Backstage Magazine Digital Edition: October 8, 2020

10.08.20

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Janelle Monáe Finds Her Purpose

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Summer Teen Ensemble

Contents The Green Room 6 The Save Our Stages Act aims

to provide relief for Broadway

8 This week’s roundup of

who’s casting what starring whom

10 Andrew Rannells on “The Boys in the Band” and getting into character

Advice 14 NOTE FROM THE CD How easily can you pivot?

16 #IGOTCAST

vol. 61, no. 23 | 10.08.20

Cover Story

Focusing In Always an entertainer in the grandest degree, Janelle Monáe is learning to use her voice to uplift, empower, and inspire social change in unprecedented ways page 20

Cailey Merulla

16 SECRET AGENT MAN In virtual session

Features 4 BACKSTAGE 5 WITH...

Elizabeth Marvel

12 MEET THE MAKER

Pippin Parker, dean, School of Drama at the New School

14 THE ESSENTIALISTS Moni Yakim, movement instructor at the Juilliard School 18 IN THE ROOM WITH USC School of Dramatic Arts admissions 26 THE RIGHT FIT One of these 5 schools could have the performing arts program for you 48 ASK AN EXPERT Harvey Young on why actors should attend grad school

Casting 28 New York Tristate 34 California 41 National/Regional Janelle Monáe photographed by Mancy Gant on Aug. 31 at Naked Eye Studios in Los Angeles. Styling

by Alexandra Mandelkorn. Makeup by Jessica Smalls.

Hair by Nikki Nelms. Suit and tie by Thom Brown, hat by Binata Millinery, shirt by Polo Ralph Lauren, shoes by Weejuns, ring by Aziza Handcrafted, earrings by DRU. Cover designed by Ian Robinson.

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Elizabeth Marvel

By Allie Volpe

Elizabeth Marvel has always marched to the beat of her own drum. She credits the steady work that has marked her storied career to that unapologetic singularity. Since graduating from Juilliard in the early 1990s, Marvel has been a staple of both stage and screen, from starring in Edward Albee’s “Seascape” on Broadway to playing politicos on TV on “House of Cards” and “Homeland.” Now, she enters the Marvel Universe as the long-institutionalized Victoria Helstrom on Hulu’s “Helstrom.”

What advice would you give your younger self? I would say to my younger self something that somebody said to me a little later: “Put down a bat and pick up a feather” with regard to yourself. Not every job is the Olympics. It’s all one painting, and we just keep working, so be gentle.

What’s the wildest thing you’ve ever done to get a role? I go in and do what I do consistently. I think one of the reasons why I’ve always worked is because I do things the way I do them, I see them the way I see them, I don’t think about how other people want me to do them—except once. One time, I learned the horrible lesson of never trying to be something that I’m instinctively not.

What performance should every actor see and why? I would say anything with Toshiro Mifune. [Director Akira] Kurosawa used him in, like, [16] movies, [including] “Throne of Blood” [and] “Seven Samurai.” He often plays these warriors who are bombastic and roll in the mud, and then he can get incredibly still and, with one gesture, become epic. In “Throne of Blood,” Isuzu Yamada is the woman who plays the queen, and she is his perfect opposite. Her stillness and concentration take your breath away.

What is your worst audition horror story? I remember I had this audition for Edward Albee, who I adore, but it was before

“I never got strung out about the whole beauty trip. Not that I don’t look in the mirror, [but] I was not auditioning in bikinis. I’ve always been a character actor.”

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we knew each other, and it was at Lincoln Center. It was to do his play “Seascape.” I was auditioning to play a lizard. I knew it was going to be really physical. I had on a pair of cutoff shorts and an old Black Sabbath T-shirt, and [I was] barefoot. He was so freaked out by my tattoos and my general appearance. I had to convince him that I wasn’t some carny freak—that I was actually a graduate from Juilliard and had a pretty good career at this point—and to close his eyes while I read for a few minutes. Needless to say, when he opened his eyes, he cast me in the part, and we ended up being great friends.

How did you first get your SAG-AFTRA card? My SAG card— this is funny. It was a spinoff of “The Honeymooners” on HBO, pre-”Sopranos.” It was me and Jane Krakowski; we were both babies, and we were the neighbors [in the show]. I watched Jane Krakowski go over to the prop table, grab a bottle, and make the choice that her character was going to be drunk. It was fantastic; it was hilarious. I learned right then and there about making a bold choice.

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Theater

Bill to Save Theaters Gets Call to Action

Senator Chuck Schumer is among lawmakers advocating for the Save Our Stages Act

By Diep Tran

BACKSTAGE 10.08.20

been and still are totally ‘Frozen,’ and thousands of hardworking ‘Guys and Dolls’ from across this city have been out of work…. So today, we are fighting hard to keep the stages alive, the stories told, and the shows going on. They must go on. And we’re fighting to make sure that New York City and Broadway get a ‘Lion King’’s share of federal relief.”

Save Our Stages, which was co-authored by Senators Amy Klobuchar (D-MN) and John Cornyn (R-TX), was introduced

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NEW YORK SENATOR CHUCK Schumer held an event Sept. 18 in Times Square to advocate for the Save Our Stages Act, a bill he’s co-sponsoring that would provide $10 billion in federal relief money to businesses that provide live events.

“The ‘Phantom’ of COVID has hit Broadway maybe the hardest of all the live venues in America,” said Schumer, standing in front of the TKTS booth, in remarks that referenced a number of musical theater titles. “Revenues have

on July 22. The bill would provide grants of up to $12 million, through the Small Business Administration, to help cover operating expenses until Dec. 31. It would also provide “a supplemental grant that is equal to 50% of the initial grant” for operating expenses until June 30, 2021. The bill currently has 42 co-sponsors in the Senate.

The companion bill in the House is led by Representatives Peter Welch (D-VT) and Roger Williams (R-TX).

“This money is flexible,” said Schumer. “They can use it for whatever they need to stay in business, including paying key valued employees who we don’t want to just leave.”

Dr. Anthony Fauci estimated that live performances will likely not resume until sometime in 2021. That means performance venues are at risk of shuttering permanently.

The Brookings Institution,

in their recent report “Lost Art: Measuring COVID-19’s Devastating Impact on America’s Creative Economy,” estimated that the pandemic will cause a loss of “2.7 million jobs and more than $150 billion in sales of goods and services for creative industries nationwide, representing nearly a third of all jobs in those industries and 9% of annual sales.”

The study continues: “The fine and performing arts industries will be hit hardest, suffering estimated losses of almost 1.4 million jobs and $42.5 billion in sales. These estimated losses represent 50% of all jobs in those industries and more than a quarter of all lost sales nationwide.”

Said Charlotte St. Martin, president of the Broadway League, at the Times Square event: “Productions need money for rehearsals to get people back because they haven’t been performing for nine months, to get thousands and thousands of cast members and get them working.”

The push for Save Our Stages is part of an ongoing campaign from arts workers and appreciators alike who are advocating for federal relief for the arts.

Be an Arts Hero, a grassroots campaign that began in July, numbers Billy Porter, BD Wong, and Jane Krakowski among its ambassadors. “The arts and culture are the second largest economic driver in the nation—$877 billion in value to the U.S. economy. That’s 4.5% of the GDP,” said Porter in an interview with MSNBC. “In 2019, Broadway sold more tickets than all of the New York sports teams combined, creating a revenue of $1.8 billion in ticket sales.”

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“The Big Leap” U.K. docuseries “Big Ballet” will be fictionalized for U.S. audiences in a new series from Fox. The show will follow a diverse group of underdogs who are vying to be part of a reality series that’s putting together an updated, unorthodox staging of “Swan Lake.” The series will be written by “The Passage” creator Liz Heldens.

Laura Benanti, Scott Foley, Matt Lucas, Teri Polo, Simone Recasner, Raymond Cham Jr., Ser’Darius Blain, and Jon Rudnitsky are all on board for the pilot, which is being cast by Telsey + Company. Production is set to begin in November or December in Chicago.

What’s Casting

‘Halston’ Comes to the Small Screen Ryan Murphy’s upcoming series celebrates the ’70s fashion icon

By Rebecca Welch

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

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

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

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FILM

Barry Jenkins Joins the Circle of Life

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!

BARRY JENKINS HAS SIGNED ON TO direct Walt Disney Studios’ follow-up to its 2019 live-action adaptation of “The Lion King.” Jenkins, who won an Academy Award for “Moonlight,” will helm a script written by Jeff Nathanson, who penned the first film and has now completed a draft for the second.

The project, which has no release date nor production timeline at the moment, will employ the same photo-realistic style that the first film did under director Jon Favreau.

It’s unclear at this time which of the cast members will return for the sequel.

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“Halston” Ryan Murphy has a knack for taking on stories of iconic figures both real and fictional.

He’s tackled the trial of O.J. Simpson, the murder of Gianni Versace, and most recently, Nurse Ratched, the antagonist of “One Flew Over the Cuckoo’s Nest.” Now, the prolific creator is delving into the fashion world once more with his next project, “Halston.” The Netflix limited series will follow famed fashion mogul Roy Halston Frowick, whose career skyrocketed in the 1970s. The designer, who created the pillbox hat Jackie Kennedy wore at her husband’s inauguration,

later became a noted figure in the disco scene, frequenting Studio 54 and running in celebrity circles. Though Halston’s brand is still around today, the man himself died of AIDS-related lung cancer in 1990. The series, cast by Laura Rosenthal, has already signed Ewan McGregor for the title role, as well as Rory Culkin, Krysta Rodriguez, Rebecca Dayan, Sullivan Jones, Gian Franco Rodriguez, and David Pittu. The project has been delayed by the pandemic, but production is set to begin before the end of the year in New York City.

“Like It Used to Be” Comedy “Like It Used to Be” will star Gina Rodriguez as a woman who, after receiving life-altering news, convinces her four best friends to join her on a road trip to Mexico. The film is from Broken English Productions, a company committed to telling stories about the Latinx experience, alongside Rodriguez’s own I Can & I Will Productions.

Carla Hool Casting has also nabbed Karla Souza (“How to Get Away With Murder”) for a supporting role. Production is set to start in November in Ensenada, Mexico.

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differently had I known this was coming up!”

“Big Mouth” is hardly his first foray into voiceover.

“I started my career as a teenager doing voiceover. I did a couple animated shows while I was still in high school. When I came to New York, voiceover work was what kept me afloat.

I always wanted to be on Broadway, but that’s what I was booking more. I embraced that, and for a few years I worked for a company called 4Kids, who did ‘Pokémon’ and ‘Yu-Gi-Oh!’, and that was my job. I did that for years. And then when ‘Big Mouth’ came about, I just loved doing it. The writing on that show is obviously super funny and smart, but because I’ve been doing [voiceover] for so long, it felt good coming back to that.”

