime series’ 2019 Emmys sweep, his nominated performance on Season 5 of “Black Mirror” could be what earns him a deserved stateside statue this year. The actor, who began working at 17, walks us through the lessons he’s learned since.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: GA FULLNER/SHUTTERSTOCK.COM

How has this latest role as a desperate ride-share driver on “Black Mirror” made you a better actor? The big challenge for it was [that] you have to try and make the character as interesting as possible while never changing location and never changing costume, never changing scene partner.

The idea is to sort of map out the trajectory of the character so you don’t reveal too much too soon. It’s a little bit like theater in that sense, so it doesn’t become all one-note. If the eye doesn’t have anything to look at, you’re looking at the character in a way for plot details in the sense of what you should take seriously and what you shouldn’t. That’s what the challenge was.

humor. Joaquin Phoenix. I think if you look at all these really brilliant actors, they disguise their lightness, and I think that’s a great skill in itself. They can get a message across without having to throw you over the head with it; they lead you in, and I find that very inspiring.

What advice would you give your younger self? I think the thing is that whatever makes you sort of divinely you, the thing that you find distasteful or unacceptable or ugly or different, is genuinely the thing in actors that we look for. Most people’s favorite actors are people who have got a really distinct sense of themselves.

Where did you first get Equity? Was it at the Abbey Theatre in Dublin? Yeah, I think it probably was the Abbey Theatre.

What performance should every actor see and why? What a brilliant question. I don’t know—the thing that I always feel, and something that I really believe at this stage, is that acting is about playfulness, so any acting that has no humor in it, I think, is just bad manners. What you do is you play a part, so playfulness, a sense of fun, a sense of comedic acting is greatly underappreciated. People think that in order to be a great actor, it has to be all relentlessly emotive, you know?

You can’t really access the dark unless you’ve got access to the light. All the great actors have that. The one I’m thinking [about], of course, is Meryl Streep, who’s got an incredible sense of humor. And Jack Lemmon [had] an amazing sense of

What’s the wildest thing you’ve done to get a role? I think I wrote a couple of letters to somebody once to say, “I could be good in this part,” and I didn’t get it. But I don’t see any shame in that—putting yourself out there and taking a bet on yourself and saying, “I feel like I’d be good for this.” Actors get so used to rejection. There are so many reasons why you could get or not get a job. I always say, if you feel passionately toward something—you don’t feel passionately toward everything— put yourself out there, and getting used to rejection is a big part of it.

“You’ve got to be allowed to play. Kids don’t care about being embarrassing.”

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08.06.20 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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Regina King and Yahya Abdul-Mateen II on “Watchmen”

Awards

The Show Must Go On “Watchmen” and “Mrs. Maisel” lead the 2020 Emmy nominations

By Jack Smart

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billing with 26 total nominations, including for stars Regina King, Jeremy Irons, Yahya Abdul-Mateen II, Jovan Adepo, Louis Gossett Jr., and Jean Smart. Amazon Prime Video’s award-winning comedy “The Marvelous Mrs. Maisel” earned 20 nominations, including for Rachel Brosnahan, Tony Shalhoub, Sterling K. Brown (also nominated for NBC’s “This Is Us”), Alex Borstein, Marin Hinkle, Luke Kirby, and Wanda Sykes, while Netflix’s “Ozark”

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MARK HILL/HBO

THE 2020 EMMY AWARDS race is officially underway, and this year’s nominees will compete for television’s top honors amid unprecedented change in the industry and the world.

Announced virtually by host Leslie Jones and presenters Laverne Cox, Josh Gad, and Tatiana Maslany, the nominations spanned repeat entries and new contenders to the races. HBO’s limited series “Watchmen,” from adapter Damon Lindelof, earned top

led the drama races with 18, including for Jason Bateman, Laura Linney, and Julia Garner.

Streaming service Netflix, which has increasingly dominated the annual Emmys race, earned the most total nominations with 160, up from 118 last year. Cable giant HBO, which typically takes home the most nods, earned 107, followed by NBC with 47 and ABC with 36.

Competing for best drama series will be AMC’s “Better Call Saul”; Netflix’s “The Crown,” “Ozark,” and “Stranger Things”; Hulu’s “The Handmaid’s Tale”; BBC America’s “Killing Eve”; and HBO’s “Succession,” joined by first-time contender Disney+’s “The Mandalorian” (which totaled 15 nominations). This season marks the first time newcomers Disney+ and Apple

TV+ entered the Emmys race; the latter streaming platform received 18 total nominations, including for “The Morning Show” stars Jennifer Aniston, Steve Carell, Billy Crudup, Mark Duplass, and Martin Short.

Short-form content network Quibi earned 10 nods in its first eligible year.

Half of the outstanding comedy series nominees are new to the category: HBO’s “Insecure,” Netflix’s “Dead to Me” and “The Kominsky Method,” and FX’s “What We Do in the Shadows.”

The returning nominees are “Maisel,” HBO’s “Curb Your Enthusiasm,” NBC’s “The Good Place,” and Pop TV’s “Schitt’s Creek.” Last year’s big winners for drama and comedy, “Game of Thrones” and “Fleabag,” are no longer in the running, making for two exciting races.

The best limited series race is notable for being entirely made up of stories led by female performers: “Watchmen” with King, Hulu’s “Little Fires Everywhere” with Kerry Washington, FX’s “Mrs. America” with Cate Blanchett, and Netflix’s “Unbelievable” with Toni Collette and “Unorthodox” with Shira Haas.

The Primetime Emmys ceremony is on track to air on ABC Sept. 20, hosted by Jimmy Kimmel—one of the industry’s first major awards shows to continue rather than cancel or postpone in light of the pandemic. The 2020 Creative Arts Emmy Awards, which include guest acting and technical categories, will this year be presented as “an innovative virtual event taking place over several nights,” according to a statement.

For more Emmy Awards content and industry updates, visit backstage.com/magazine.

EMMY NOMINEE ®

RAMY YOUSSEF

OUTSTANDING LEAD ACTOR IN A COMEDY SERIES

OUTSTANDING DIRECTING FOR A COMEDY SERIES

EMMY NOMINEE

MAHERSHALA ALI OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES

“AN

UNLIKELY DUO,

PLAYING OFF EACH OTHER WITH

BRUTALLY FUNNY SUBTLETY AND UNDENIABLE WARMTH.”

PEABODY WINNER

the mid-1970s. The film, which seemed stuck in development for several years, has already started to cast with Barden/ Schnee, attaching Elsie Fisher in late 2018 as, presumably, one of the sisters. Production has been delayed but is expected to start at the end of the year in an unannounced location in the United States.

The Shaggs Will Reunite Onscreen The ill-fated ’60s girl group gets a revival

By Rebecca Welch

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

Please note that shoot dates are subject to state and county restrictions and may change.

Refer to Call Sheet for the latest updates, and keep checking Backstage for the latest news on project development during this time.

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FILM

A Good Week for Issa Rae

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!

ISSA RAE IS ON A ROLL. FRESH OFF two 2020 Emmy nominations for her HBO comedy “Insecure,” the writer-actor-producer has teamed with Jordan Peele for “Sinkhole,” a feature film about female identity. Universal Pictures has already nabbed the project (in a seven-figure deal), which is based on a short story by Leyna Krow. Rae may also star in the piece, though no casting or further creative team is known just yet.

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Get cast!

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

“The Shaggs” The “stage mom” trope is familiar to many in the entertainment world, but behind the Shaggs, what some considered the worst band of all time—or the best, depending on who you ask—there stood a domineering patriarch. Profiled in a New Yorker article by Susan Orlean and portrayed in an Off-Broadway musical

by Joy Gregory is the story of musically misguided sisters who were, allegedly, destined for a life onstage. It’s the story of a controlling father, Austin Wiggin, who believed his daughters were born to fulfill a prophecy his mother received from a palm reader.

He disrupted their childhoods

by relentlessly pushing them toward his goal of making them musical superstars, despite their lack of apparent talent or conviction to become musicians. He pulled the girls from school, forbade them from having friends outside the family, and banned any music, except their own, from playing in the home. Having no life experience and named after the haircut, which was popular when the band formed in 1968, the Shaggs would go on to write songs such as “My Pal Foot Foot” and “Who Are Parents?” that let listeners into their cloistered lives. The group disbanded after the death of their father in

COURTESY IFC FILMS

What’s Casting

“Invasion” Unfortunately for one former Marine, the elite branch of service doesn’t currently have a medal for trying to combat an invisible invasion. In this film, another father who’s not winning any prizes for his parenting takes his beliefs to the limit when he kidnaps and goes on the run with his two young sons. Spurred on by their dad’s fear of an alien parasite that he thinks is taking over the planet, the boys must grow up quickly and face the harsh realities of their situation, discovering the truth and motivations behind the anticipated attack. Octavia Spencer and Riz Ahmed are currently attached to the project, which Avy Kaufman is casting. While production on the Michael Pearce–directed sci-fi thriller is currently on pause due to safety concerns, the film is likely to try starting up again in the fall. When cameras do eventually start rolling on the Amazon feature, they will do so in the U.K.

I just need to find a partner to write with.’ So I ended up writing it with our friend Jeff Baena; it was really nice for me to come out of directing [‘GLOW’] and have some small amount of perspective on what that takes, what directing requires. In that sense, I was able to be a really great pillar of support for Dave while he worked, and it was this cool new way we could relate to each other.”

Alison Brie in “The Rental”

Backstage Live

Stretching Yourself

Alison Brie has reached new career heights in the last year alone

By Paul Art Smith

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.

TELEVISION

More ‘Witcher’ Is Coming

COURTESY IFC FILMS

MARGAUX QUAYLE CANNON

By Casey Mink

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WE’RE ALWAYS EXCITED TO see Alison Brie onscreen, and in the last year, she has starred in—and for the first time written, directed, and produced—projects across multiple genres. Perhaps best known for her work on television comedies “Community”

WITH “THE WITCHER,” NETFLIX HAS a huge hit on its hands—and the streaming giant plans to capitalize on it. It has just announced “The Witcher: Blood Origin,” a limited series that will serve as a precursor to its namesake, set 1,200 years prior. Shooting is slated to occur in the U.K., though a timeline is not yet known. Declan de Barra has signed on as showrunner and executive producer; no casting has been announced.

and “GLOW” (the latter marking her directorial debut in Season 3, which nabbed three Emmy nominations this year), Brie most recently starred in the new horror thriller “The Rental,” directed and co-written by her husband, Dave Franco, now available on VOD. Earlier this year, she also co-wrote, produced, and starred in Sundance-turned-Netflix hit “Horse Girl.” To talk about it all, Brie sat with Backstage for an Instagram Live, where she offered advice for actors wanting to explore other facets of their creativity.

Brie and Franco are each other’s cheerleaders.

“I was totally inspired to write ‘Horse Girl’ after watching Dave write ‘The Rental’ with Joe Swanberg…. I didn’t have the courage to write it, and seeing how excited and passionate Dave was about writing and seeing him have this great writing partner, that was the biggest step of me being like, ‘I could write something; maybe

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Want to create your own work? Brie has some advice.