Andrew Rannells and Tuc Watkins in “The Boys in the Band” The Slate

they’re there because they love each other. I think we got to lean into some of that a little more.”

Let’s Be Friends

Andrew Rannells has a trick he uses for each character he brings to stage and screen

By Gabriela Carroll

The following interview for Backstage’s on-camera series The Slate was compiled in part 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 your questions.

BACKSTAGE 10.08.20

across genres, and his best advice for aspiring actors.

“The Boys in the Band” resonates differently than it did at its 1968 Off-Broadway premiere and in its 1970 movie adaptation.

“I first saw the film when I was still in high school. As a kid who was not quite out yet, it was a little scary, and it seemed a little dark. That original film is so brilliant, but it has a dark tone to it. What was fun about getting to do it now is that we got to explore [the characters’] love for each other in a different way.

Things do get a little ugly, but

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FILM

A New ‘Borat’ for a New Era

By Casey Mink

Want to hear more from Rannells? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

THOUGH THERE HAD BEEN RUMBLINGS that production had been completed, it’s now confirmed: A new “Borat” film is coming—and sooner than you’d think. Nearly 14 years later, “Borat Subsequent Moviefilm,” the follow-up to Sacha Baron Cohen’s blockbuster 2006 movie, has been acquired by Amazon Studios and will stream on Amazon Prime beginning Oct. 23. Baron Cohen, who will also be seen this year in Aaron Sorkin’s upcoming Netflix feature “The Trial of the Chicago 7,” rushed post-production in order to release the film before the November election.

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SCOTT EVERETT WHITE/NETFLIX

ANDREW RANNELLS IS A knockout in Ryan Murphy’s latest production project for Netflix, Mart Crowley’s “The Boys in the Band,” a reunion of sorts with his buzzy 2018 Broadway ensemble and director Joe Mantello.

Joining Backstage and managing editor Benjamin Lindsay for a recent Instagram Live interview, Rannells discussed revisiting the iconic, Tony-winning queer play onscreen, his full-circle moment in voiceover (from “Pokémon” to “Big Mouth” and the upcoming “Invincible”), his character-building technique

The first step in acting is to become friends with the person you’re playing.

“I was just trying to befriend the character. I try to find what I like about him, and how we are similar and different, and what makes [him] tick, and go from there. It’s much easier in a film or onstage because you have all the information. In television, it’s tricky, because there are twists and turns writers will throw at you, and then you think, I might have done that other episode

Don’t worry about others’ successes. Focus on your own.

“Keep your eyes on your own paper. Don’t be looking around to see what other people have that you don’t. I spent a lot of time in my 20s being jealous of people and what they had, and I regret that. It was a lot of wasted energy. You do what you do, you’re going to get what you get, and you shouldn’t be looking at other people and coveting their careers and their jobs. Put that time and focus into something else.”

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Meet the Maker

Pippin Parker, Dean, School of Drama at the New School

By Jose Solís

“NOW, WELL INTO THE 21ST century, we remain committed to training which is rigorous and relevant, producing artists who are artistically fearless, socially conscientious, and creatively intelligent,” Pippin Parker wrote in his Message From the Dean, welcoming students to the New School’s drama program. Though written years ago, the letter is especially prescient during the COVID-19 era, when educational institutions around the world

are rethinking, reshaping, and reformatting the ways students are taught.

Parker is committed to creating a space that celebrates the tradition of theater while remaining open to how the challenges of the times may allow for communal creation. Here, he speaks with Backstage about how he plans to do so in this uncertain moment and what prospective New School drama students should know.

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What are the core requirements for graduation that every student should have in mind? It’s a little bit different for each. In the undergraduate or BFA [program], they all take writing and directing and acting and creative technologies.

What are the main qualities you look for in a New School student? Our university philosophy is very progressive; we’re about making positive change in the world. So we pose the questions: Who are you, and do you have a sense of identity and a sense of yourself? And then, what impact do you want to make on the world if you could make an impact?

What is the audition process like? We don’t put much pressure [on] trying to challenge you and make it the hardest for you to do your best, because these are young people. The world is discouraging enough; we don’t need to discourage. We try to develop a sense of comfort. We think it’s just a way of starting off that situation by approaching it in a very human kind of way.

Usually when we work with actors, they present and we give them adjustments and we work with them. And only after that do we sort of engage in a conversation. So hopefully they’re a little bit more relaxed, and we put them in a place where it’s easier for them to have that kind of conversation.

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The New School’s 2018 production of “Marisol”

You’re moving forward with a digital curriculum this semester. What inspired you to keep teaching in the midst of the pandemic? Art is about change, and art changes.

The content of theater, particularly, of the work itself, is so often about change and the challenge of change and the hope for change, and the things that stand in the way of people being able to change themselves and other people.

So it’s sort of the permanent that we use to describe ourselves, as being in permanent revolution. Our industry was already undergoing huge changes before this, and the world was going through huge changes: the convergence of technology and media, Black Lives Matter, #MeToo was happening already. Trump being elected, too. I was in school that day, and it was an extremely moving day. Those things have poured into our work. There are some really fundamental aspects of our work that are being informed and challenged by what’s happening in the world, and our students are totally committed to it. We have students in every time zone, all over the world—which is great, because we see them as the leaders of the future.

They take two semesters of global dramatic literature, they take two semesters called Structures and Styles, which is hard working; there’s a lot of writing involved. And there’s also a lot of dramaturgy for script analysis. And they have two semesters of something called Collaborative Theater Process. All the students learn some sort of research methodology, and then they are out in the field, working with groups— like schools or settlements, for instance. They also do some kind of capstone project, called Directed Research, but it’s both research and performance.

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Note From the CD

How Easily Can You Pivot?

THE ESSENTIALISTS

MONI YAKIM

movement instructor at the Juilliard School

By Marci Liroff

WE ARE GOING THROUGH unprecedented times. There is no playbook. The global pandemic has killed scores of people, and even more are sick.

Our infrastructure is bursting at the seams, and the economy is being tested daily. The unemployment rate is at a historic high in the U.S. and around the world. What has become apparent to me at this moment in history is who can pivot easily and who cannot.

Are you going with the flow and turning a desperate situation into a workable one, or are you digging your heels in because you not only hate change, but won’t change?

How you react right now is the litmus test of whether or not you’ll make it through.

I remember sitting with actor Marilu Henner years ago, and she said something so profound, it’s stuck with me to this

14

For Yakim, it’s not just about training the world’s best—and most famous—actors.

“It’s incredibly gratifying. However, I’d say it’s gratifying to me, as well, when I see people

who went in different directions; and when I meet them, they tell me how their training at Juilliard helped them in their lives. I think it’s an education for life. In my class, it’s about teaching them a little bit of what of life’s obstacles we have to overcome and how to overcome them.”

Movement training is both physical and emotional.

“First of all, it is physical, and unlike dance or gymnastics or acrobatics, whatever we do has to have a specific reason. [That] means if we move a hand, an arm, a head, an eye,

Why? For many, the answer is, “Because I have to.” I would venture to say that actors are hard-wired to pivot.

As an independent casting director, acting coach, and intimacy coordinator, I am also used to my work ebbing and flowing. Sometimes I feel like a walking contradiction because I absolutely hate change. I like to know what’s happening next; I’m not the most spontaneous person you’ll ever meet. I sure don’t like it, but that’s the path I’ve chosen. I’ve become an expert at the pivot because I’ve learned fighting it does not help.

I’m certainly not suggesting you concentrate on perfecting a professional pivot while you or your loved ones are sick; this article is directed at those who are well and able to do some work on themselves during this complicated time.

Many of us may be suffering

why do we do it? If we don’t have the reason to do it, we don’t do it, which means we have to be as strong in our stillness as [we are] in our motion. It all has to come from within, which means it’s not for the aesthetic of the gesture itself; it’s not to look good.”

from low-grade depression and panic at the moment, but it’s possible that you can turn that around by creating a routine and staying busy. Have you learned new skills these last few months? Are you reexamining your career? Have you looked into other lines of work? Have you done some deep soul-searching to work on old patterns that aren’t serving you? Are you living a life of daily gratitude? I sincerely hope you’re thriving and using this time to be useful and help one another. At the very least, we can come out of this global pandemic having learned something.

Want more?

Read our full Note From the CD archives at backstage.com/ magazine

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ILLUSTRATION: MARGAUX QUAYLE CANNON; YAKIM: COURTESY MONI YAKIM

BACKSTAGE 10.08.20

day. We were having a “big life” discussion when she said, “Life is about how easily you can slide into Plan B.” This struck me as wise, because, as we know, life doesn’t always go the way you planned. Her whole life concept got me thinking that not only should I have a Plan B, but a Plan C is also crucial.

Then I started thinking about actors. In my opinion, no one is more prepared and equipped to pivot than actors. By virtue of their chosen path, they always have job insecurity. Many of the rest of us work nine-to-five, five days a week. For actors, it’s normal to not know what’s coming next, where you’re going to live, or how you’re going to pay your bills. Their training teaches them to be on their toes in every situation—to respond in real time to whatever is thrown at them. (Hello, improv!) Yet this profession is still sought after.

There’s a reason the Juilliard School consistently ranks among the world’s best acting programs, and MONI YAKIM, legendary movement instructor and co-founder of the school’s dramatic division, is partially to thank.

Sitting with Backstage, the famed practitioner spoke about his career, the importance of movement training, and more.

By Benjamin Lindsay

Nebraska Wesleyan University Theatre

NWU Theatre returned to live performances in September with an outdoor production of Shakespeare’s “As You Like It.”

NWU Theatre puts you in the spotlight.

Top 30 U.S. programs in acting and musical theatre (Onstage Blog) Bigger opportunities for experience— beginning your first year

More degree options > BFA: acting > BFA: musical theatre > BFA: directing > BFA: design and technology > BFA: theatre studies

Stronger leadership in charting the way back to live performances

> BA: theatre > BA: theatre arts education

Graduate ready to enter the theatre industry. theatre.nebrwesleyan.edu / 402.465.2128 / rkathman@nebrwesleyan.edu

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Spotlighting the people and projects you need to know

Secret Agent Man

In Virtual Session

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touch. How do you pull that off if your classes are online? And if they’re in person, how do you buy into the reality of a scene when your partner’s cough might send you to the hospital?

Here’s my advice: Own it. This is your battlefield, and you need to lock and load. There’s a good chance the world will take a turn for the better after the holidays, so it would be a shame if you wasted the fall semester complaining about your lot in life. Yes, it’s a crappy situation.