“Confidence. It sounds so dumb, it sounds very simple to say, but I think it’s something I’ve been working to build my whole life and will continue to do so. Each of these jobs, [I’ve] just [been] watching my confidence grow, going, ‘Oh, I know a lot more than I think I know.’ Especially for women, I think we’re taught that we should study more or do this more… ‘Maybe I need more experience.’ Fear seems to be the biggest factor in inhibiting me from doing anything, and then once I took the leap… You can’t learn until you try. It’s always been important as an actor to take risks, and now I’m applying that to other aspects of my career. But it’s scary. It puts you in a very vulnerable position. But you have to take the leap.”

There’s a through line for both comedic and dramatic work.

“I took classes about how to audition for comedies because I didn’t know the way to read a TV script. Even after taking that class, ultimately, I felt like I had to tap back into what makes me unique, what makes the way I look at a character unique to me, and the way that I play that character unique to me. I approach all characters the same way, be it comedy or drama.”

Want to hear more from Brie?

Watch our full Backstage Live interview below, and follow us on Instagram: @backstagecast.

08.06.20 BACKSTAGE

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Meet the Maker

Peter Gould, “Better Call Saul” showrunner

Rhea Seehorn and Bob Odenkirk on “Better Call Saul”

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television’s most compelling and well-written dramas, spinoff or otherwise. Starring Bob Odenkirk, Rhea Seehorn, Jonathan Banks, Giancarlo Esposito, Michael Mando, and Tony Dalton, among others, “Better Call Saul” takes the overarching themes and questions of morality that “Breaking Bad” addressed over its five seasons and amplifies them, blending genres and working in a palette of even deeper ethical grays.

The biggest difference is the payoff. The audience knows what happens to Saul Goodman, Mike Ehrmantraut, and Gustavo Fring in “Breaking Bad,” but what happens to the characters never seen in Walter White’s world, including Kim Wexler? And how do you believably complete the full transformation from Jimmy

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McGill, Esq., to Saul Goodman, criminal lawyer?

For Gould and his team, which includes several “Breaking Bad” collaborators, those answers come in rules of their own making. The showrunner has had the benefit of the fictional universe for 12 years already, having come on board “Breaking Bad” in the series’ first season as a staff writer before being promoted to executive story editor in Season 2.

The eighth episode of that season, “Better Call Saul” (which Gould wrote), is the audience’s first introduction to Odenkirk’s Saul, comic relief to the increasingly megalomaniacal Walter.

Now, on “Better Call Saul,” the audience sees his backstory as the affable McGill, and Gould has conceived his arc—and the arcs of those

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PETER GOULD HAS AN ENVIable but complicated problem: how to conclude a hit series that is a spinoff of another hit series.

Right now, the “Better Call Saul” showrunner and his team are breaking the sixth and final season of AMC’s “Breaking Bad” prequel. “Intimidating” is the word he uses most to describe the process, both in reference to creating a satisfying ending to the show and having even started it in the first place under the shadow of the parent series’ success.

“We’ve got so much goodwill from the audience and we’re so lucky to be doing this,” he says.

“I think the key phrase is always ‘Let’s not screw this up.’ ” Gould need not worry. With co-creator (and “Breaking Bad” showrunner) Vince Gilligan, he has created one of

around him—by learning from his inimitable cast.

“We have discussions with the cast all the time about who these people are and what they’re thinking of,” he explains. “But the biggest learning experience is watching what they do and learning how they interpret the material.”

Part of the show’s success has also come from playing with the unexpected and finding the surprising. “We spent a lot of time poking at every idea we have, every scene we have, every moment we have,” he says. “Does it make sense? Is it true to the character? Is it a good expression of what the character’s going through?

“We can make a lot of mistakes and maybe get away with them, but the one thing we can’t do,” he adds, “is lose sight of who these people are and what’s going on with them.”

The final season of “Better Call Saul” will have three more episodes than usual—13 instead of 10—to tie up all its threads, and Gould is writing (and sticking by) his own rules to take his biggest risks yet. It’s how he and Jimmy McGill have gotten this far, after all.

“What I’ve come to understand about the work that we’re doing is that you’re always an inch away from failure, and you just have to learn to live with the fact that any time you take a risk, it’s always a dangerous thing to do,” he says. “But on the other hand, without taking the risks, there’s nothing worthwhile to show. So, you have to learn to live with anxiety and develop a high tolerance for creative risk.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “CURB YOUR ENTHUSIASM”: JOHN P. JOHNSON

By Ashley Steves

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THE ESSENTIALISTS

JEFF SCHAFFER showrunner

By Isabelle Sarraf improv and comedic performance.

Having started out in the writers’ room for “Seinfeld” and “Curb Your Enthusiasm,” JEFF SCHAFFER has established himself as one of the most prominent players in small-screen comedy.

Here, Schaffer—now showrunner for both HBO’s “Curb” and FXX’s “Dave”—shares tips on

Note From the CD

Auditions During Lockdown

GREG LEWIS/AMC/SONY PICTURES TELEVISION

ILLUSTRATION: MARGAUX QUAYLE CANNON; “CURB YOUR ENTHUSIASM”: JOHN P. JOHNSON

By Marci Liroff

EVERY ONCE IN A WHILE, I poll my followers on Twitter to see what they’d like me to talk about in this column.

Overwhelmingly, the most popular topic this week was what things will look like when we go back to work. As I don’t have a crystal ball, I can only speculate based on my experience in the industry (and the knowledge we have today about COVID-19)—but here goes!

I’ve researched shooting protocols from all over the world to see how they are handling filming in the pandemic. All the protocols suggest that auditions take place virtually. This means that actors will be submitting self-taped auditions upon request. We’ve been using selftaped auditions for years, but using this method 100% of the time is all-new territory.

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If you haven’t already sorted out how to self-tape at home, now is definitely the time.

I’ve written extensively for Backstage on how to best nail your self-tape—and even why it’s sometimes preferred to in-person. First off, we do not expect professional quality selftapes, so you do not have to go to a studio and pay for this service. But do make sure to check your sound and lighting ahead of time so that we can see and hear you clearly.

Personally, if possible, I’ll always choose to be in the room with the actor so that I can get a real-life take on their essence.

I really like and depend on the interaction we have being face-to-face. In addition, I want to be able to give direction and insight into the role to see if the actor can integrate my

Comedy, like acting, requires listening.

“There are some very funny comedians who are not great at improv, who are not good on ‘Curb,’ because they’re just trying to get their jokes in. They’re not flexible, they’re not trying to listen to what Larry [David] is saying. When Larry’s on set, Larry has an amazing ability to act and write at the same time…. Listen to what’s really being said. Be in the scene. We’re always a safety net, for jokes, position, and everything else. We’ll steer it and

direction into their take and make the proper adjustments.

That becomes difficult, but not impossible, over Skype, Zoom, or other video platforms.

I’ve been doing auditions on Skype for the last several years.

Backstage now even has its own “virtual auditions” option, which allows creators and casting directors to schedule live, on-camera auditions with talent for real-time feedback and instruction. From there, the audition is recorded and saved for your records.

I’ve heard several commercial casting offices are having in-person auditions lately. I am extremely opposed to this. At press time, Florida is clocking record-high virus infections, California is backtracking its timeline for opening, and cases nationwide are on the rise. Having live auditions now preys on actors’ financial

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change it and modify it until we get the shape of the scene that we like.”

Don’t wait around for opportunity to knock.

“The hardest part is not being able to make your own luck. My advice is always if you can make something or do something that can showcase yourself, do it. Don’t wait around for someone to save you. Build a bonfire and make an SOS out of coconuts.

Do something. If you have an idea, work with people to try and make it so. You may not have an idea—that may not be your strength—and that’s totally fine.”

vulnerability, as they’ve been out of work for months. Many are willing to risk their health and possibly their lives to come on an audition, and that’s just plain dangerous and wrong.

We do not have a handle on the virus yet. Why put yourself, your staff, and actors in danger?

Most if not all of my TV and film casting director colleagues say they will continue hosting virtual auditions until there’s a safe and effective vaccine.

SAG-AFTRA is also currently suggesting that all auditions remain virtual for now. In short: I highly recommend that you stay put and create auditions from the safety of your home.

Want more?

Read the full interview at backstage.com/magazine

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Going Digital NEW TECHNOLOGY HAS always gone hand in hand with many aspects of this industry.

When I first became an agent’s assistant, for instance, I had to explore and learn every single part of the Breakdowns website. I also had to educate myself on the software options that help us email large files like an actor’s reel. And don’t get me started on Outlook and Google Docs.

I thought I was done with all that “learning” stuff, but thanks to recent changes on the global scene, I’m a student again. This time, my class schedule includes Zoom, Microsoft Teams, and Google Meet. That’s where the action is, and that ain’t changing anytime soon. Virtual meetings are as common now as actors who don’t look like their headshots!

Until our world is back to an acceptable version of normal, I’m working remotely, so I’m using these services to interact

with the other agents at my company. I’m also using them to connect with clients and potential clients.

As an actor, you’ll be interacting with industry professionals by using one of these services, too, so learn them inside and out. (Zoom is getting a lot of love right now, but they’re all in use today.) And trust me: The time to educate yourself is not five minutes before a meeting. Just the other day, I lost my patience with an actor who couldn’t figure out how to connect audio.

A good trick is to think of these virtual meetings as selftapes. You should take into account every detail of how you come across on camera.

The only difference between a self-tape and a virtual meeting is that you can’t redo a virtual meeting; it’s a one-take deal.

With that in mind, here are my 10 commandments for a successful virtual meeting:

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#IGOTCAST. Candyce Weir

By Franchesca Viaud When feeling blue, CANDYCE WEIR turns to Backstage to lift her spirits.

Digging in her heels and hunkering down, this Vancouver, British Columbia–based actor looks for any excuse to hone her craft—and she found it in a project shot entirely remotely and featuring an all-female cast.

In lieu of a return to “normal,” there’s still Backstage. “[For a recent project,] I wanted to be involved because I liked the storyline, the fact that we would film ourselves remotely, the all-female, worldwide cast, and because quarantine was bringing me down.”

A diverse repertoire makes a well-rounded actor.

“The audition was extremely enjoyable and challenging. I have never been a camerawoman, wardrobe [technician], cinematographer, and actor all at once. But the director gave exceptional instruction.”

When you’re busy, let Backstage take the reins.

“I use Backstage all the time. I check it twice a day, and have notifications for when I can’t….

My advice for newbies: Apply, apply, apply— even if you think you don’t have a chance.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; WEIR: TREVAN WONG

Pick your spot. Choose an area that’s comfortable and not too distracting. Make sure there are no sex toys in the background.

Figure out where your webcam is located. That’s where you have to look so it feels like we’re making eye contact. It’s tricky, so practice with friends.

Experiment with lighting.

Make sure it’s flattering.

You shouldn’t be washed out or lost in the shadows. For the best results, take screenshots and compare them.

Learn how to take screenshots. See above.

Select the perfect wardrobe. Choose something flattering that makes you feel good. Don’t wear the same color as your background.

Learn to lean. Your energy is different if you’re slouching back in a chair. Tilt forward like the confident actor you are.

Keep an eye on foot traffic. No one should walk through the background while we’re talking. There are plenty of online examples in which this happens. Check them out.

They’re fun!

Silence your devices.

It’s insane how many times I’ve heard calls and texts coming in while I’m talking to someone. Nothing could be more annoying.

Don’t forget your personality. A lot of actors just sit there like they’re posing for a mug shot. You need to shine!

Watch talk shows and news shows. All those guests are calling in using one of these services. Figure out who’s good at it and who’s clueless, and learn from them.

At the end of the day, I will always prefer to meet actors in person, but this is the new world order, so learn it and master it. Your success could depend on it.

RAQUEL APARICIO

Secret Agent Man

culture +

Spotlighting the people and projects you need to know

we read Deborah Feldman’s [memoir]. Immersing ourselves in the world of Satmar, which was originally founded around the turn of the century and rebuilt in Brooklyn after the Shoah [the Holocaust], was of course also associated with a lot of new things for us. We had to immerse ourselves in the Orthodox world in Williamsburg for the casting.

That was important in order to understand the inner religious and inner Orthodox arguments and ambivalences, and ultimately to be able to show them in the cast. Under no circumstances did we want to use the general clichés and still draw an authentic picture. That was one of the main difficulties.

In the Room With

Cornelia Mareth and Maria Rölcke The need for actors who could pass as fluent speakers of a rare language made the “Unorthodox” casting process challenging

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; WEIR: TREVAN WONG

“UNORTHODOX,” NETFLIX’S FOUR-EPISODE GERMANAmerican miniseries from creator Anna Winger, earned international acclaim when it premiered in March. The story follows Esty, a Hasidic Jewish woman from the Satmar community in Brooklyn, New York, who took a chance and fled the only place and family she’d ever known to explore the possibilities offered by the outside world.

Inspired by Deborah Feldman’s autobiography of the same name, the show introduces viewers to narrative elements they may have never seen or heard before. Much of the show’s dialogue, for instance, is in Yiddish, a language almost exclusively spoken in ultra-Orthodox Jewish communities. It was unlikely the now Emmy-nominated German casting team of Cornelia Mareth and Maria Rölcke would be able to find a cast full of English- and Yiddish-speaking bilingual actors for the show, so they embarked on a worldwide search for an ensemble that could fulfill the many requirements needed to tell an authentic story, connecting with casting teams in Israel, the U.K., and beyond. Backstage emailed the two for their casting insight.

What was the casting process like for “Unorthodox”? We wanted to find actors who really speak Yiddish. Our work is usually done via databases where actors list their skills, but it was hard to find out whether they could speak Yiddish, so

backstage.com

the search was different and unusual. We started to do research and contacted agencies that work with older actors whom we hoped could speak the language or would know someone who could. We contacted all of the Jewish theaters

in German-speaking countries; we asked Jewish communities in Germany, Austria, and Switzerland; we called drama schools; we approached film productions that produced films with Yiddish-speaking actors.

We left no stone unturned.

We then had a very, very large number of actors of all ages and genders prepare voice tests in Yiddish so that we could guarantee the authenticity of the language. We learned that there are many different dialects in the Yiddish language. For this reason, too, the voice samples were evaluated by an expert and only afterward were casting invitations organized. It was a long and intensive research process and an exhausting but fulfilling job.

What kind of research went into the process? Of course,

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What can an actor do in an audition that will make them memorable to you? We have noticed several times that actors often have concerns about surprising and taking a risk interpreting a role in casting. [The audition] is an important moment; it has to be remembered by those who are involved, and therefore you should bring in all your skills, take your time and space, and ask questions about the background of a story. A basic requirement is, of course, good preparation.

What don’t actors know or realize about what you do?

Unfortunately, there is a misunderstanding that casting directors have a lot of power and are unapproachable. We rely on good actors to do good work ourselves. We need input from them and, if it goes well, we look forward to a great job together.

Want more?

Read the full interview at backstage.com/magazine

08.06.20 BACKSTAGE

The

Real

Ramy Youssef TO CREATE AND STAR IN AN EPONYMOUS television show before age 30 seems like the kind of thing aspiring creators write on a Post-it Note and stick to their mirrors to stay motivated; few get there at all, let alone with as much success as Ramy Youssef, whose Hulu and A24 hit “Ramy” has turned a pipe dream into a reality long in the making.

“The first thing I ever saved up all my birthday and holiday money for in third or fourth grade was a camera,” Youssef says over Zoom on an early July afternoon in Los Angeles. “I would follow the mailman in my neighborhood in Jersey and I’d narrate a made-up plot that he was doing something shady. It was just kind of messing around.”

What began for the now Golden Globe– winning multihyphenate as writing pretend stories about people in his hometown of Rutherford, New Jersey, and piecing together footage on his grandparents’ computer with Windows Movie Maker evolved into using “Saturday Night Live” references and a local TV station to start creating with his high school friends.

In those early days, he remembers his “writing process” being more about what BACKSTAGE 08.06.20

Getting to know the mind behind the Great American Muslim millennial comedy

By Elyse Roth Photographed by Koury Angelo

made him and his friends laugh; while Youssef commuted into New York City to perform at the Peoples Improv Theater, they’d write morning announcements for the school and comedy sketches back in Jersey.

“It would be us taking a small premise and really stretching it and turning it into something. I think we had a whole sketch about farts, where somebody does a silent but deadly fart and we all die.”

Looking at Youssef now, the throughline from his humble beginnings to his success creating the first American single-camera comedy centered on a Muslim Arab family is inspiring for any young creative to follow.

“In the beginning years of comedy, you’re doing a lot of what you think is funny or

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04.02.20 BACKSTAGE

what you think comedy should be,” he explains. “You’re tapping into a perception as opposed to what you actually care about and want to do.” It’s a natural inclination he highlights as a valid part of the process for getting a sense of yourself comedically, but “you end up shedding it,” he says. “If you do it long enough and you’re doing it honestly, you get to what you really want to get into.”

Youssef had the idea for what “Ramy” would become once he leaned into the personal and specific. “I probably started talking about sex and then started talking about faith and realized how those two were playing off of each other for me,” he recalls; from there, he knew that if he could “get a foot in the door,” situating that scenario within the lives of a realistic Muslim family was what he wanted to see, regardless of format.

On “Ramy,” Youssef plays 20-something Ramy Hassan, a Muslim first-generation Egyptian American growing up in New Jersey with his immigrant parents. The creator finds a lot of the show’s comedy in the tension between Ramy’s secular and religious tendencies, his struggles with his identity as a Muslim man with his family, and the familiar fumblings of life in America as a young person.

With Steve Way on “Ramy”

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actor-comedian actually get his own show?

He pursued a political science and economics double major at Rutgers.

Of course, he also continued doing improv at the PIT and Upright Citizens Brigade Theatre until he got the chance to perform at the Arab-American Comedy Festival and met like-minded people like future “Ramy” cast mate Laith Nakli. Youssef never expected to make a living in entertainment. “That stuff always felt like a hobby. Like, OK, this is going to be dope to do with my friends, and then at a certain point, real life is going to have to start,” he says.

It was Nakli who gave Youssef a glimpse into life as a professional actor. He’d trained and worked at the William Esper Studio in New York City and suggested Youssef try it out. “That was probably the first time I felt like I was actually going to put some real training behind what I had been doing informally for a really long time,” he says. “Doing Meisner [technique] at Esper totally changed the way I approached everything. It was a big shift for me”—big enough for him to leave Rutgers and commit to the studio’s two-year program. He was planning to return to college when he was finished, but he booked a pilot, Nick at Nite’s “See Dad Run,” while he was completing his training and moved to L.A. instead.

Youssef seemed to be following the actor’s dream trajectory, from impromptu acting student to working actor, but the desire to continue making his own work followed him to the West Coast. “I started transitioning to standup when I moved to L.A. I didn’t have the same community of sketch [performers] that I had in New York, but I still wanted to get onstage,” he recalls. “I was acting on a show but not writing it. It was really hard to replicate how it felt being in front of people, so I liked the idea of making something with people, for people, in front of people.”

“See Dad Run” connected Youssef with others in the comedy space, like Mark Curry, who brought Youssef along as an opener for his standup tours. This was before, Youssef says, he was ready to be in front of those crowds. “I would eat it, just totally bombed in front of his audiences until I kind of figured out how to get clearer about what I was saying.”

It was this process that would pull “Ramy” into focus. “What I started to figure out was when I didn’t get a laugh on something I thought was funny but didn’t really care about it or have anything I was trying to say, I would just feel embarrassed,” he says.

“That became the barometer: I have to be saying something that I actually think and believe, that I actually care about. I can’t say it because I think it’s going to get a reaction.”

For him, those genuine topics were faith, sex, and family—the major themes at the center of the series. He continued to sharpen his comedy and make connections in L.A. through open mic nights until he had a network of people who could help get him into the right rooms. backstage.com

“RAMY”: CRAIG BLANKENHORN/HULU

BACKSTAGE 08.06.20

“When I first started talking about centering something around a Muslim family, a lot of the initial conversation was, well, could they be neighbors to a white family, or maybe they’re best friends?” Youssef remembers about the assumptions around who would— and wouldn’t—watch the series. “The main concern was, well, you’re really funny and it sounds cool, but is there actually an audience for this? Are we going to hold people’s attention with just one thing that we don’t really know about?” It was 2014, before representation really became a priority in Hollywood, and the premise of a show like “Ramy” left it further from being greenlit than it might have been in 2020.

So, how did the 20-something burgeoning

“RAMY”: CRAIG BLANKENHORN/HULU

“I learned that the right spot to dig into for writing is the thing you’re really afraid of and you think is too weird or too unrelatable.”

While “Ramy” was taking form during and after the 2016 election, the political climate was shifting, and Hollywood began to change with it. “Once the president made a list of countries that should be banned, Hollywood started to say, ‘We need to get to know this group of people more,’ ” Youssef says, even though the call for Muslim representation onscreen wasn’t new. “I think there’s this idea that Hollywood pushes social change, but I really think that social change pushes Hollywood. [Getting this show made] really opened my eyes to that.” Eventually, with that groundswell behind him, the pitch for “Ramy” earned a pilot order and then a series, which made it time for him to adapt his standup into a 10-episode season.

Instead of muscling his material into dialogue for an ensemble, Youssef found it easy to assign it to his characters. “In the years leading up to making the show, my standup premises were about these things that are rooted in truth,” he says. “It becomes really exciting to put that in characters’ mouths, and it’s really easy to translate.” One joke might feel like it applies to the character of Ramy, but another topic might sound better coming from his uncle or his sister. “It becomes easy dialogue because it’s rooted in something.”

Youssef knows there’s something radical about having the only show on television that depicts Arab Muslims as they’ve never been seen on American TV before—which is to say, not terrorists. In creating “Ramy,”

BACKSTAGE 08.06.20

he followed a lesson that applies to every writer: “The process for writing starts to be less about what you think it’s going to do to other people and more about what you know is a reflection of you and where you’re at. In this weird way, you’re putting something together for the audience, but you have to think about the audience last.”