We can all agree on that. Now, what are you going to do about it? Necessity is the mother of invention, so start planning now for the future. See what

This business is all about discovering and developing new talent, and none of us are about to allow a damn virus to stop us!

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#IGOTCAST. Cailey Merulla

By Jalen Michael For CAILEY MERULLA, networking and research are part of the actor’s experience; the actual acting is just an added bonus.

Being a great actor goes beyond performing.

“I’m always looking for parts that will push me to gain more experience or motivate me to put in the extra time and research to make sure I really do a role justice.

The acting in front of a camera is only half the job, and I like to find roles that will not only remind me of that, but encourage me to put in the other half.”

Never stop applying.

“Take any and every opportunity that comes your way, and really put in the work to book that part. You’ll be booking parts in no time.”

Long-lasting relationships are built through Backstage.

“The key to being successful in this industry is building relationships and gaining connections, and the Backstage community aids in that immensely.

I have built so many relationships with others working in the industry through Backstage.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; MERULLA: MARY MCILVAINE PHOTOGRAPHY

I HAVE A NEPHEW WHO JUST started medical school at Harvard. He busted his ass and a few other body parts to get in, and I’m very proud of him. Unfortunately, all his classes will be online until the end of the year. How can medical school be effective under those circumstances?

I have no idea, but they’re finding a way—and drama schools are doing the same.

Most of the ones I contacted are going 100% virtual. A few have in-person classes. And some are scheduling a patched-together, Frankensteinian mix of both.

Those of you who just started the fall semester are facing unique difficulties, because acting classes are not the same as history or science courses.

They’re much more social. You have to interact with other humans, make eye contact, and sometimes you have to actually

your fellow students are doing.

Join or create a support group.

Organize online toga parties.

Get to know your teachers.

Arrange virtual screenings.

Become a Jedi master of Zoom.

The bottom line is you’ll have to be 10 times more flexible and proactive about how you approach your studies.

As for the effect this will have on me as an agent, my main concern is about the annual showcases in the spring of 2021. For those of you who don’t know, almost every drama school in the country sends their soon-to-be grads to Los Angeles and New York to perform for agents, managers, and casting directors. It creates a hectic pace for us because there are several shows every week, but I love it. The amount of talent on display is staggering.

How will the annual showcases work next year? Will the state of the pandemic allow students to travel and perform in other cities? Will a quarantine be necessary? I have no idea. I stopped thinking that far ahead when the world started shutting down. But I do know one thing: I don’t care if it’s in person or on Zoom; I’ll be there, and so will my Hollywood friends. You know why? It’s because this business is all about discovering and developing new talent, and none of us are about to allow a damn virus to stop us!

So here’s hoping the spring semester is wrapped in a warm blanket of normalcy. And I’ll leave you with this quote from Robert Frost: “In three words, I can sum up everything I’ve learned about life: It goes on.”

P.S. I just received an update from my nephew, and Harvard says he has to show up in person to dissect a human corpse. But it’s all good, because the corpse will be wearing a mask! Cue the laugh track.

Your role awaits.

Explore our leading contemporary theater and musical theater degree programs at bostonconservatory.berklee.edu/theater INTERESTED IN SUMMER TRAINING? Don’t miss our popular Musical Theater Acting Intensive and Musical Theater Dance Intensive.

Learn more online.

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Spotlighting the people and projects you need to know

In the Room With

USC School of Dramatic Arts Admissions

Three faculty members share what to expect when applying to the L.A.-based acting school

By Elyse Roth

story and experience and circumstance that the student has the potential to embody. That’s so much of the training over the four years; you are really able to stretch and strengthen and expand that. But you have to have a willingness and creative curiosity and suggestibility to play and explore and investigate in that way.

THE UNIVERSITY OF SOUTHERN CALIFORNIA’S PROXIMITY TO the hub of screen production is an obvious draw for those looking to “make it” in Hollywood, and the acting program’s deliberate focus on screen and new media disciplines help it stand out. But stage acting is certainly not forgotten in the multidisciplinary program. Beyond focusing on the talent students can bring to the School of Dramatic Arts, the admissions team says that it invites different points of view, especially from those who feel underrepresented in the arts. In conversation with Backstage, three of its members explain what they look for in applications and auditions to build their classes of 18 acting and 14 musical theater students each year: Kenneth Noel Mitchell, co-head of undergraduate acting and head of musical theater; Anita Dashiell-Sparks, co-head of undergraduate acting and associate dean of equity, diversity, and inclusion; and Sergio Ramirez, associate dean of admissions and student services.

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I want the raw potential.

Anita Dashiell-Sparks: One of the things that always gets me excited is getting a sense of the student’s creative curiosity and passion for what they do. I get excited about listening, watching, and hearing that spark that makes them want to do this. It’s

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Is there a certain background or training you expect students to have? KNM: I’m looking for a facility to work, to reveal what is human in your voice, heart, soul, and through your movement. You need to express yourself. There could be a wide range of experience, but it’s really that basic facility.

ADS: Have a capacity for your imagination—those possibilities of versatility and range within

Want more?

Read the full interview at backstage.com/magazine

backstage.com

ILLUSTRATION: RAQUEL APARICIO

What are you looking for in prospective USC students?

Kenneth Noel Mitchell: I think everyone is a leading lady or leading man in their life. I’m interested in what is unique and not trying to be unique. What is their voice?

They don’t have to be trained.

very challenging. It’s incredibly rewarding and fulfilling, but it requires an amazing amount of focus and discipline. I’m also interested in what they have devoted their extracurricular time to doing. It helps provide a holistic point of view about who they are. It’s not just indicative or contextualized by scores or grades.

What should students know about how you build a class?

Sergio Ramirez: Don’t look at everything I do as indicative of how you did in the audition. The evaluation comes in two touch points: the application and the audition. The more confident you are about who you are and the more you’re willing to share is always enlightening for us; our goal is to try to understand who you are. You can tell the difference between a student who, when you ask a question, is really thinking about what you’ve asked them versus a student who has answers ready.

That translates to the audition. If there’s a redirect in the audition and you see the student think about what the faculty members shared, we know they thought about how to move forward.

That tells us how you’re going to be when you’re here. You’re not just going to take direction from us; you really are thoughtful in every direction you take, whether it be in a casual conversation, an audition, or a class.

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PHD IN DOCUMENTARY ARTS & VISUAL RESEARCH (DAVR) And a certificate in Documentary Arts & Ethnographic Research (DAER)

Focusing In Always an entertainer in the grandest degree, Janelle Monáe is learning to use her voice to uplift, empower, and inspire social change in unprecedented ways

By C. Taylor Henderson - Photographed by Mancy Gant

WE’RE IN MONTH SIX OF THE PANDEMIC shutdown, and Janelle Monáe is feeling burnt out with the rest of us. It’s at times like these, she says, that self-care is key: “When you’re alone and by yourself and no one’s monitoring you, you have to actively and proactively make sure that you’re watering your garden and trimming your weeds.”

As Monáe searches for a quiet place to sit for our Zoom call, she takes off her widerimmed glasses that would sit too big on most faces but somehow frame hers perfectly. The Grammy-nominated singer-songwriter and actor is wearing just one dangling, arrowshaped earring, a hard-angled blue blazer, also oversized, and glitter around her eyes. Her curly hair is gleaming red, melanin glistening in the sun. This Black girl is magic.

The 34-year-old has two new movies out this fall: “The Glorias,” a biopic of feminist icon Gloria Steinem in which she plays Dorothy Pitman Hughes, and “Antebellum,” a reality-warping horror film from the producers of “Get Out.” Monáe has appeared in six movies since her first live-action role in 2016—nine if you count her voice work in “UglyDolls,” “Rio 2,” and “Lady and the BACKSTAGE 10.08.20

Tramp.” And she’s clearly doing something right, considering three have been major awards contenders: “Hidden Figures,” “Harriet,” and “Moonlight.” Plus, earlier this year, she made her leading role debut on the small screen on Amazon Prime Video’s second season of “Homecoming.”

“I don’t pick my roles; my roles pick me,” says Monáe, reflecting on the many bold Black women she’s brought to the screen. “I just have to do the work to reduce Janelle Monáe Robinson and allow those spirits of those characters to show up.”

Whether it’s through music or acting, Monáe has always known she was meant to create. “Art is my escape. Music is my escape. Theater is my escape. Since I’ve been out of the womb, I’ve always been creating worlds,” she reflects. “Whether it was playing with He-Man toys or Barbies, or pretending to know how to cook at a young age with Fisher-Price food, I was constantly telling stories and creating worlds that I could live in.”

Growing up, Monáe “dealt with a lot of joy and a lot of pain.” Her parents were both working-class people in Kansas City, Kansas,

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and they separated when she was a toddler.

But through any tumult, she found solace in performing. “Being on that stage has always been deeply therapeutic to me. It’s the only career I’ve ever seen myself having.

Outside of a scientist, I’ve never wanted to be anything other than an artist.” A later-in-life diagnosis of ADHD also explains why she never felt “meant to sit in a classroom.”

After doing international thespian competitions and after-school Shakespeare programs throughout her childhood, Monáe’s big shot was moving to New York City to study musical theater at the American Musical and Dramatic Academy. It was the opportunity of a lifetime—until it wasn’t. She quickly recognized that the Academy’s vision for her was a bit too cookie-cutter; and as the only Black woman in her class, she had an even smaller box to fit into.

“I knew that what the musical theater world was offering me at that time could not house my ideas,” she says. “My ideas were bigger than what parts on Broadway had to offer me. There was a certain edge I was looking for, a certain specificity only I could write.”

After a year and a half, Monáe dropped out. “Going to school there and dropping out and knowing that I’m not meant to walk in anybody’s shoes—I’m meant to create my own footprint—that is when I decided I had stories to tell.” She adds that her desire to “not want to sound or look or feel like everybody else” helped her follow through, despite backstage.com

the risks dropping out can pose to children of working-class families. That confidence and conviction still ooze out of Monáe even through the computer screen, and they have surely played a hand in her success.

“You think you are meant to do something, then do it,” she says simply.

Fans of Monáe knew her for her music before she was on the big screen. She released her first full-length album, “The ArchAndroid,” in 2010 following her 2007 EP, “Metropolis: The Chase Suite,” and collabortions with legendary artists like Outkast, Big Boi, and Sean Combs. Fans quickly latched onto hits like “Tightrope” and her chart-topping song with Fun., “We Are Young.”

Looking back, Monáe says she was making space for her creativity even then. “When I started off, it was always a production,” she says with a laugh. “There were bubbles on the stage. You saw me trying to do magic tricks. It never was just music. It was always a world, building a world, building a community for artsy kids, for artsy Black kids who don’t fit into mainstream and are not trying to fit into mainstream.”