Whether you’re familiar with Egyptian Muslim customs and traditions or not, this grounded approach to worldbuilding gets at what Youssef and any character-driven show is trying to do. “Maybe you haven’t struggled to do Ramadan, but there are people who wake up at 6 a.m. and go for a run, and at 1 a.m., they’re in the Wendy’s parking lot with a Frosty and a Double Stack, and everything is falling apart from what they wanted 19 hours ago. That’s the gap that we’re highlighting, between what you want to be and what you are. That’s not culture-specific, that’s human-specific,” he says.

In fact, writers should always look for that human aspect of any story, Youssef says.

“I learned that the right spot to dig into for writing is the thing you’re really afraid of and you think is too weird or unrelatable.

You think there’s no way it would make any sense, but if it’s something that genuinely scares you and has been rattling around in your head for years, it’s probably the right spot to dig into. People will get it more than you think,” he assures.

That approach has struck a chord with

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audiences: The series was picked up for a third season in July, and Youssef earned 2020 Emmy nods for acting and directing on Season 2. The show’s sophomore effort premiered in May with the addition of two-time Oscar winner—and now Emmy nominee for “Ramy”—Mahershala Ali as a patient Sheikh whom Ramy follows in an effort to find meaning and purpose in his faith after stumbling through romance and falling short of family expectations on Season 1. The season establishes a tone that’s not quite as autobiographical as the first, but is still undeniably Youssef.

With a growing résumé, a Golden Globe, and a Peabody, he seems to have the hang of things, but he’s not getting caught up in the accolades. “The award isn’t the goal. You still need to know where you want to go and feel motivated by that,” he advises. “The motivation is the same from Day 1; it’s still the same from scrolling through Backstage.

That feeling shouldn’t be about wanting to book something, it should be about getting to do what you know you’re supposed to do and wanting to express yourself.”

Yes, he’s capping off his 20s with a list of accomplishments—“Ramy,” of course, alongside Youssef’s HBO special “Feelings” and a deal with A24 that includes a forthcoming series at Apple TV+ as well as one at Netflix— but even with all that, he doesn’t feel like he’s scratched the surface of what he wants to do. “I feel like I’m just getting started. It feels brand-new, and that’s really exciting.”

backstage.com

WHAT’S THE STORY BEHIND THE EMMY STATUE? The Emmy statuette has become as iconic as the Oscar. The winged woman holding an atom captures the awards’ dedication to both the arts and sciences.

The process to find the statue was long; its current form was the 48th proposal submitted, after the 47 preceding it were rejected.

The name Emmy is a feminized version (to match the statue) of “Immy,” a nickname for a tube used in early TV cameras.

Dorothy McManus was the model for the statue, which was designed by her spouse, TV engineer Louis McManus.

JOE SEER/SHUTTERSTOCK.COM; DANIEL J. MACY/SHUTTERSTOCK.COM

Your Emmys Cheat Sheet

By Cameron Stuart

WHEN DID THE FIRST EMMYS TAKE PLACE? The Academy of Television Arts and Sciences held its first awards ceremony on Jan. 25, 1949, at the Hollywood Athletic Club. Tickets were $5. Only six awards were given out, all for local Los Angeles television programming. The first winner? Ventriloquist Shirley Dinsdale, who won outstanding television personality for the children’s show “Judy Splinters.”

FOR FANS OF THE SMALL SCREEN, THE EMMYS ARE IT: THE HIGHEST honor for work in television. The Television Academy’s various award ceremonies cover shows and programs on all the major networks, plus cable channels (since 1988) and streaming services (since 2013). The accolades, particularly the Primetime Emmys, are highly sought after, considered the small screen’s corollary to the Oscars for film and the Tonys for theater. They cover the entire industry, from makeup artists and technicians to executive producers and leading actors. Want to know more? The cheat sheet below covers the basic ins and outs of the awards, including the status of the 2020 Emmys, which were altered due to the global COVID-19 pandemic.

HOW DOES EMMY VOTING WORK? There are several Emmy ceremonies recognizing different segments of the TV industry, which are staggered throughout the year and awarded by separate memberships that share the Emmy name and statue. ATAS was founded first, in 1946, and votes on the Primetime Emmys and their corresponding Creative Arts and

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Here’s the 101 on TV’s highest honors— including this year’s unusual iteration

Engineering categories, as well as a Los Angeles–specific set of awards. The National Academy of Television Arts and Sciences began in 1957 and votes on Daytime (including daytime TV’s Creative Arts and Engineering), Sports, Public Service and Technology, and News and Documentary awards. The International Academy of Television Arts and Sciences, founded in 1969, votes on the international awards.

Members can vote online to elect nominees and select winners.

HOW CAN I GET INVOLVED? When a potential member applies to ATAS, they qualify for a peer group based on their role in the industry. All ATAS members can vote for the main program Primetime Emmy categories, while nonprogram entries are decided by their respective peer group (for example, performing categories such as actor in a drama series).

To apply for membership in any of the academies, you have to be active or have been active in the world of TV and meet the minimum requirement of your peer group.

Membership information is available at emmys.com. Just remember to pay your dues!

WHEN AND WHERE ARE THE EMMYS HAPPENING THIS YEAR? The 72nd annual Primetime Emmys will take place Sept. 20, 2020, broadcast live on ABC and hosted by Jimmy Kimmel.

Despite widespread cancellations of awards ceremonies due to the pandemic’s industry shutdown, this year’s Creative Arts and Primetime honors will be awarded; nominating and voting windows were shifted and the nominations announcement pushed back to July 28, but otherwise the 2020 Emmys remain on schedule. New rule changes were also introduced this year, allowing for Emmy categories to include up to eight nominees, depending on the number of submissions.

For more on the Emmy Awards and the full guide to everything you need to know, visit backstage.com/magazine.

08.06.20 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays ‘Men On Boats’

• Seeking Equity actors for “Men On

Boats.” Note: Rehearsals, tech, and performances of “Men On Boats” will be conducted entirely online in a digital format. All actors will participate from their own homes. No one will be participating in the same physical space.

• Company: University of Connecticut.

Staff: Michael Bradford, artistic dir.; Beth Gardiner, dir.; McCorkle Casting, Pat McCorkle, casting; Jaclyn Backhaus, playwright.

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. fronted, leading her to constantly act out; Margo counts on her best friend Sadie to be the reasonable one, getting them out of many tricky situations; the actor must know how to play a guitar. Mark: 24-40, a supporting character in the film; he steals the car from Sadie and Margo while they were asleep; the actor must know how to drive and have a driver’s license.

• Company: GV REELS. Staff: Valerii

Nevin, dir.; Maria Cristina Pimiento, Abby Jaros, Omar Ezat, cast.

• Shoots September in the NYC area.

• Seeking—Gregor/Uncle: male, 45+, all

ethnicities, a short and wrinkly, butlertype man. Looks at least about 45, but might appear as a 60-year-old. When Gregor - he’s disingenuously courteous, flaccid but accommodating, a “little man”. When Nora’s Uncle - tender and kind to his niece, but stern and short-tempered to the rest. Speaks without any accent. Taxi Driver: male, 25-50, all ethnicities, a quite talkative and annoyingly joyful man who’s about 30-40 y.o.; speaks with some accent.

Has an opinion on every topic imaginable and no sense of personal space.

While his chattiness comes from his nature he has this idea that it also helps him professionally.

• Seeking submissions from NY. • Send submissions to narrativelab@

reelworks.org.

• Food and travel will be covered.

‘The Morning After’

• Casting “The Morning After,” a roman-

tic comedy about Jon and Claire, two college students who must take a trip to the pharmacy after a one night stand.

• Company: New York Film Academy.

• Shoot on August 15-16 in the NYC area.

• Seeking—Claire: female, 18-24, all

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

• Pays $150 stipend.

ethnicities, a quick witted, smart, beautiful college student who has a one night stand with Jon.

• Rehearsals begin Sept. 1, 2020 online;

runs Oct. 8-18, 2020 online.

• Seeking—Equity Actors: all genders,

18+.

• Seeking submissions from CT. • For consideration, submit a link to

your video audition (Vimeo or YouTube; Vimeo is strongly preferred), your headshot and resume with the subject line “Full Actor Name/Men on Boats EPA” to epa.submission@ mccorklecasting.com. Submissions deadline is Aug. 12.

• Video submission requirements: Limit

your video submission to three minutes maximum. Artists should prepare one contemporary comedic monologue of their choosing. This time limit includes your slate (your name, name of play, and character you will be performing). Note: Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms.

• Pays $667/wk. Equity URTA

Agreement.

Feature Films ‘The Amazing Quest of Gary Briggs’ • Casting “The Amazing Quest of Gary

Briggs.” Logline: Gary Briggs finds himself in an illogical world. He tries to find logic in order to escape.

BACKSTAGE 08.06.20

• Send submissions to j.kaplan@stu-

Student Films

dent.nyfa.edu.

• Meal provided.

‘Magnets’

• Casting “Magnets” a student film by

Multimedia

Thea Taylor Mogg.

• Company: Reel Works. Staff: Thea

Taylor-Mogg, writer-dir.

Back-To-School Face Mask Photo + Video Shoot

• Shoots TBD in NYC. • Seeking—Sadie: female, 16-24, a tall

teenager who wears carefully thought out clothes and always looks put together; Sadie is an introvert, but she’s open and emotional with close family and friends; Sadie is dedicated to making art, and is focused on finishing her portfolio so she can get into her dream college; her family is fairly privileged, so she feels an obligation to help others, especially her best friend Margo whose family is always struggling to make ends meet; the actor must know how to sing. Margo: female, 16-24, a rebellious young woman who hates school and prefers making music and partying with her friends; she has crazy hair and wears lots of jewelry as well as colorful outfits that reflect her wild personality; Margo is a dreamer, and her life revolves around playing guitar, writing songs, and making it as a musician; she is not close with her parents, has trouble expressing her emotions (unless it’s through her songs) and has internal issues she hasn’t yet con-

• Casting children (male and female

between the ages of 7 and 10) and a female adult (between 25 and 35 years old) for a face mask company back-toschool photo and video shoot.

Preferred talent will be relatives who are comfortable working in close proximity. Minimal close-up photography, mostly head-to-toe shots. Talent to provide wardrobe and own hair/ make-up.

• Company: Work Hard Media.

• Shoots Aug. 7 in Brooklyn, NY. Note:

The shoot will take place with a twoto-three-person crew within a fivehour window. All safety precautions will be taken on set (face masks, gloves, social distancing).

• Seeking—Child Model: 7-10, preferred

talent will be a brother and sister or relatives who are comfortable working in close proximity; no close-up photography, mostly head-to-toe shots; talent to provide wardrobe and hair/ make-up. Female Teacher: female, 25-35, preferred talent will be a parent

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or relative of child actor(s) who are comfortable working in close proximity; no close-up photography, mostly head-to-toe shots; talent to provide wardrobe and hair/make-up.

• Seeking submissions from NY. • For consideration, submit with a head-

shot and note the relationship if submitting more than one person to matt. zuckerman@gmail.com.

• Pays $500/person for the shoot.

Compensation covers day rate + full buyout. Usage: Broadcast, Online, Print. Prepackaged snacks and beverages will be available. Talent should bring their own lunch. Talent to provide wardrobe and hair/make-up.

Local Commercials Grill Commercial

• Casting a product commercial for a

grill.

• Company: Dark White Studios. Staff:

Jacob Hersko, dir.

• Shoots as soon as possible in NYC. • Seeking—Male: male, 18-30, White /

European Descent. Female: female, 18-30, White / European Descent.

• Seeking submissions from NY. • Send submissions to nypixny@gmail.

com.

• Pay provided.

Online Commercials & Promos Diabetes Sensor Commercial

• Casting non-speaking role in a com-

mercial for a diabetes sensor.

Commercial will be distributed digitally on social media.

• Company: ASL Productions. Staff:

Adam Lebenstein, owner-prod. mgr.; Scott Macklin, prod.-COVID safety officer.

• Shoots Aug. 20-21 in either NJ or Long

Island, NY. Talent must have transportation to either location. Dates subject to change.

• Seeking—Model 1 (Male 30’s): male,

28-39. Model 2 (Female 30’s): female, backstage.com

New York Tristate casting

Our photographer will practice all safety precautions, wear a mask in the home, and would never touch the infant.”

Casting picks of the week

• Company: The Brooklyn Brothers.

Staff: Lauren, prod.

Southern California

• Shoots one day between Aug.14-21 in

BY LISA HAMIL

the NYC area (shoot date flexible to accommodate family schedule; NYC locals only).

stage

• Seeking—Baby/Infant with Eczema: all

‘Men On Boats’ Sail away to CT in this remote Equity production

genders, 0-3, all ethnicities, baby/ infant (0-2 years) with eczema and parents to appear in photoshoot for national baby brand. Infant must have visible eczema to be considered.

short film

• Seeking submissions from NY. • For consideration, submit photos of

’218’ Sequester yourself in Los Angeles for this live short film shoot

baby and parents to lauren.weitz@thebrooklynbrothers.com.

• Pays $1000 flat rate for one day shoot

in family’s home. Rate includes in perpetuity usage of all images in all media.

Radio & Podcasts

‘Hunt A Killer’ Play a lead, from home, in the podcast companion piece to the popular subscription box game

Members of the U.S. Army Reserves • Seeking members of the US army

reserves to tell their stories to the GQ and Glamour audiences. Casting asks: “How does switching back and forth between being a soldier and civilian affect you and your family? You deserve a moment in the spotlight. “

voiceover

‘Voiceover for Leadership Training Video’ Be the voice of the help desk for this record from home opportunity

• Company: Conde Nast Entertainment.

Staff: James Loughlin, Head of Talent.

• Shoots in NYC 3rd week of August • Seeking—Active Members of the Army

Reserves: all genders, 20-35, all ethnicities, members of the US army reserves to tell their stories about how switching back and forth between being a soldier and cilivian affects you and your family.

tv

Untitled Netflix Production Seeking background actors in Atlanta, GA (COVID tests required)

Short Films ‘218’

• Casting “218,” a short film. Synopsis: A

boy is sequestered in an apartment with his mother, unable to leave. He doesn’t know how long he’ll be there or why. He just knows he has to make the best of it and start growing up a little sooner than he’d like.

• Company: Too Lemon. Staff: Sam

mom, and while she cares for him deeply, she is hiding a big secret that she thinks is for his own good. She tries to act strong but continually breaks down and loses the drive to be responsible. Noah: male, 28-50, all ethnicities, a police officer assigned to watch over Colin and Ophelia. He is kind and grows a bond with Colin before subtly getting too involved in the family affairs.

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

• For consideration, in your cover letter,

note your availability in August. If possible, include a video reel. Sides for selftapes will be sent.

• Pays $50/day. Meals provided.

Pinnelas, dir.; Julie Meghan Brown, casting dir.

Student Films

Production states: “Due to COVID-19, the crew size will be small, and all members will be wearing masks. Hand sanitizer will be provided. All meals will be packaged individually.”

‘A Paper Plane Ride Home’

• Shoots in mid/late Aug. in L.A.

• Seeking—Colin: male, 7-12, all ethnici-

ties, a kid dealing with a lot of complicated stuff in his head. He usually tries to maintain a positive disposition, but being locked away in an apartment with no explanation why or when he will get out is making it difficult. He either acts too youthful or too mature.Note: Must be comfortable talking about and hearing adult subject matter. Ophelia: female, 28-45, all ethnicities, Colin’s

• Casting “A Paper Plane Ride Home,” a

student short film. Synopsis: Determined to communicate with his older brother who lives far from home, a young child in Singapore attempts to fly a paper plane to Los Angeles. Production states: “A short film made by senior film production students at USC who are currently scattered across the globe.”

• Company: USC. • Rehearsal will be done remotely, tenta-

tive dates: Sept. 12 and 19. Shoots for on day in late November in L.A., with a small crew and COVID-19 compliant guidelines.

• Seeking submissions from NY. • For consideration, fill out this docu-

ment completely to be considered, https://forms. gle/5LeiUVoNSE3WN3Y76.

• No pay.

28-39. Model 3 (Teenage/College-age Male): male, 16-22. Model 4 (Teenage/ College-age Female): female, 16-22.

Model 5 (Male 40’s): male, 39-49.

Model 6 (Female 50’s-60’s): female, 50-69.

Stage Staff & Tech

• Seeking submissions from NY and NJ. • Apply on Backstage.com • Note availability in submission.

‘Men On Boats,’ AEA Stage Manager

Shooting dates could change by a few days.

• Seeking Equity Stage Manager for

Print Modeling

“Men On Boats.” Note: Rehearsals, tech, and performances of “Men On Boats” will be conducted entirely online in a digital format. All actors will participate from their own homes.

No one will be participating in the same physical space.

Baby Brand, Infant/Baby with Eczema

Staff: Michael Bradford, artistic dir.; Beth Gardiner, dir.

• Pays $500/day, includes social and

digital use in perpetuity.

• Company: University of Connecticut.

• Casting a baby/infant (0-2 years) with

• Rehearsals begin Sept. 1, 2020 online;

visible eczema for a baby brand. Note: Infant must have visible eczema to be considered. Production states: “We are looking to photograph a baby with eczema and parents in their home and natural environment for a major baby brand. We want to highlight a family caring for a baby with eczema to show the joy, but also the challenges that parents caring for a baby with eczema face. backstage.com

runs Oct. 8-18, 2020 online.

• Seeking—Equity Stage Manager: all

genders, 18+.

• Seeking submissions from CT. • All stage manager positions are filled

for this production. For future consideration, submit resume to alana. conti@uconn.edu, ATTN: Alana Conti.

• Pays $667/wk. Equity URTA

Agreement.

19

OnliNe

S p ComEdy CaAGM ES 4-18 IMPROV • WRITING • MUSICAL IMPROV

90-MIN DROP IN $25 • 1-DAY $75 • 5-DAY $250 • 2ND CHILD DISCOUNT

800.896.8120 • SECONDCITYONLINE.COM 08.06.20 BACKSTAGE

casting New York Tristate • Seeking—Ben: male, 18-25, Asian,

Southeast Asian / Pacific Islander, a jokester with his friends, but a fuse with his family; Ben is a bright and hard working student. Leaving Singapore and going to LA for college, Ben is experiencing freedom while escaping an unhappy family back home. With his father leaving, and his mother recently adopting another child, Ben feels abandoned by his family, though he refuses to address these emotions. Though Ben does love his younger brother, the fifteen year age differences makes connecting with him much harder.

• Seeking submissions from CA. • Send submissions to tylvalerie@gmail.

be contacted for more photos of you with your family as well as your social media handles. You will also be sent more details for a self-tape. If you don’t have a reel, no problem - submit if you’re a match.

• Pays $250 flat for each participant. You

will also receive free financial services advice for your participation.

National Commercials

com.

Healthcare App Promo

provided.

cial shooting in San Diego. San Diego based actors encouraged to apply.

• No pay. Copy, credit, and meal

Reality TV & Documentary Financial Literacy Digital Series

• Casting real people for a digital series

that focuses on financial literacy.

• Staff: M Boyd, casting dir.

• Tentatively shoots the weeks of Aug. 17

and 24 in the L.A. area, depending on COVID closure rules.

• Seeking—Twinsies: female, 22-26,

Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, twin sisters who live together in the L.A. metro area to star together in an episode about saving and budgeting vs excess spending.Twins are ideal, but we will also consider sisters, cousins or roommates as well. Dad Bod: male, 32-40, White / European Descent, dads with a baby on the way; are you and your wife/partner currently pregnant?

Do you have a child already that’s age 8-15 years old? Do you have a few extra pounds you want to shed along with debt? We’re looking for you. Submit headshot and reel. If you don’t have a reel, no worries. Make sure to submit if you match the description. Note: Must be Los Angeles based. Level Up Couple: all genders, 24-29, Black / African Descent, African American heterosexual couple in the L.A. metro area who has their sights set on taking their relationship to the next level. Are you contemplating getting married or moving in together, but are unsure how to talk about money? If so, we’re looking for you. Comeback Queen: female, 28-32, all ethnicities, women who have been impacted by the COVID-19 shut downs to discuss how they’ve been affected by the loss of work and/or depleted savings. This episode will have you meet with a financial advisor to help plan a rebound and figure ways to get back on track. Note: Must be Los Angeles based.

• Seeking submissions from CA. • For consideration, submit your head-

shot and reel to shamelessplugLA@ gmail.com. If you are selected, you will

BACKSTAGE 08.06.20

tions. Must be 15-20 pounds overweight and/or have “fat” areas on the body – specifically the tummy area. BMI between 30-35. Note: This is non-union they are not accepting submissions from SAG-E or FiCore. Model 4: male, 40-55, Latino / Hispanic, Must be able to act and take direction well. Must have very animated expressions since this is a nonspeaking role and relies solely on facial expressions. All submissions must have clear, healthy-looking skin. No recent or excessive Botox, fillers, injections. Must be 15-20 pounds overweight and/or have “fat” areas on the body – specifically the tummy area. BMI between 30-35. Note: This is non-union - they are not accepting submissions from SAG-E or FiCore.

• Casting a small, microbudget commer-

• Company: Brainiac.

• Shoots this coming weekend (Thursday,

Friday, or Saturday) in San Diego, CA. Casting personnel state: “[Note your] availability and where you are located when submitting. Will ask for a quick zoom audition and phone recording to get the client on board.”

• Seeking—On Camera Talent: all gen-

ders, 24+.

• Seeking submissions from CA. • Send submissions to angela@lizlewis.

com.

• Pays $500/8 hr. day.

Spec Commercials Subaru Spec Commercial, ‘Prom Night’

• Pays: $400 total includes all travel etc.

about a younger version of a teenager who decides to go to prom with her best friend.

Net 30 (pays when client pays out, usually within 4 weeks).