Then the acting roles came along, and her practice of big-idea world building came in

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handy. Following her 2014 voice acting debut in “Rio 2,” her first onscreen role was Teresa in 2016 Academy Award best picture winner “Moonlight,” which tells the story of a Black boy named Chiron coming to terms with his sexuality in an unkind world. Monáe, who came out as pansexual in 2018 and uses both she/her and they/them pronouns, knows firsthand the impact that LGBTQ+ stories can have.

“Once I got those roles that started representing marginalized voices, that’s when I said yes to doing film,” she recalls. “These were stories that were important in our representation, and globally, it helped people understand our spectrum. We’re not monolithic, and we have so much to offer and we are important parts of our communities, big and small. That was what made me say yes to [doing] film, but it was always in my music.”

The character of Teresa felt familiar to her.

“Teresa’s spirit, her essence—I started there.

When I read that script, I knew Teresa. I knew her as my aunt; I knew her as my older cousin.

I knew Teresa as a great listener, a person who was nonjudgmental. a person who would take you in when you had nowhere else to go, a person that would feed you, just like my grandmother would. I knew that was the

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spirit that needed to shine through.”

When it came to “Hidden Figures,” Monáe knew that real-life aerospace engineer Mary Jackson had “a fire. This was a woman who was not going to be told what to do. She was not going to be told to just cook, clean, and shut up. She had ambitions of being the first Black woman engineer at NASA, and nobody was going to stop her from that. I had to start there, with that fighting spirit.”

Now, Monáe is taking on her first leading role in a film in “Antebellum.” She plays Veronica Henley, a successful author and activist hard at work dismantling the racist systems at play in the U.S. The character pays homage to many of Monáe’s idols and is a way of “honoring my ancestors,” she says. “[Veronica is] a Black woman who is reminiscent of all the Black women that I look up to and respect, like Maxine Waters, Ayanna Pressley, Angela Rye, Brittany Packnett Cunningham, Bree Newsome, Harriet Tubman, [and] Angela Davis. These women walk through life every single day with the burden on their back of dismantling white supremacy and systemic racism,” Monáe says. “And my character has this warmth to her because she is a mom, she is a wife.

But she put her community before her own safety and her own needs. We know a lot of people like that. Specifically, Black women do it all the time: show up for everybody when there is an injustice happening.”

“Antebellum” has certainly been a conversation starter. Over the course of the film, Veronica is sucked into a horrifying world that brutally depicts the realities of slavery while also underscoring the all-too-familiar images we’re bombarded with today of Black people dying at the hands of police. The film’s portrayal of slavery at first feels gratuitous, until its twist shifts the audience’s entire perspective. Due to the film’s violence, Monáe admits that the opportunity to star in “Antebellum” initially gave her pause.

“This wasn’t a project I said yes to immediately,” she says. “I, like so many people, struggle with seeing our trauma. It’s triggering. When you scroll up and down your timeline, do you want to repost what happened to George Floyd? Do you always want to repost videos of police officers killing Black people? No. Do you feel a responsibility to tell the truth about it and to make people aware of what’s going on? Yes. It’s a constant struggle, and we need to talk about that more.”

Part of that struggle, she says, is ultimately needing “to put our mental health on the back burner when we’re dealing with trauma.” But it’s her duty as an artist to tell the truth, “not [to] whitewash or water down what white supremacy has done, is doing, and will do to us if it’s still allowed,” she continues. “What made me say yes is that I felt like it connected the dots between the past, the present, and what can be the future.

There’s no way to talk about white supremacy [and] racial injustice without talking about chattel slavery, America’s first sin.” backstage.com

Once I got those roles that started representing marginalized voices, that’s when I said yes to doing film.

backstage.com

04.02.20 BACKSTAGE

This country has never properly atoned for the atrocities of slavery; its remnants are scattered throughout our institutions, our way of life, and even in our physical monuments celebrating Confederate leaders.

“Antebellum” challenges the notion of the past being behind us by juxtaposing Monáe’s character—quite literally enslaved and picking cotton in fields—with tragedies that are happening right now.

“When we talk about police, during the Civil War, the earliest institution in the South of policing was known as the slave patrol,” says Monáe, getting into a groove. “The slave patrol’s main goal was to hunt down and capture runaway slave people, to stop people from speaking and revolting. People think that [the] police was built on protecting and serving the community, but no. The earliest institution of policing was built on terrorizing Black people. When we’re screaming, ‘Abolish the police’ and ‘Defund the police,’ this is why: The police were built and established on racist policy.”

Stories involving Black trauma have been around for decades, but Hollywood has been reconfiguring them to fit our current moment. Consider Jordan Peele’s “Get Out” or Misha Green’s “Lovecraft Country,” in which the real-life anxiety and terror Black people have felt for centuries isn’t just exploited for shock value—it creates an uncomfortable reality with all-too-tangible stakes. These stories, along with “Antebellum,” are reinvigorating horror and breathing new life into long-standing pillars of the genre.

Monáe insists that while “Antebellum” meditates on what it’s like to be an enslaved person, that’s not what the film is at its core.

“I want people to understand that we don’t stay in that trauma, even though we have to tell the truth,” she says, knowingly nodding to her new single, “Turntables.” “This is not a white savior film; this is us taking power into our own hands. In the end, the tables will turn—and they are turning.”

It’s all to say that it takes unknowable strength and resilience to be a Black woman in America. And while her art began as a form of solace, Monáe has transformed her passion across media into powerful messages of liberation that uplift her communities. She emphasizes that her career has never been “about a hit song. It wasn’t about just putting out music. It was about purpose.”

And as our interview wraps, it’s clear that she has found hers.

Styling by Alexandra Mandelkorn. Makeup

by Jessica Smalls. Hair by Nikki Nelms. On second page: shirt by Polo Ralph Lauren, suspenders and pants by Ralph Lauren, shoes by Weejuns, hat by Gigi Burris, rings by Jenny Bird, earrings by DRU. On third page: suit and tie by Thom Brown, hat by Binata Millinery, shirt by Polo Ralph Lauren, shoes by Weejuns, ring by Aziza Handcrafted, earrings by DRU. BACKSTAGE 10.08.20

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backstage.com

CalArts School of Theater’s “Black Like Me”

The Right Fit One of these 5 schools could have the performing arts program for you

By Benjamin Lindsay JUST AS IMPORTANT AS BEING prepared for your college audition is knowing that the drama program you’re auditioning for is the glass-slipper fit for you.

We spoke with administrators at some of the nation’s top programs as part of our new Reaching Higher series and asked them: What advice do you have for students looking to narrow down their search? How can they find the right school for them?

CalArts School of Theater

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—Travis Preston, artistic director of the CalArts Center for New Performance and dean of the CalArts School of Theater

assistant dean

The Theatre School at DePaul University

“I think focusing on the right school for [the student] is the most important component of the search. There are so many options, both in [terms of] locations but also how programs are structured. I really think students need to first focus on what is important to them about the experience and be really honest about what type of environment will allow them to thrive. A conservatory like ours is definitely not the right choice for every actor, depending on what they want as part of their experience. If a student craves an intensive training environment in a large urban cultural center, they should definitely consider us. Other students may find our

26

University of Michigan

“Think about the educational and training outcomes you hope for, and look at universities that have had success in providing those outcomes. Have an objective sense of your best learning styles, what kind of educational experiences give you energy, and what kind of community brings you both confidence and challenge. These insights will help direct you toward a conservatory education or a university education; toward a big city, a college town, or a rural environment; toward highly focused professional training or broader educational experiences.” —Vincent J. Cardinal, chair, Department of Musical Theatre

“Do your research. As you’re looking at programs, list what they offer and take note of what they don’t. The coursework and degree requirements for a BFA in acting [are] going to look very different from a BFA in theater or a BA in drama. Which degree and program is going to give you what you want? Do they provide training that works for how you like to learn and at a level of rigor you can respond to? Where do you want to study? Do you thrive in smaller, more intimate environments, or are you energized by an urban location? Will the university offer you a community you can grow in? Lastly, do they value you for what you can contribute to the program?” —Robert Hoyt, director of admissions and recruitment, Department of Drama

UNCSA School of Drama

“Not every school is right for every student. Applicants need to ask themselves what they ultimately want out of their college experience. For instance, because we are a stand-alone arts conservatory, our students are intensely surrounded by multiple disciplines of art for four years; there are no sororities, fraternities, or football games.

Our environment is right for a certain kind of student who knows that they want a career in the entertainment industry right out of school and is maybe less interested in a more traditional college experience.

If conservatory training is the right path for you, look at the alumni who are working from the various programs. Once you narrow the list down and go through the audition process, pay close attention to the audition experience. Chances are that if you did not like the audition experience, that’s what you’ll be in for when you train there. Once you know where your offers are, that’s the time to visit and get a feel for things up close.” —Quin Gordon, director of recruitment and assistant professor

Want more? Read our full Reaching Higher interview series at backstage.com/magazine.

backstage.com

HAO FENG/CALARTS

“In selecting a program, you are embarking on an incredible artistic journey, through which you will become the pioneer of your own artistic expression.

Look for a community where you will be challenged and nurtured to build the artistry and skills needed to sustain a professional life in the arts. The training at CalArts is singular in many ways, but most importantly in that we are committed to helping you discover your individual artistic self. Experimentation, innovation,

adaptation, and resiliency are at the heart of a life in the arts.”

intensive training too restrictive if they have other academic goals, or may not be interested in a big city campus. The good thing is that there are a lot of good options all over the country; they just have to be really honest about where they might individually thrive.” —Jason Beck,

NYU Tisch School of the Arts

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

Submit a Notice |

New York Tristate

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. deadline is Oct. 09, 2020. All auditions will be done virtually. No live auditions will take place at this time. Artistic Director Robert Hupp, Associate Artistic Director Kyle Bass, and show specific directors will review the submissions.

Casting picks of the week

BY LISA HAMIL

• Syracuse Stage’s 20/21 season will be

Plays Syracuse Stage/Syracuse University 2020-2021 Season • Casting Equity actors for the Syracuse

Stage/Syracuse University 2020-2021 Season. Due to COVID-19, video audition submissions will be accepted in lieu of live Equity auditions. Season includes: “Miss Bennet: Christmas At Pemberley” (U/RTA – Co-Production with Syracuse University Department of Drama. Laura Gunderson and Margot Melcon, playwrights; Robert Hupp, dir.