Permanent Fat Loss Infomercial

• Casting non-speaking roles in a fat loss

Infomercial.

• Company: Liz Lewis Casting Partners.

Staff: Angela Mickey, managing dir. of casting.

• Casting a spec commercial for Subaru

• Company: Art Center College of

Design. Staff: Alfredo Vidal, dir.

• Shoots Aug. 10 in L.A. • Seeking—Charlotte: female, 7-10,

Black / African Descent, young version of Charlotte. Will be asleep as the car is driven. One shot.

• Fitting day Aug. 18; shoots Aug. 20 or 21

• Seeking submissions from CA. • Send submissions to fredovidal23@

• Seeking—Model 1: female, 40-55, Black

• See attached treatment for more

in El Segundo, CA.

/ African Descent, Must be able to act and take direction well. Must have very animated expressions since this is a nonspeaking role and relies solely on facial expressions. All submissions must have clear, healthy-looking skin. No recent or excessive Botox, fillers, injections. Must be 15-20 pounds overweight and/or have “fat” areas on the body – specifically the tummy area. BMI between 30-35. Note: This is non-union - they are not accepting submissions from SAG-E or FiCore. Model 2: female, 40-55, Latino / Hispanic, Must be able to act and take direction well. Must have very animated expressions since this is a nonspeaking role and relies solely on facial expressions. All submissions must have clear, healthy-looking skin. No recent or excessive Botox, fillers, injections. Must be 15-20 pounds overweight and/or have “fat” areas on the body – specifically the tummy area. BMI between 30-35. Note: This is non-union - they are not accepting submissions from SAG-E or FiCore. Model 3: female, 40-55, White / European Descent, Must be able to act and take direction well. Must have very animated expressions since this is a non-speaking role and relies solely on facial expressions. All submissions must have clear, healthy-looking skin. No recent or excessive Botox, fillers, injec-

Stage Staff & Tech Academy of Art University, Full-time Set Dresser

• Seeking a talented Set Dresser to sup-

port the Academy of Art University’s School of Motion Pictures & Television.

This is a full-time position (40 hours per week for 48 weeks per year). The Set Dresser will work with a team of faculty and students to design the sets and props that are used for learning as well as for film and television projects.

• Company: Academy of Art University.

Staff: Carmel Valencia, sr. recruiter.

• Works full-time (40 hours per week for

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

yahoo.com.

• Seeking submissions from CA. • Send submissions to linda@eye3d.tech.

• Pay provided.

gmail.com. details.

• Credit provided.

Print Modeling PC Gamer Photoshoot

• Casting a photo shoot for website imag-

ery and 0:10 videos (no sound) to launch a gamer’s app. Synopsis: Model has to play a PC game during the shoot (type of game does not matter). You do not need to be an advanced gamer, but you need to have played before for authenticity.

• Company: eye3D by Transfolio. Staff:

Jeroen Snepvangers, exec. prod.; Linda Kato, prod.

• Shoots Aug. 7, 2020 in Santa Ana, CA. • Seeking—PC Gamer 1: male, 18-34,

model has to play a PC game during the shoot (type of game does not matter); you do not need to be an advanced gamer but you need to have played PC Games before for authenticity. PC Gamer 2: male, 18-34, model has to play a PC game during the shoot (type of game does not matter); you do not need to be an advanced gamer, but you need to have played PC Games before for authenticity.

20

48 weeks per year) at 466 Townsend, San Francisco, CA. Note: Must be willing to work a flexible schedule that includes nights and weekends.

• Seeking—Set Dresser: 18+, Specific

responsibilities include: Maintain high quality standards in set design, scenic painting, dressing, props and other department functions; Work with students and faculty to obtain information about production to execute their duties in a timely fashion; Build, paint and modify sets and décor and improve environments for new projects; Dress sets for each day’s scheduled film projects; Execute touch-up and scenic painting and assist with remodeling as needed; Ensure safety and organization; dust, sweep and arrange furniture; Fabricate and manage props and prop room. Make recommendations for obtaining new props as needed; Advise and creatively collaborate with students to create overall set and design for all projects as required; Create and maintain an inventory of all set dressings, props and other elements of production design under the control of the School of Motion Pictures & Television.

Requirements: Must have at least two years prior set dressing and design experience.MFA in production design and/or related fields is highly preferred; Must be physically able to lift and carry furniture and heavy objects up to 50 pounds on a regular basis.Have moderate knowledge of basic scenic painting, carpentry, sewing, fabrication, and crafting work; Have strong work-ethic and a solutions-oriented mindset; Must have solid time management skills and be able to organize priorities; Work comfortably and effectively in a diverse, collaborative environment; Be able to communicate effectively and clearly with associates throughout the school; Must be self-motivated, adept at multitasking, and working independently; Ability to follow direction well and make creative choices when necessary; Highly organized and capable of meeting strict deadlines.Must be willing to work a flexible schedule that includes nights and weekends.

• Seeking submissions from CA. • For consideration, email a link to your

backstage.com

New York Tristate casting

portfolio along with your resume to Recruitment@academyart.edu.

• Pays $22/hr., plus full-time benefits.

Academy of Art University offers health insurance, 401k options, paid holidays, paid sick leave and a commuter benefit program. The Academy also offers fulltime employees an opportunity to take one undergraduate course tuition free each semester. We also have a swimming pool with multiple lanes, two fitness centers and many recreational programs that you are welcome to benefit from throughout the year.

Northern California

are in a new world, the world of [brand].

Everyone’s uniqueness is on full display - different hair, different clothes, different dance styles (though all within the EDM world). Everyone is dancing with a newfound freedom, enjoying the energy of the music, and now seeing each other for the first time. As they dance, closeups of [brand] ear buds reinforce where the music is coming from and the beautiful design of the product. Meanwhile bold graphics highlight 3-5 primary features and benefits of [brand] headphones.

• Note: Submissions will be accepted

Aug. 1-14. If necessary, callbacks for specific productions will be held at later dates throughout the season.

• Due to the current Coronavirus and

the need to take safety precautions, we are holding this year’s auditions through video submissions only. Only considering understudies for “Women in Jeopardy” and “The Legend of Georgia McBride.”

• 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 $100. Non-union. Films in Walnut

Creek, CA.

National/ Regional

Student Films ‘Demented’

• Casting “Demented,” a student short

film.

• Company: Flashpoint Chicago. Staff:

Sam Serrano, dir.

• Rehearsal and shoot dates TBD in the

Chicagoland area.

• Seeking—Frank: male, 35-45, all eth-

nicities, average build, determined.

• Seeking submissions from IL. • Send submissions to s.serrano@colum-

biacollege.edu.

• Submit headshot and availability for the

month if August.

• No pay.

• Pays $899/wk. Equity LORT C Non Rep

Scripted TV & Video

Contract.

Online Commercials & Promos

Plays

Feature Films

Local Learning Institution Production

‘Eleanor & Park’

App Recording

Arizona Theatre Company 2020-21 Season

• Seeking video submissions from Equity

ing institution. Project description: “Casting directors are now casting actors, models, and talent to work on scenes filming in Baltimore, Maryland, for a local learning institution.”

• Casting a promo for an app that allows

you to virtually try on jewelry and sunglasses.

• Company: Hawke Media. Staff: Erica

Hutchison, prod.

• Shoots Aug. 7 in studio in Los Angeles,

CA.

• Seeking—Female App User: female,

26-38, all ethnicities.

• Seeking submissions from CA. • Apply on Backstage.com • Pays $350 for the day and lunch is

provided.

Headphone Web Commercial • Casting dancers/actors for headphone

commercial for web.

• Company: BX Films. Staff: Ben Sanders,

dir.

• No rehearsal; shoots Aug. 11 in Walnut

Creek, CA.

• Seeking—Dancer / Actor: all genders,

18-32, all ethnicities.

• Seeking submissions from CA. • Send submissions to Ben@BXFilms.tv.

• For consideration, submit a self-taped

audition. The audition can be recorded on a mobile phone. Include a closeup of your facial expression part and the dancing. Two hands enter the frame (one from the left, one from the right) each holding an ear bud. As the hands get closer and closer to putting the buds into each person’s ears, the camera cuts between each person, as flashes of closeup [brand] product shots show exactly what the hands are holding. As the earbuds get closer, the beat intensifies, signaling an imminent drop. Once the earbuds are placed in each person’s ears, the beat suddenly stops, putting us in limbo for just a second or two. Their expressions immediately change - they open their mouths, they gasp, their eyes light up. We see in their faces an extraordinary light change — from drab white light to an explosion of color, each person with their own color. The beat drops and we backstage.com

• Casting “Eleanor & Park,” a feature

film. FM Casting is conducting a search for two young actors, performers, etc. (no acting experience required).

actors of all ethnicites, genders, ages (18+), and abilities for consideration of roles in the following shows in the Arizona Theatre Company’s 2020-2021 season: “Pru Payne” (Sean Daniels, dir.; Steven Drukman, writer; runs spring 2021); “Nina Simone: Four Women; A Play” (Tiffany Nichole Greene, dir.; Christina Hamm, music; runs spring 2021); “Women in Jeopardy” (Sean Daniels, dir.; Wendy MacLeod, writer; runs summer 2021); “How to Make an American Son” (Kimberly Senior, dir.; Christopher Oscar Peña, writer; runs summer 2021); “The Legend of Georgia McBride” (Meredith McDonough, dir.; Mathew Lopez, writer; runs fall 2021); and “Miss Bennet: Christmas at Pemberley” (Melissa Crespo, dir.; Lauren Gunderson, writer; runs fall 2021).

• Company: FM Casting. Staff: Molly

Rose, casting.

• Shoot dates and location are TBD. • Seeking—Eleanor: female, 16-25,

White / European Descent, the new girl at school and sticks out in this small mid-western town. With her mess of curly red hair, she is often teased for her weight, as she is bigger (plus-sized) than the other girls, and has a different sense of style, usually consisting of used men’s clothing and bold accessories. Eleanor spent the past year away from her family, but has recently moved back in with her mother, step-father, and four younger siblings (with whom she has to share a bedroom). She’s wary of her stepfather who can sometimes be the sole member of the household who matters. Given her experiences with emotional pain and hardship, she takes her time allowing people to get close, as a means to protect herself, but she has the intelligence and resilience to keep going. Lead. Park: male, 16-25, Asian, Ethnically Ambiguous / Multiracial, White / European Descent, biracial (Korean/Caucasian).

Park is an introverted high schooler who tends to retreat into his own world by listening to alternative music on his headphones and reading comic books. Having lived his entire life in Omaha, Nebraska with his Korean mom and American dad, he often struggles to connect with his parents, not to mention his classmates. He gets along with the other kids at his school, but he doesn’t feel like he fits in. Lead. Must be of Korean descent.

• Company: Arizona Theatre Company.

Staff: Sean Daniels, artistic dir. Note: Sean Daniels will view all submissions and share with other directors as necessary.

• Season rehearses and performs in

Tucson, AZ.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from AZ. • For consideration, upload audition

video into form at https://docs.google. com/ forms/d/e/1FAIpQLSfsiXMiogguRF8Ixh6 Uewv1LUYrIPMNHPYeXiE 9h9g0WgYPA/viewform?usp=sf_link Attach a current headshot/resume to your submission. Submissions deadline is Aug. 14.