Rehearsals begin Nov. 10, 2020; runs Dec. 4-20 2020), “Our Town” (LORT. Thornton Wilder, playwright; Robert Hupp, dir. Rehearsals begin Mar. 30, 2021; runs Apr. 23-May 9, 2021), “Yoga Play” (Dipika Guha, playwright; Melissa Crespo, dir. Rehearsals begin Feb. 9, 2021; runs Mar. 5-21, 2021), “Salt / City / Blues” (LORT. World Premiere; Kyle Bass, playwright; Tazewell Thompson, dir. Rehearsals begin May 11, 2021; runs June 4-20, 2021), “Talley’s Folly” (LORT. Lanford Wilson, playwright; Robert Hupp, dir. Rehearsals begin Oct. 6, 2020; runs Oct. 20-Nov. 15, 2020), and “Twilight: Los Angeles 1992” (LORT. Anna Deavere Smith, playwright; Steve H. Broadnax III, dir. Rehearsals begin Dec. 29, 2020; runs Jan. 22-Feb. 7, 2021).

• Company: Syracuse University. Staff:

Robert Hupp, artistic dir.; Kyle Bass, assoc. artistic dir.

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

18+.

• Seeking submissions from NY. • For consideration, submit no more than

two minutes of content of your choosing. A preference would be for the spoken word: a monologue, scene or poetry. You may submit existing material; you don’t have to create work specifically for this video audition. If the work you submit is longer than two minutes, indicate which two minutes you prefer we view. Video submissions should be unlisted (not private) YouTube links. Submit to: https://syracusestage. org/playsubmissions.php along with a link to a headshot resume. Submissions

BACKSTAGE 10.08.20

fully produced and available via recorded broadcast platforms. Live performance with limited audience capacity will only be allowed if state and local government officials and national labor unions approve a safety-first reopening plan later in the season.

stage

‘Mother Road’ Take the road less traveled to San Diego, CA

• Pays $885/wk. (LORT D); $924 weekly

film

minimum (URTA). Equity LORT Non-Rep / URTA Agreements.

Teenage Musical Sing your heart out in Palm Beach County, FL

Student Films

tv

• Casting “Ball,” a student short film that

‘Modern Love’ Open your heart to season 2 of this Amazon series in in Schenectady, NY

• Company: Feirstein Graduate School of

film

‘Ball’

tells the mystical story of a boy who steals a bouncy ball and winds up reckoning with much more than he bargained for.

‘Five Familiars’ Count your blessings in Los Angeles, CA for this feature remake of the award winning short

Cinema. Staff: Gabriel Long, writer-dir.-student.

• Shoots Nov. 6-8 (most likely one day/

potentially two) in NY.

• Seeking—Young Boy: male, 6-12, all

ethnicities, a curious, precocious and slightly devious young boy; he’s figuring out the difference between right and wrong as he makes his way through adolescence; this role is a peek into a pivotal and mystical moment of his childhood that leaves him wrestling with morality. Older Man: male, 45-75, a refrigerator technician (or at least he appears to be). In this role, he’s teaching a young boy a valuable lesson between right and wrong; it’s a lesson he’s learned before; he’s a quirky and eccentric sort, with dramatic mannerisms and a quirky sense of humor.

reality & documentary ‘The Price is Right’ Come on down (to your own living room) to compete for car and prizes.

• Transportation and meals provided!

Footage for acting reels and the potential of a future payout if the project is ever monetized/profitable.

‘Floodlight’

• Seeking submissions from NY. • Send submissions to gabe.long@feirst-

• Casting “Floodlight.” Synopsis: After

ein.film.

soccer practice, 15-year-old Camo struggles to make sense of new feelings for his teammate.

• For consideration, submit a current

headshot as well as your contact information and availability; if it’s a good fit, we’ll reach out to have an introductory conversation and see if things gel; excited to find a cast that’s excited by the concept and eager to make something beautiful we can all be proud of.

• Company: NYU. • Shoots Oct. 13-15 in NYC. • Seeking—Camo: male, 15-25, 15ish;

caught between growth spurts; predisposed to nosebleeds; scrappy and determined, but more comfortable carefully observing his world and those

28

around him. Alex: male, 15-25, 16; pretty and he knows it; popular but not unkind.

• Seeking submissions from NY and NJ. • Send submissions to charlietfilms@

gmail.com.

• Travel and meals covered by produc-

tion. COVID safety guidelines will be observed.

‘Panels’

• Casting “Panels,” a short student film

about a teenager learning how to deal with the death of his best friend and how he can find hope past it.

• Company: Reel Stories Teen

Filmmaking. Staff: Alexander Ortiz, writer-dir.

• Shooting TBD in November in NYC. • Seeking—Travis: male, 16-21, Latino /

Hispanic, a teenager who struggles with accepting his emotions after the loss of his best friend; one night Travis has a vision of his friend during a dream; and now he’s struggling to recreate that moment through his comic art. Chris: male, 16-20, Black / African Descent, Travis’ best friend who’s passed away; he appears to Travis in a dream, to help guide him through the loss, and to find hope beyond it.

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

works.org.

• This is an unpaid role. Actors will

receive a copy of the film.

‘The White Room’

• Casting “The White Room,” a student

short film. Synopsis: A man agrees to undergo a trial where he is confined to one room for two hundred and fifty days and slowly begins to mentally unravel.

• Company: Hofstra University. Staff:

Tyler Johnson, writer-dir.; Legend Watty, DP; Megan Laydon, 1st AC; Matt Zampino, prod.; Ross Dunsky, boom op.; Katrina Holm, gaffer; Bobby D’Elia, grip; Livi Eppell, art dir.

• Shoots Oct. 30-Nov. 1 in Nassau County

in on Long Island, NY.

• Seeking—The Man: male, 28-36, Black

/ African Descent, White / European Descent, lead; decides to undergo the trial in order to win the reward and pay for his dying son’s treatment, a decision his wife does not agree with. The Man starts out confident that he can get through the eight months of isolation, but begins to lose his sanity as the story progresses, and his constantly tempted to push a Red Button that would free him from his isolation, but automatically backstage.com

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casting New York Tristate forfeit the reward. Because of this, The Man’s emotional state deteriorates to a point of hopelessness by the climax.

There are two flashback scenes in the short film as well, and the character’s hair/beard grows as the story progresses (the film will be shot backwards to allow for this). The Guard: male, 35-45, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, a supporting character, seen only in the beginning and very end of the film, taking The Man to his isolated room, and freeing him at the end. He is described as being in good shape in the script. The Wife: female, 27-35, Black / African Descent, White / European Descent, against The Man entering the trial, as she does not want her sick and dying son to be without his father for so long. Although she appears more sincere when physically with The Man (in a flashback and at the film’s climax), when she appears as a hallucination as The Man’s sanity begins to unravel, she is more sarcastic towards her husband.

When he hallucinates her, her hair is more messy and unkempt. The Son: male, 5-11, Ethnically Ambiguous / Multiracial, White / European Descent, appears in one flashback scene, and briefly as a hallucination during two other scenes. However, he only has lines in the flashback. The Son is dying from an illness, and thus is the motivation for The Man entering the trial (in an attempt to win the reward to pay for the Son’s treatment). The

Director: male, 40-60, Black / African Descent, White / European Descent, appears in a flashback that shows when The Man originally signed a contract and agreed to undergo the trial. While not overtly “evil”, he is sarcastic towards The Man’s boast that he will win the trial. He provides some small insight into the nature of the trial, and his face is mostly obscured by the dark.

• Seeking submissions from NY. • Send submissions to jtyler82799@

gmail.com.

• Sides will be given during audition.

• No pay. Copy and credit, plus travel and

meals provided. No participation fee.

Scripted TV & Video Amazon’s ‘Modern Love,’ Season 2

• Casting season two of “Modern Love,”

the Amazon series based on the NYT article of the same name.

• Company: Grant Wilfley Casting. Staff:

Nikita GWC, casting assoc.

• Shoots Oct. 13-23 in Schenectady, NY

and surrounding area.

• Seeking—Featured Man With Face

Tattoos: 18+, all ethnicities, seeking SAG or Non-Union to portray a Featured Man with Face Tattoos; must have or be able to obtain tattoo clearance from artist; filming in

Schenectady, NY (locals only; you must be able to self-report with your own transportation!); mandatory COVID testing provided by production prior to filming if selected. Featured Couple Making Out (Real Couples Only): all genders, 26-51, all ethnicities, seeking SAG or Non-Union real couple to portray a Featured Couple Making Out; all couples are welcome (m/f, LGBTQ, etc), but do not submit unless you have a partner/spouse to work with; must be comfortable making out on camera; seeking real life couples only for COVID safety and comfort reasons; filming in Schenectady, NY (locals only; you must be able to self-report with your own transportation); mandatory COVID testing provided by production prior to filming if selected. Featured Latinx Man In Wheelchair: male, 18+, Ethnically Ambiguous / Multiracial, Latino / Hispanic, seeking SAG or NonUnion to portray a Featured Latinx Man in wheelchair; a Veteran type; note: you do not have to provide your own wheelchair; props will provide and you should be comfortable portraying this character; filming in Schenectady, NY (locals only; you must be able to selfreport with your own transportation); mandatory COVID testing provided by production prior to filming if selected.

Featured Tall Guy With Principal Actress (6’3” +): male, 20-33, all ethnicities, seeking SAG or Non-Union to portray a Featured Tall guy with the principal actress; looking for someone 6’3” or taller; filming in Schenectady,

NY (locals only; you must be able to self-report with your own transportation); mandatory COVID testing provided by production prior to filming if selected. Basketball Players In The Park (Special Ability): male, 18+, all ethnicities, seeking SAG or NonUnion to portray a Basketball Players in the park; must have experience and mid-high skill level; special ability rate: $188/8hrs; filming in Schenectady, NY (locals only; you must be able to selfreport with your own transportation); mandatory COVID testing provided by production prior to filming if selected.

Brooklyn Types w/ Cars: all genders, 18+, all ethnicities, seeking SAG AND Non-Union to portray Brooklyn Types with Cars; no red or white cars!

Specifically seeking cars from the year 2014 and earlier; when submitting, please note make, model, year, and color of car you have; filming in Schenectady, NY (locals only!!! you must be able to self-report with your own transportation); mandatory COVID testing provided by production prior to filming if selected. Ivy League College Students: all genders, 20-26, all ethnicities, seeking SAG AND NonUnion to portray Ivy League College Students; filming in Schenectady, NY (locals only; you must be able to selfreport with your own transportation); mandatory COVID testing provided by production prior to filming if selected.

18+ To Look Younger High School Students: all genders, 18-25, all ethnicities, seeking SAG AND Non-

in partnership with ASOLO REPERTORY THEATRE

MFA IN ACTING

+ Tuition waiver & stipend + Professional company membership + 6-week London study program + Professional Showcase + AEA membership on graduation

PRIVATE AUDITIONS:

JANUARY 11, 18 & 25, 2021 ALL 2021 AUDITIONS WILL BE ONLINE. U/RTA PARTICIPANT. DeAnna Wright (MFA ‘19) & Amanda Fallon Smith in Asolo Rep’s The Cake, directed by Lavina Jadhwani. Photo by Cliff Roles.

941.351.9010 EXT. 2316 | JCOURTEMANCHE@FSU.EDU ASOLOREP.ORG/CONSERVATORY

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casting New York Tristate Union to portray High School Students (18+ to portray younger); filming in Schenectady, NY (locals only; you must be able to self-report with your own transportation); mandatory COVID testing provided by production prior to filming if selected.

• A digital copy of the film will be

to the Schenectady/Albany/Troy, NY area.

‘Current Times’ Commercial

$165/10hrs. (Nonunion bg rate); SAG COVID test = $100. NU COVID test = $60.

• Company: Maev partners. Staff: Caleb

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

• Note: Do not submit if you are not local

• Pays $178/8hrs (SAG bg rate:);

Reality TV & Documentary ‘One Nation’

• Casting eligible voters for “One

Nation,” a documentary on the 2020 Presidential Election. Synopsis: Looking for voters on all sides of the political spectrum whether there’s a candidate you wholeheartedly support, or you’re trying to decide between the lesser of two evils.

• Company: NYU. Staff: Zani Wilson, dir.

• Shoots Oct. 15, Oct. 22, and Nov. 3 in

NYC.

• Seeking—Voter: 18+, all ethnicities.

• Seeking submissions from NY. • Send submissions to jw5150@nyu.edu.

provided.

National Commercials

Online Commercials & Promos Start Up Sleep Monitor Commercial

• Casting a sleep monitor commercial for

for a small digital bank.

a start up company. Casting personnel state: “Please note any submissions outside of Backstage will be ignored.”

Nunn, prod.

Robert Ravenscroft, prod.

• Casting “Current Times,” a commercial

• Shoots Oct. 17-18 in the NYC area.

• Seeking—Female Ride Share Driver:

female, 18-40, Black / African Descent, Must have a valid license and be able to drive. Construction Worker: male, 18-41, White / European Descent.

Grocery Store Worker: female, 18-43, Latino / Hispanic.

• Seeking submissions from NY. • Send submissions to caleb@maevpart-

ners.com.

• Company: Pan Up Productions. Staff:

• Shooting Oct. 12 & 13 in NYC. • Seeking—Lead Athlete 1: all genders,

22-35, all ethnicities, highly athletic people who actively run, workout, or play sports.

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

• For consideration, include a video reel

with your submission.

• Usage: 2-5 years.

• Must include a recent headshot and

reel. Production will request a short meeting over Zoom to provide more info on the project and to get a sense for your look and feel. Tentative casting date of Oct. 7.

• Day rate TBD.

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

Commercial & Fit Modeling Models for Sports Apparel Shoot

• Casting male and female models for a

sports apparel website shoot.

• Company: BLR Athletics. Staff: Widley

V., coord.

• Shoots in Middletown, NY. • Seeking—Male Model: male, 15-26.

Female Model: female, 16-25.

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

• Pays $150, plus meals provided.

Stage Staff & Tech Syracuse Stage/Syracuse University 2020-2021 Season, Equity Stage Manager

• Seeking backup Equity Stage Manager

for the Syracuse Stage/Syracuse University 2020-2021 Season. Season includes: “Miss Bennet: Christmas At Pemberley” (U/RTA – Co-Production with Syracuse University Department of Drama. Laura Gunderson and Margot Melcon, playwrights; Robert Hupp, dir.

Rehearsals begin Nov 10, 2020; runs Dec. 4-20 2020), “Our Town” (LORT. Thornton Wilder, playwright; Robert Hupp, dir. Rehearsals begin Mar. 30, 2021; runs Apr. 23-May 9, 2021), “Yoga Play” (Dipika Guha, playwright; Melissa Crespo, dir. Rehearsals begin Feb. 9, 2021; runs Mar. 5-21, 2021), “Salt / City / Blues” (LORT. World Premiere; Kyle Bass, playwright; Tazewell Thompson, dir. Rehearsals begin May 11, 2021; runs June 4-20, 2021), “Talley’s Folly” (LORT. Lanford Wilson, playwright; Robert

Be the future of theatre & performance Study your Bachelor’s degree in London BA (Hons) Acting BA (Hons) Contemporary Performance Practice BA (Hons) Theatre Practice Graduate degrees also available.

Find out more and apply: www.cssd.ac.uk/backstage

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casting California

Hupp, dir. Rehearsals begin Oct. 6, 2020; runs Oct. 20-Nov. 15, 2020), and “Twilight: Los Angeles 1992” (LORT. Anna Deavere Smith, playwright; Steve H. Broadnax III, dir. Rehearsals begin Dec. 29, 2020; runs Jan. 22-Feb. 7, 2021).

• Works in Albany, NY. • Seeking—Tour Leader/Entertainer: 18+.

• Seeking submissions from NY. • Send submissions to gabe@scarydc.

Robert Hupp, artistic dir.; Kyle Bass, assoc. artistic dir.

• Pays $70/tour.

• Company: Syracuse University. Staff:

• Season runs in Syracuse, NY. • Seeking—Equity Stage Manager: all

genders, 18+.

• Seeking submissions from NY. • All Stage Manager positions for the 20-21

Season are filled. Submit your cover letter and resume for possible backup/ emergency replacement consideration.

Deadline: Oct. 9. Submit to auditions@ syracusestage.org. or Syracuse Stage Stage Manager Candidates, 820 E. Genesee Street, Syracuse, NY 13210.

• Pays $884/wk. (LORT D); $1,131 wk.

(URTA). Equity LORT Non-Rep / URTA Agreements.

Gigs Ghosts of Albany Tour Guides • Seeking trained entertainers to lead

tour groups and teach the history of Albany while recounting the tails of its spooky past. Manager states: “Spook and scare as a one-person performance leading our ghost tours.”

• Company: Ghosts of Albany. Staff:

Gabriel Schoenberg, mgr.

com.

• For consideration, submit resume,

headshot, and reel (if available).

Southern California

audition video as a file attachment.

Email the link to your audition video to kheil@sdrep.org no later than Oct. 12.

Include pic. and res. in your email as attachments to kheil@sdrep.org. San Diego REP is committed to diverse casting. We encourage actors of all ethnicities, actors who are differently-abled, actors who are neuro-diverse, and actors who identify as LGBTQIA+ to audition. Non-AEA roles are also available.

• Pays $717/wk. (LORT D - pending Equity

approval of Health & Safety Plan.) Equity LORT Non-Rep Agreement.

has been the driver for two robberies.

He’s entrepreneurial minded, albeit slightly gullible. He still lives at home.

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

gmail.com.

• Submit headshot and reel.

• Pays current SAG-AFTRA Ultra Low

Budget rates.

Short Films ‘We Should Hang Out’

• Casting “We Should Hang Out,” a stu-

Plays

Feature Films

‘Mother Road’

‘Five Families’

Road.”

based on an award-winning short film of the same name.

• Casting Equity actors for “Mother • Company: San Diego Repertory

Theatre. Staff: Octavio Solis, writer; Sam Woodhouse, dir.; Patrice Amon, asst. dir.; Kim Heil, casting dir.

• Rehearsals begin Feb. 23, 2021; runs

Mar. 18-Apr. 11, 2021 in San Diego, CA. • Seeking—Equity Actors: all genders,

18+.

• Seeking submissions from CA. • All roles will have local, non-union

understudies. On video, perform two contrasting monologues, no more than three minutes total. Upload your video to YouTube, Vimeo, Dropbox, or other third-party platform; not send your

• Casting “Five Families,” a feature film

• Company: Burnt Tongue. Staff: Adam

Cushman, dir.-prod.

• Rehearses in early 2021 and shoots in

mid-Feb. 2021 in L.A.

• Seeking—Eddie Workman: male, 18-23,

White / European Descent, Jewish; has an older and a younger brother. They were raised by their grandfather who’s a career criminal. Their father was a former cop turned drug dealer who was murdered when they were small.

Eddie’s passion is cars and he works as an auto mechanic. He also does occasional insurance jobs for friends and

dent short about a couple of high school friends who are forced to spend time with each other after the government issues a stay at home order at the most inconvenient time.

• Company: CBU. Staff: Jared Rhodes,

student filmmaker.

• Shoots Oct. 28-30 at 10635 Aster Leaf

Lane and Moreno Valley Mall in Moreno Valley, CA. • Seeking—Cassius: male, 18-26, all eth-

nicities, an eccentric film lover who has very particular tastes and opinions; he is easily offended with those who don’t agree with his opinions and will go to great lengths to convince them that their opinions are wrong; in this film however, he serves as a chaotic force when one such individual insults his opinions on a specific director that he dislikes. Kim: female, 18-26, all ethnicities, an eccentric individual who is

California casting never the one to take charge in a situation, rather whatever situation provides the most entertainment for her is what she’ll end up doing; she makes a living through multi level marketing and sneakily tries to make the characters (specifically the MC) join her. Steven: 18-21, all ethnicities, the anxious character in this film; he is constantly worried about his safety and survival especially since he is the butt of many jokes from other supporting character Cassius; he is the youngest of the group so his naivete about the world serves as fuel for Cassius’ antics.

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

• No audition necessary, if we watched

your video reel.

• Meals will be provided.

Student Films ‘Curbside,’ Fall 2020 Intermediate Production Film, Chapman University Dodge College

• Casting “Curbside,” a short student

film project under the Chapman University Dodge College of Film and Media Arts. Synopsis: Hot off the heels of the worst day of his life, a disgruntled telemarketer reevaluates his personality with the help of an unexpected source. Safety Protocols: In order to create a safe work environment for our

talent and production team, we are taking the following precautions: Face masks will be worn by both cast and crew at all times. Hand washing station will be available. Cleaning and disinfecting of props, costumes, and shared equipment. Covid-19 Testing for all cast and crew. Temperature checks for both cast and crew before entering set.

Craft services will be replaced by healthy, single serving options. Lunch catering will be single serving and socially distanced. In addition to these protocols, no member of cast or crew will be permitted to perform or work if they either test positive or show symptoms of Covid-19 less than 14 days prior to production, and subsequent measures will be taken in order to fill their position. We wish to maintain a high level of integrity and transparency, and strive to create the highest quality content possible.

APU T H E AT E R ARTS

S TA G E A N D S C R E E N A C T I N G T R A I N I N G

• Company: Independent. Staff: Michael

Placenti, coord.

• Shoots TBD for one day in Orange

County.

• Seeking—John: male, 40-50, White /

European Descent, an older, middle aged man who has just had the absolute worst day of his life; he lost his job, his wife, his car broke down, etc; with the help of Melissa, he contemplates his life choices and realizes what got him where he is today.