• For the video prepare one monologue &

one song, or two contrasting monologues totaling no more than three minutes combined. The three minutes begins with the first word of your first piece. Record/export in an mp4 or mov format. Record both selections in a single tape, as though you are in the room with us.

• Seeking submissions nationwide.

• Send submissions to mrcasting90@

gmail.com.

• SAG-AFTRA Student Film Agreement.

21

• Casting a production for a local learn-

• Company: Betsy Royall Casting. Staff:

Betsy Royall, casting dir.

• Shooting in Baltimore, MD. • Seeking—Mature Adults: all genders,

60+, age 60+, men and women.

• Seeking submissions from MD. • Send submissions to Betsy@betsycast-

ing.com.

• Pays $1,000.

Untitled Netflix Production

• Casting for an untitled Netflix produc-

tion. Casting dir. states: “There will be strict COVID-19 set procedures that Background talent must follow according to SAG (i.e.: Active Covid-19 Testing, and Quarantining before your filming date- between testing & filming, which would be approx 4-5 days… also testing will be done via spit & cough not q-tip up the nose and paid for by production.”

• Company: Netflix. Casting Taylormade.

Staff: Heather Taylor, casting dir.

• Shoots Aug. 15 in Atlanta, GA. • Seeking—SAG Extras: all genders, 18+,

all ethnicities, must be a SAG card holding member.

• Seeking submissions from GA. • To apply submit form at https://cas-

tingtaylormade.com/adults/8-15-2020.

• Pays $129/8 hrs. Must be a SAG-AFTRA

card holding member. Pays SAG-AFTRA Background Rate. SAG-AFTRA contract.

Untitled Pilot

• Casting an untitled pilot project.

Project description: “This is a character driven comedy about what happens behind the curtain at your local church.

For the pilot we are looking for individuals with strong Improvisation skills who are willing to take a character and make it their own.”

• Company: Alessi Hartigan Casting New

Mexico.

08.06.20 BACKSTAGE

casting New York Tristate • Shooting late August or early

September in NM.

• Seeking—Zach: male, 30-45, Black /

African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, seeking African, Hispanic, Caucasian, Mediterranean, Middle Eastern or Mixed Ethnicity male, Zach is the head of a Mega Church, he has dashingly good looks and you wouldn’t pin him as a pastor if you saw him on the street, he is full of himself while still keeping himself cool, calm, and collected, must have strong Improvisation, be willing to create and live in your own character, we will be open to changing dialogue based on what each talent brings to the table for the character. Martha: female, 40-70, all ethnicities female, Martha is the assistant to the head of Church, she has her work cut out for her when it comes to reigning in this strong-minded Pastor and the staff, must have strong Improvisation skills and be willing to create and live in your own character, we will be open to changing dialogue based on what each talent brings to the table for the character.

• Seeking—The Absolute Worst Cook in

• Casting an untitled project. Project

description: “Casting ages 6 to 20, all ethicities, and any family members for an upcoming project.”

• Company: Boston Casting, Rhode

Island Casting.

• Shoots in Rhode Island.

• Seeking—Rhode Island Residents: 10+,

Rhode Island residents who have been quarantining together, and have such talents as playing guitar, sports, hiking, or other skills.

• Seeking submissions from RI. • To apply, send recent photos of your

family and friends, where you are located in Rhode Island, and any acting experience or skills you have to bostoncastingsubmit4@gmail.com.

• Pays $600 for principals, and $150 for

extras.

Reality TV & Documentary Food Network: ‘Worst Cooks in America’ • Casting Food Network’s “Worst Cooks

in America.”

• Production states: “Do you consider

• Day rate TBD based on experience.

Nonunion. Video will be approx. ten minutes and be used online, not broadcast.

National Commercials PSA for GED Grads

Reality Dance Competition Series, Trained Child Dancers

recently (within the past few years) participated in High School Equivalency courses and passed their GED. The most important thing in terms of qualifying for this project is that they took High School Equivalency courses in preparation, and that you left high school.

• Casting a PSA about people who have

• Casting 7-15 year-old outgoing danc-

• Pays $125/day.

Upcoming Project

weathertech.com.

• Pay TBD, and a chance to win $25,000.

Susan Salgado, casting dir.; Karen Salgado, casting assoc.

photos. Looking for New Mexico talent only.

• Seeking submissions from IL. • Send submissions to patherton@

gmail.com. Casting asks: “Do you consider yourself to be the worst home cook to ever step foot in the kitchen?

Wish you could turn your dinnertime disaster into a delicious dish? Looking for the absolute worst! Write about how bad you are.”

• Include resume, contact info & recent

gmail.com.

25-60, Latino / Hispanic, open to male and female submissions. Experience reading off a teleprompter a plus. Some experience in sales videos is preferred but not mandatory. Must be fluent in Spanish with a neutral accent. Local talent preferred.

• Seeking submissions nationwide.

• Send submissions to chadryanmoore@

ers and the partner of their choosing, to potentially compete as a team, in a new series. Partner can be dad, mom, aunt, uncle, coach, mentor, etc. who’s not a professional dancer. Note: Duos must be within 700 miles of LA.

• Seeking submissions from NM. • Send submissions to ShayneCasts@

• Seeking—On-Camera Presenter:

America: all genders, 18+, all ethnicities. Characters With Huge Personalities Who Cannot Cook: all genders, 18+, the bigger personalities, the better. Duos and Partners Who Can’t Cook: all genders, 18+, all ethnicities, seeking any team of team parent/child, best friends, couples, family members etc. who struggle with cooking in the kitchen! The bigger personality the better. Include the relationship to your partner and just how bad you both are in the kitchen.

• Production states: “We will be casting a

diverse group of real people across the country who fit this description and would be comfortable sharing their story about their high school equivalency journey. You must be between the ages of 20 and 50 to be considered. The purpose of this public service announcement will be to help and encourage other people to finish their degrees.”

• Company: Triple Threat Casting. Staff:

• Shoot is TBD in Los Angeles, CA. • Seeking—Dance Duos: 7-15, all ethnici-

ties, trained, outgoing dancers with a partner (of your choosing) to potentially compete as a team. Partner can be dad, mom, aunt, uncle, coach, mentor, etc. who’s not a professional dancer.

• Company: Kate Antognini Casting.

Staff: Kate Antognini, casting dir.

• Seeking submissions from CA, UT, AZ

and NV.

• Shoots for a half day between Aug.

13-16. Crew will travel to you and film you in your home, or drop off equipment for you to film yourself.

• For consideration, send email with the

dancer’s name and age (and date of birth), the city you live in, contact number, your partner of choice/relation and why you chose that partner, your dance styles, your years of training, and video link samples of dance performances and competitions (YouTube - unlisted or Vimeo - no password, preferred; no video files) to tripletcasting@yahoo. com and cc: fitnesswithkarenps@gmail. com.

• Seeking—Person with a GED: all gen-

ders, 20-52, someone who got their GED in the past few years after leaving high school and took high school equivalency courses in order to prepare for the test. Only apply if you meet these requirements.

• Seeking submissions nationwide.

• Send submissions to kantogni@gmail.

com.

• Winner will receive a cash prize.

• Submit a note about your GED story.

• Pays $2,000/person for a half day

shoot.

Demo & Instructional Videos

Online Commercials & Promos

WeatherTech B2B Product & Sales Video, Spanish Speaker • Seeking a male or female actor fluent

in Spanish with a neutral accent for a business-to-business product and promotions sales video for WeatherTech.

Classic Dad Spot

• Company: Chad Moore Casting. Staff:

Atherton, prod. coord.; Adrian Prawica, dir.

ities, average to full bodied.

• Shoots fall in NYC.

Bolingbrook, IL.

yourself to be the worst cook that has ever set foot in a kitchen?! Chef Anne Burrell and another surprise star chef will lead teams of recruits through a culinary bootcamp; in the end, one contestant will earn $25,000!”

Chad Moore, casting prod.

BACKSTAGE 08.06.20

• Company: WeatherTech. Staff: Paige

• Casting a ‘Classic Dad’ spot.

• Company: Bandolier Media.

• Shooting early August in Austin, TX. • Seeking—Male: male, 24-40, all ethnic-

• Shoots at WeatherTech’s studio in

• Seeking submissions from TX. • Send submissions to casting@bando-

liermedia.com.

22

• To apply, send headshots, previous

works, and reels.

• Pays $350.

Coca-Cola Video, Real People with Tasty & Treasured Recipes

• Casting real families, friends, or room-

mates who have a treasured recipe that they make for special times to be featured in a fun, heartwarming digital video. Company states: “Perhaps it’s made for family dinners every Friday, when your favorite team is playing, or before the game nights you host with your roommate. Ideally these recipes will not be associated with a specific holiday and will go or pair well with a Coca-Cola.”

• Company: Paired Up Media.

• Shoots remotely.

• Seeking—Family/Friends/Groups:

18-75, must be a group of two or more people to be considered.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, include a brief story

about your treasured recipe and who the members are in your family/group.

• Pays: $1,000 for 1 year digital usage.

Texans Can Academy Social Media Commercial • Casting Black and Latin males and

females for a local trade school social media commercial. Each commercial will be 15 seconds.

• Company: Aume Motion Arts, LLC. • Shoots during week of Aug. 11 at Texans

Can Academy in Fort Worth, TX.

• Seeking—Texans Can Student: all gen-

ders, 18-30, Black / African Descent.

Texans Can Student (Spanish Speaker): all genders, 18-30, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, fluent Spanish speaker.

• Seeking submissions from TX. • Send submissions to info@aume.co.

• Ideally seeking latin talent who are flu-

ent in Spanish (the monologue will be in Spanish). Scripts will be provided upon applying.

• Pays $75 for two-hour block.

Commercial & Film Voiceover Voiceover for Leadership Training Video

• Casting voiceover for an internal indus-

trial for a worldwide tax firm.

• Company: DePalma Productions. Staff:

R. DePalma, casting.

• Works remotely. Note: Must be able to

record from home on professional equipment.

• Seeking—Voice of Firm’s Help Desk

Representative: 23-55, the role of the firm help desk; empathetic voice needed.

• Seeking submissions nationwide.

• For consideration, submit an audio link

to producer@depalmaproductions. com. Note: This is strictly a voiceover role.

• Pays $300.

backstage.com

New York Tristate casting

Radio & Podcasts

‘The Martian Broadcast’

‘Hunt a Killer,’ Podcast

• Synopsis: The year is 1938. World War II

• Casting a voice actor for “Hunt A

Killer,” to play a lead in a podcast that serves as a companion piece to one of our exciting subscription box games.

The podcast focuses on pop culture stories and scandals from old Broadway. This is a paid, no-contact job.

• Production states: “We are looking for

performers with a background in podcasting or are otherwise comfortable shifting between scripted lines and bullet points of information from which to improvise a conversation with a fellow performer. We will also wish to consider these actors for roles in a second season of episodes focused on boy band scandals. Further details on the second season will be available as it proceeds through development. The pay for each role is $400 for six podcast episodes (approximately 30 minutes each).”