Melissa: female, 20-25, Latino / Hispanic, White / European Descent, a young, but wise individual; skinny, with blond hair and brown eyes; she works

ACTING

Act on professional stages, shoot a web series with professionals and perfom in a LA industry showcase.

Create. Challenge. Change. www.viterbo.edu/theatre

AUDITIONS

h t t p : / / w w w. a p u . e d u / v p a / p ro g r a m s / a c t i n g - m a j o r- b f a / a d m i s s i o n /

casting California as a prostitute only because she has nowhere else to go; she has seen a lot, and uses that to her advantage in every interaction she has.

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

• Pay provided.

‘Iago’

• Casting “Iago,” a short film adaptation

of the play “Othello” by William Shakespeare.

• Company: San Diego State University.

Staff: Jacob Tragarz, dir.-prod.

• Rehearsals will predominately be held

online, date and times TBD; shoots midto-late October on the San Diego State University campus in San Diego, CA. • Seeking—Othello: male, 20-45, Black /

African Descent, a strong leader with a good moral compass; though abrasive, he never lacks empathy; unlike Shakespeare’s other tragic heroes, Othello’s biggest flaw is not ambition, greed, or indecision, but trust; it is his trust in Iago that ultimately leads to his tragic downfall. Iago: male, 19-40, White / European Descent, evil incarnate; on the outside he has a charismatic, caring (if semi-sarcastic), and honest persona; when he talks to you, he makes you feel like you’re the most important person to him at that moment. It’s all a facade, however, as in truth Iago is only self-serving; the second you’re no longer useful to him, he’ll stab you in the back and claim it was your friend; that’s the danger of Iago. Cassio: male, 19-35, Ethnically

Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, White / European Descent, young Michael Cassio is the former right-hand man of Othello; early in the play (prior to the scenes in this film), he is relieved from his duties by Othello for his inappropriate drunken behavior; nonetheless, he is fiercely loyal to his ex-boss and will do anything to regain his favor, making him easy pickings for Iago’s manipulation. Desdemona: female, 18-35, Asian, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, is Othello’s wife; she’s compassionate, loyal, and headstrong; if she wants something to happen, she’ll get it to happen, but she never lets her manners slip in the process; Desdemona and Othello have a very egalitarian marriage, treating each other as equals rather than one dominating the other.

‘Mass Ave’

• Company: Biola University. Staff: Alec

Staff: Guo Guo, prod.

• Shoots Nov. 6-8.

• Seeking—Avalyn: female, 16-25, all eth-

will be online, either live or prerecorded. When applying, specify your availability for throughout the month of October.

to be SAG to apply. Production follows SAG rules.

• Send submissions to jtragarz@sdsu.edu.

• Due to the COVID pandemic, auditions

• Full payment for travel expenses will be

offered. Up to $10/day will be offered as a per diem for food expenses.

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

Salerno, dir.; Jacob Cornett and Nicole Henderson, casting dirs.

• Casting “Mass Ave,” an AFI thesis film.

• Company: American Film Institute.

• Shoots Oct. 26 or 27 within 30 mile

zone in Los Angeles, CA.

• Seeking—Caucasian Man: male, 50-65,

White / European Descent; this wealthy resident notices what he deems to be suspicious characters on his street and calls the police; in his mind, he must do his best to protect the people and neighborhood that he holds so dear; it’s not that he is a bad person, however, in this moment his underlying prejudice gets the best of him; day player. Male Cop #2: male, 30-40, White / European Descent; this police officer, focused on his job to the highest degree, attempts to back-up the officers apprehending Macca and Saidu for crimes they did not commit; loyal to his team, he continues to support the other officers as the situation worsens; day player.

• Seeking submissions from CA. • Send submissions to jguo@afi.edu.

• SAG Standard Fee Deferred. Don’t have

‘Route’

• Casting “Route,” a student film.

Synopsis: Two friends, Avalyn and Isaiah, must navigate a difficult time in their lives as, right before their senior year, Isaiah must unexpectedly move away, leaving Avalyn to deal with the consequences.

nicities, a suburban girl who is trying to survive the jungle of teenage life and high school. She is an intelligent and sensitive girl who is aware of her mental and emotional well-being as well as those of whom she cares about. Isaiah: male, 16-25, all ethnicities, a suburban teenager who is confident, adventurous, and charmingly mischievous within his high school hallways. He has lived with his divorced mother for over three years and is now facing the reality of moving with his father in Wisconsin per his parents’ divorce agreement. Bill: male, 30-55, all ethnicities, stepfather of Avalyn.

Verbally abusive toward his stepdaughter. Sandy: female, 30-55, all ethnicities, mother of Avalyn. Scared of her husband’s abusive tendencies but is still supportive of Avalyn.

• Seeking submissions from CA. • Send submissions to jacob.r.cornett@

biola.edu.

• Auditions will be held via Zoom.

• No pay.

‘Starling’ Sizzle

• Casting for a sizzle trailer for an

upcoming short film “Starling,” a drama about addiction and love.

• Company: Cal State LA. Staff: Josias

Lopez, dir.; Logan Bauer, prod.-writer.

• Shoots TBD in Los Angeles, CA.

ANYTHING IMAGINABLE. CHAPMAN UNIVERSITY is the best place to hone your craft, turn passion into profession, and create anything imaginable with faculty who know your name.

B.A. THEATRE BFA SCREEN ACTING BFA THEATRE PERFORMANCE Accredited institutional member of the National Association of Schools of Theatre.

APPLY & AUDITION:

chapman.edu/copa/auditions (714) 516-5223 copaadmit@chapman.edu Talent awards, academic scholarships and financial aid assistance available.

One University Drive | Orange, California 92866

California casting • Seeking—Cierra: female, 20-30, all

ethnicities, an intern for a tabloid company who wishes she could go back into the world of acting; her only escape is a drug that takes her into this dream world where she is that world star actress; but then she finds a person that might change all of that.

Kennedy: all genders, 20-30, Black / African Descent, Ethnically Ambiguous / Multiracial, Non-Binary and with great fashion, Kennedy is an intern at a tabloid company who strives to do their best; they have a thing for Cierra and constantly throw hints towards her; they finally catch her attention and soon finds out her demons that might affect their relationship.

• Seeking submissions from CA. • Send submissions to josiahlevi89@

gmail.com.

• Note your availability, and include an

audition tape(s), we will not be doing inperson auditions. Online submissions.

• Meals provided. No participation fees

required.

• Shoots the weekends of Nov. 4 and 11 in

L.A. Only one actor is needed at a time and we are aiming on two shooting days total, one day per each actor (two in case more coverage is needed).

Reshoots the weekend of Nov. 18 if necessary.

• Seeking—Amy: female, 18-26, all

ethnicities, unhealthily obsessed with David. At first she wants to be by his side, but after feeling the burn of rejection, she searches for the gratification of revenge through turning the tables. David: male, 18-26, all ethnicities, an up-and-coming music artist who gets satisfaction from his numerous amount of fan mail.

He acts coldly towards his fans until he unknowingly drinks a love potion.

Soon, his life depends on finding reciprocation of affection from Amy. • Seeking submissions from CA. • Apply on Backstage.com.

• Auditions online, virtually. Callbacks

will be scheduled. Submit reel if available.

• No pay. Copy and credit provided.

‘The Mandrake’

• Casting “The Mandrake,” a student

short film. Synopsis: Amy is obsessed with David and has a massive crush on him. He never answers her letters so she uses a mandrake, a mythical root, to create a love potion. Once he is deeply in love with her, she turns the tables and makes him suffer through her ignorance and coldness.

• Company: Columbia College

Hollywood. Staff: Abraham Herrera, dir.

‘The Store’

• Casting “The Store.” Synopis: A grocery

store employee and wannabe novelist struggles to overcome the monotony of life during a pandemic to rediscover his creativity.

• Company: Sacramento State University

Film Department. Staff: Kelton Arcado, student.

• Rehearsals will be done primarily over

video calls, such as Zoom or Facetime;

Marci Liroff C A S T I N G

D I R E C T O R

Private Coaching

Private Coaching

Your audition should not feel like a visit to the doctor!

After working for over thirty years as a Casting Director with some of the best directors and producers in our business, I have gained an extensive knowledge of what it takes to get the job.

For the last several years, in addition to my ongoing casting work, I have been coaching actors to help them prepare for upcoming auditions and projects.

In an intimate one-on-one setting, I map out each actor’s personal path for success. It is your time to show us what you’ve got. I will help you feel more in your body than you’ve ever felt before.

Available in Los Angeles or worldwide thru Skype or Facetime.

For more information please visit http://marciliroff.com

casting California exact production dates and times are TBD but is aimed to begin filming around the second week of November 2020 in Santa Rosa, CA. • Seeking—Jeff: male, 20-25, all

ethnicities.

1 YEAR MFA IN ACTING

27 SEP 2021 – 19 AUG 2022 Renowned for producing artists such as Olivia Colman, Sir Daniel Day-Lewis and Sir Patrick Stewart, Bristol Old Vic Theatre School offers an intensive one-year MFA Acting program for artists who reside outside of the UK.

For further information and details of how to apply, please see: oldvic.ac.uk/mfa

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

csus.edu.

• Note: “The Store” is a short film

written by Sacramento State film major, Kelton Arcado, who will also be directing this piece. The crew consists of other Sac State film majors who are completing their senior capstone course (Film 185) this semester. Set locations will be based in Santa Rosa, CA. • For consideration, introduce yourself

and explain your interest in this role.

Also read the following lines of dialogue for George found on Backstage.com.

• 0Travel stipends and meals will be

covered.

‘Two Guerrilla’

• Casting “Two Guerrilla.” Synopsis: Two

undercover agents decide to start their own journey to destroy a terrorism group, but a crucial decision leads them in an unexpected and inevitable situation.

• Company: New York film Academy.

Staff: Shivan Giri, prod.

• Shoots TBD in Los Angeles, CA. • Seeking—Maaz: male, 18-40, Middle

Eastern, South Asian / Indian, an ex military officer, who served five years of tremendous missions for the sake of national security; from his enduring field experiences, he faced some dark truths of government and military systems, he doesn’t want to be a part of a system where he wasn’t able to perform his duties with rightful manner; he was feeling pressurised under the government system which was full of dirty politics and secret; he wanted to serve the nation, on his own terms, with his own techniques, without any bondage with the government system; so, he took an early retirement from the Military services, and started a new journey with his friend, Armaan.

Armaan: male, 18-40, Middle Eastern, South Asian / Indian, an ex military officer, court martialled as he operated an unofficial mission to kill some terrorist without any official government orders so he left army and joined his ex colleague on his journey.