• Company: Hunt a Killer. Staff: Will

Rogers, prod.

• Will rehearse remotely ahead of

recording; the goal is to record in mid-August.

• Seeking—Alice Young: female, 25-35,

mid-20’s to mid-30’s; the oldest child in a stern household, Alice didn’t begin exploring the world of comedy and performance until she met Zoey in college; almost instantly hitting it off, Alice and Zoey have been performing together for nearly a year; Alice’s nearly puritanical background is a common topic of discussion, as it contrasts Zoey’s experiences so extremely; Alice grew up idolizing the entertainment industry, only learning about the darker side of the arts world when she met Zoey; she still believes in the institutions of the theater scene, and professes its greatness at every turn. Zoey Baker: female, 25-35, mid-20’s to mid-30’s; with a painter for a mother, and a father who “raised birds,” Zoey’s childhood was unusual; the latest in a long line of artists, Zoey has been performing since she was two, and has been on stage all her life; what she lacked was work-ethic, a trait she finally began to learn through her friendship with Alice; Zoey has no reverence for the old glitz of Hollywood and Broadway, and delights in tearing down mis-remembered stories of its greatness; despite the cynicism, though, Zoey undeniably loves that world.

• Seeking submissions nationwide.

• For consideration, submit a headshot,

resume, current candid photo, and your read for your selected character using the provided script (PDF attached to posting) to will@huntakiller.com.

• Be prepared to read directly from the

script and pivot to improvising a show introduction using the supplied bullet points of information to tell a story and present it as a conversational podcast in the vein of “My Favorite Murder.”

• Pays $400 for six podcast episodes

(approx. 30 min each). Production will also wish to consider these actors for the lead roles in Season 2 of the series for additional pay as a separate project. backstage.com

as possible puts Orson through the ringer, not only for himself, but the incredible crew of talented individuals he’s surrounded himself with. Will this be his final curtain call, after all he’s got Danton’s Death his latest theatrical production to worry all while fielding calls from Hollywood to change his entire life... and wouldn’t you know it? The kid is just twenty-five. John Houseman: male, 30-45, speaks with a proper, albeit stuffy, British dialect; a British actor and producer, John Houseman became enamored with Orson Welles after seeing him perform in Romeo & Juliet. The two quickly became partners, producing various stage plays and audio dramas all under the jointly created Mercury Theatre. It is safe to say there is no Orson Welles without John Houseman, just as much as it could be said the other way around. Proper, but not without his prickle, it’s no wonder that he decided to become a producer and continue his work with Orson well into the Hollywood days; after all the old married couple couldn’t get enough of one another. John was also considered a flirtatious type that could easily charm his way in and out of most situations, which is why Orson found him such a desirable ally. Howard Koch: male, 22-30, speaks with a faking it until he’s making it; which he feels matures him. A goofy guy who feels more lucky than actually deserving to be amongst these great artists.

A lawyer by day and a drinker by any time, he stumbled into this writing thing as a fun passion and hasn’t really broken through yet. However, he hopes by working with the infamous Orson Welles that he may have a chance at creating something great and worth cratefuls of the best hooch.

Davidson Taylor: male, 40-55, a CBS Executive/”Yes Man” type that always tries optimism first; a champion of the arts through and through, Davidson Taylor is the point of contact for The Mercury Theatre and CBS as a whole.

While seen as an antagonist more than an ally, Davidson truly believes in putting on the best show, but also appealing to the mass audience.

Caught in the middle of the ever waging war of art vs commercialism, Davidson Taylor is hapless, but not helpless in this scenario. Paul Stewart: male, 30-40, a traditionalist when it comes to theatre and character work, Paul, like Orson, has a flair for the drama. Often typecast in a villain role, Paul has a heart of gold when it comes to making the work worthwhile. Much like the other members of the Mercury Theatre, Paul believes that the best work is done with sacrifice. And while his dreams of being a leading man don’t exist when Orson is in the room, there is no denying he has a talent and capability to be a star all on his own; if he weren’t trying to make other people’s dreams happen.

Anne Froelick: female, 18-25, a gentle soul, eager to please, but not willing to compromise her own happiness.

Anne and Koch play partner, when it comes to writing, more than the boss and subordinate; despite technically

• Casting “The Martian Broadcast,” a six-

episode historical fiction audio drama, which will be released in podcast form wherever podcasts are available.

looms in the distance, far away from the sparkling lights of Broadway and New York City. All too familiar to the likes of Orson Welles and his group of players, known as The Mercury Theatre On the Air, who every week set out to entertain, delight, and express themselves for countless listeners coast to coast.

Struggling to find their next show, Orson stumbles upon a science fiction novel written by H.G. Wells and if you know history, well, the rest of it is just that...But this is not a story about the night of the broadcast, instead it explores the week leading up to that infamous Halloween performance. The team behind what would be later referred to as “the martian broadcast” worked without sleep, for little pay, and not much glory… but they loved every bit of it. Each week, the Mercury Theatre on the Air sought to create art and spin stories for their eager audience, but no one could have predicted the impact of the infamous War of the Worlds broadcast.

• Company: Soul Drifter Studios. Staff:

Casey Hammons and Daniel Patton, prods.; S Christian Roe, dir.-writer; Jordan Stidham, writer-prod.

• Final casting will be locked on Aug. 13,

and recording will be the week of Aug. 21. All cast will be recording remotely. If local to Los Angeles we can arrange for recording equipment to be delivered, otherwise you must be able to record acceptable audio on your end.

• Rehearsals will be scheduled after final

casting on the 13. Due to Covid-19, all recording and rehearsal will be done remotely over Zoom or other video conferencing services.

• Seeking—Ora Nichols: female, 45-54,

whip smart, with a curt way of speaking.The narrator and true star of “The Martian Broadcast.” Without Ora, there is no War of the Worlds or hell, most of The Mercury Theatre on the Air’s line up. She commanded the room with her intelligence and prowess with sound. Orson, ever the realist, challenged her on numerous occasions, but her dynamic and inventive way to save budget for sound and create 1:1 recreations of whatever was necessary using house hold objects is nothing short of incredible, which is exactly how one would describe this woman. Fun fact: the only person to ever receive a public apology from Orson Welles. Orson Welles: male, 21-30, a bass-like, talking down to you voice.Everything you expect him to be and then some more, Orson Wells is the 1938 edition of EXTRA. A thespian through and through, life is the greatest performance and thus he seeks the truly undeniable role of being the best and finding his fame and immortality through it. While his ego is inflated, it is not without reason. He is an incredibly talented storyteller, brilliant director, thoughtful poet, and above all: an artist. This journey of making War of the Worlds as dynamic

23

being Howard Koch’s assistant. She’s smart, clever, but most of all, caring.

She loves working for the Mercury Theatre and has aspirations of being a great writer one day. While having a touch and go relationship with John Houseman, Anne finds footing amongst the group by insisting that she push forward and chase after what she wants. A go-getter, but willing to bend backwards when need be.

George Zorn: male, 35-45. Tommy: male, 18-30. Arthur Nichols: male, 40-56. M.C.: 25-40. Passerpartout: male, 25-50. Hostess: female, 29-50.

Ensemble / Background: 10-50, numerous characters who drift in and out of the story, but despite their brief appearance are essential to its telling.

They range from reporter’s hounding The Mercury Theater company for answers on the “Alien Invasion,” to the scared denizens of America, listening in on the eve of fictional invasion.

Some roles may only have a couple lines, so we will be assigning two or more roles where necessary. There are no sides for these roles, so include a voice reel in your audition. Examples of roles we need: Police officers, Reporters, Church attendants, News Broadcaster, etc.

• Seeking submissions nationwide.

• Send submissions to martianbroad-

cast@gmail.com.

• For consideration, include a note to

indicate if you can provide your own professional grade audio and recording. Producer states: “We ask this both for your safety and ours in this pandemic. If you live in Los Angeles we can have audio equipment dropped off at your home.”

• No pay.

Gigs OTTER Program, Volunteers

• Seeking actors 18+ in the Florida area to

volunteer to read and discuss literature with preschool age children for the OTTER (Older Teachers Teaching Young Readers) program. OTTER’s mission is to get young children excited about books and reading to enrich vocabularies, to increase comprehension, and to inspire lifelong reading. Curriculum and training are provided.

• Company: Volunteers for Community

Impact/OTTER Program. Staff: Natalie Rogers, coord.

• Daily, weekly, monthly, virtual, or in-

person options are available. Volunteer sessions are approximately 30 minutes each.

• Seeking—Volunteer Readers: 18+, all

ethnicities, animated, enthusiastic, entertaining performers to read aloud children’s books to preschool age children. Should have the ability to create different voices and bring the characters to life. Curriculum and training are provided.

• Seeking submissions from FL. • To volunteer, sign up at https://volun-

teersforcommunityimpact.org/ otter-volunteer-form/.

• This is an all-volunteer project.

08.06.20 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q:

What’s a good backdrop for self-tapes in a tiny apartment? I need something that works well but is feasible to store in my space.

—@Notsofunnygirl, Backstage Community Forums

Our Expert Mel Mack is an acting coach.

*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 08.06.20

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; MACK: COURTESY MEL MACK

Actors living in small spaces have the challenge of finding equipment that’s functional and easy to store. When choosing a backdrop, it’s important to assess your budget, how many self-tapes you submit per month, and your space’s actual size. Too many actors forget to measure their space and end up with a backdrop that’s too large to function properly.

I suggest actors living in tiny spaces consider these options: a full-size bedsheet, a pop-up backdrop, or painting your small wall space. Let’s look at the pros and cons of each.

A bedsheet is the most inexpensive way to create a professional-looking self-tape. It’s easy to tack to your wall and pull the corners taut. I suggest using Gorilla Tape or masking tape to secure the sides so the sheet is flush against your wall, or you can buy a cord and hang it from the ceiling so you can pull the sheet across when you need to self-tape. Get a small, cheap handheld steamer to get the wrinkles out of the bedsheet, rather than trying to iron the whole thing. Constantly taking it down and putting it up is a lot of work, but you’ll get faster over time.

A pop-up backdrop comes folded in an easy-to-store circle bag. They are usually reversible and come in a myriad of color choices that make you pop on camera. These backdrops can be challenging to fold back into their original circle shapes, though; it takes time to get the storage system down. You must also know the size of your storage area and shooting space so the backdrop does not overwhelm it. The backdrop needs to have room to lean against a flush wall or be propped up.

With painting, you’ll never worry about ironing, folding, tacking, or taping again! Getting the exact color of paint that makes you pop can be a challenge, however. Your lighting will affect the paint choice, too.

Take your time to go through each option to decide which best fits your space. No matter which you choose, remember that the best colors for backdrops are gray or blue.

In The Envelope The Actor’s Podcast

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For intimate, in-depth conversations with today’s most noteworthy film, television, and theater actors and creators, subscribe now wherever you listen to podcasts!

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Earn a college degree while working all day, every day on your craft.

Find out how at nycda.edu

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