• Seeking submissions from CA. • Send submissions to Shivan.giri@nyfa.

edu.

• First casting round Oct. 9 from 1-5 • Travel expense, meals, credit for the

Photo: Graham Burke

movie, and final copy of the cut provided.

@bovtsbristol

@bovts

• Seeking submissions from CA. • Send submissions to t.pan@student.

nyfa.edu.

• First casting Oct. 17 on Zoom. Off book.

Make a choice for how you would play the character.

• Travel expenses, meal, film credit, and

final copy of the film provided.

Reality TV & Documentary ‘The Price Is Right,’ Contestants

p.m.(Zoom session.).

WORLD-CLASS TRAINING – MADE IN BRISTOL

negative, and gloomy woman; she was nihilistic; she barely had friends because she was ashamed of her situation; she had been abused mentally and physically by her husband; however, after finally standing up to her husband, she now has a new mission and feels the need to protect anyone she perceives to be in her past position; her neighbor, Sarah, becomes the focus of her desire to be a vigilante and she decides to insert herself into Sarah and Mike’s dysfunctional relationship.

Sarah: female, 18-36, all ethnicities, a married woman in her mid-20s; she’s smart and generous; she quit her job and moved from her country to the US because of her lovely husband, Mike; they’ve been married for two years; she’s a housewife because her husband spoils her; her handsome sweet husband always pleases her, and randomly gives her surprises; the only problem is that she has to deal with Mike’s high temper if things are not going his way; her greatest fear is losing Mike’s love, and even though he abuses her, she still can’t leave him. Mike: male, 25-40, all ethnicities, 32 years old, is a manager in a bank and an efficient hard worker; he’s nice and attractive; the only problem is that he had been physically and mentally abused by his father since he was six; his only regret is that he didn’t have a lovely home; now, he has a sweet foreign housewife, Sarah; he loves his wife so much and likes to spoil her and randomly give her surprises in order to stay positive and build a sweet, nice home with his wife; unfortunately, he can’t stop himself from abusing Sarah when things don’t go his way. John: male, 25-40, all ethnicities, a talented man, Rachel’s husband; he’s an artist; however, he has mental stressed issue; sometimes, he gets violent when he struggles; he is the main reason for the protagonist to change her character arc.

• Seeking contestants who are looking

woman, with a past history of traumatic spousal abuse, witnesses her neighbor being victimized by her abusive husband and decides to take action.

for a chance to win cash and prizes on the game show “The Price Is Right.”

Casting producer states: “Come on down! You’re the next contestant on ‘The Price Is Right.’ Would you like to hear those words? Here is your chance to scratch off that bucket list item.

Apply today.”

Staff: Tsai-Yi Pan, dir.

Middleton, casting prod.

‘Ultimatum’

• Casting “Ultimatum.” Synopsis: A

• Company: New York Film Academy.

• Company: Pitman Casting. Staff: Cevin

• Shoots TBD in Los Angeles, CA. • Seeking—Rachel: female, 18-36, all

• Shoots from home via Zoom.

• Seeking—Contestants: all genders, 18+,

ethnicities, late 20s, was a pessimistic,

BACKSTAGE 10.08.20

all ethnicities.

38

backstage.com

Everything You Know About Voice Acting Is About To Expand.

LIVE. ONLINE. GLOBAL.

NOV. 20-22 TIX: SOVAS.ORG #LetsGetVoiceActorsWorking

casting California • Seeking submissions from CA. • Send submissions to cevin@pitman-

casting.com.

• No pay.

Music Videos ‘Park Nine’ Music Video

• Casting supporting actors to play

clones of artist Audrey Nuna in a music video.

• Company: Meanwhile, LLC. Staff: Kyle

Nolan, prod.

• Shoots Oct. 18 in L.A. • Seeking—Audrey Clone: female, 18-25,

Asian, Southeast Asian / Pacific Islander, extremely important role in the video shoot. Must look as close as possible to the singer Audrey Nuna and be able to mimic her moves and actions throughout the video.

• Seeking submissions from CA. • Send submissions to kyle.nolan215@

gmail.com.

• For consideration, include your

headshot, reel, Instagram link, phone number, and email address in your submission.

• Pays $150/8 hours (paid upon wrap via

check or Venmo).

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

theatre.psu.edu

Online Promos & Commercials

Stories is a contest challenging creators to tell a story using only sound.

Female Hand Model for Frozen Dessert Social Campaign

and Oct. 10.

• Casting a female hand model for a

frozen ice cream sandwich brand social media photo shoot.

• Company: n/a. Staff: Ashley Quach,

writer-dir.

• Pays $884/wk (LORT D - pending

• Rehearses and records between Oct. 1 • Seeking—Announcer: all genders,

30-50, a classic commercial pitch voice.

• Company: DR Photography. Staff: Derek

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

• For consideration, note your availability

• Shoots Oct. 8 or 9 (half-day shoot/two-

• There is no cash compensation, but

R., photographer.

three hours) in San Jose, CA.

• Seeking—Female Hand Model: female,

25-35, Asian, White / European Descent, role involves hand holding desserts.

• Seeking submissions from CA. • Send submissions to hello@iamderekr.com.

• Provide hand modeling samples or

pictures of your hands holding smaller than palm-sized objects (ideally cookies or something similar).

• Pay provided.

Film & Documentary (Voiceover) Sound Stories: ‘The Future is Now... Later’

• Casting a commercial spoof advertising

products using state of the art green technology for Sound Stories. Sound

Chelsea Smith, Production Manager, 79 Horton Plaza, San Diego, CA 92101.

Submissions deadline is Oct.12.

for Oct. 1-10 in your submission.

copy will be provided. Winning projects will be featured in Backstage and win prizes up to $5,000 in prizes, to be distributed among cast and crew.

Equity approval of Health & Safety Plan.) Equity LORT Non-Rep Agreement.

Northern California Plays

Stage Staff & Tech

‘Monument, Or Four Sisters: A Sloth Play’

“Mother Road,’ AEA Stage Manager

• Company: Magic Theatre. Staff:

• Seeking video submissions from Equity

actors for “Monument, or Four Sisters: A Sloth Play,” a play by Sam Chanse.

Giovanna Sardelli, dir.; Sonia Fernandez, interim artistic dir.-casting dir.; Karina Fox, casting assoc.

• Seeking AEA Stage Manager for

“Mother Road.”

• Company: San Diego Repertory

• Rehearsals begin Apr. 27; runs May

Theatre. Staff: Octavio Solis, writer; Sam Woodhouse, dir.; Patrice Amon, asst. dir.; Kim Heil, casting dir.

26-June 13 in San Francisco, CA. Dates are subject to change.

• Seeking—Amy: female, 18+, Asian, the

• Rehearsals begin Feb. 23, 2021; runs

Mar. 18-Apr. 11, 2021 in San Diego, CA.

• Seeking—AEA Stage Manager: 18+.

• Seeking submissions from CA. • For consideration, submit resume and

cover letter to csmith@sdrep.org or

eldest/first sister. A passionate marine biologist and mother who brings her work home with her. Offers unconditional support to her sisters but is not overly sentimental about it.

Tells it as it is. Late 30s/early 40s. Also

BACHELOR OF ARTS

THEATRE

BACHELOR OF FINE ARTS

ACTING MUSICAL THEATRE THEATRE DESIGN + TECHNOLOGY COSTUME/LIGHTING/ SCENIC/SOUND/ TECHNICAL DIRECTION STAGE MANAGEMENT

MASTER OF FINE ARTS ‡Accepting applicants in

Fall 2021 for Fall 2022 program entrance.

THEATRE DESIGN + TECHNOLOGY COSTUME DESIGN/ COSTUME PRODUCTION DIRECTING FOR MUSICAL THEATRE‡ MUSIC DIRECTING FOR MUSICAL THEATRE‡

National/Regional casting

plays Cesar the Sloth. Constance: female, 18+, Asian, the younger middle/third sister. Works in television.

The only female writer on the TV show Slothcapades. Has ambitious goals for her career but seeks approval from those around her. Mid-30s. Also plays Julio the Sloth. Mac: female, 18+, Asian, The youngest/fourth sister. Has somewhat recently left a job. Used to be a playwright and misses the community. Mid-30s. Also plays Miguel the Sloth. Madgelena: 18+, Asian, a brilliant and badass female sloth who is constantly saving the day. Always has a plan. Resourceful and extremely knowledgeable. Rides a motorcycle.

Also plays Lina the second oldest sister, Asian American.

• Seeking submissions from CA. • Send submissions to auditions@magic-

theatre.org.

• For consideration, indicate roles of

interest in your submission to auditions@magictheatre.org. We will respond with appropriate sides within 2 business days. Note: The tone of the play is light and buoyant. Don’t let the serious nature of the scenes drag down the tone. Submissions deadline is Oct. 23.

• All characters in the play identify as

Asian American Women. Local actors particularly encouraged to submit. All auditions will be video submissions. No auditions will take place at Magic’s physical location.

• For more info, visit www.magictheatre.

org.

• Pays $664/wk. Equity Bay Area

Theatre, Tier 4 Contract.

Stage Staff & Tech ‘Monument, Or Four Sisters: A Sloth Play’ SM • Seeking an Equity stage manager for

“Monument, or Four Sisters: A Sloth Play,” a play by Sam Chanse.

• Company: Magic Theatre. Staff:

Giovanna Sardelli, dir.; Sonia Fernandez, interim artistic dir.-casting dir.; Karina Fox, casting assoc.

• Rehearsals begin Apr. 27; runs May

26-June 13 in San Francisco, CA. Dates are subject to change.

• Seeking—Stage Manager: 18+, all

ethnicities.

• Seeking submissions from CA. • For consideration, submit resume and

cover letter to Jackie Hill, Production Manager at jackieh@magictheatre. org. Submissions deadline is Dec. 20.

• For more info, visit www.

magictheatre.org.

• Pays $799/wk. Equity Bay Area

Theatre, Tier 4 Contract.

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

National/ Regional Plays ‘A Strange Loop’

• Casting Equity actors for “A Strange

Loop.”

• Company: Woolly Mammoth Theatre

Company. Staff: Michael R. Jackson, book-music-lyrics; Stephen Brackett, dir.; Rona Siddiqui, music dir.; Raja Feather Kelly, choreo.

• Rehearsals begin May 2021 in

Washington, DC.

• Seeking—Usher: male, 18+, Equity

actor for the role; Black; mid-20s; a self-described “young overweight-toobese homosexual and/or gay and/or queer, cisgender male, able-bodied university-and-graduate-school educated, musical theater writing, Disney ushering, broke-ass middleclass far left-leaning black-identified and classified American descendant of slavesfull of self-conscious femme energy and who thinks he’s probably a vers bottom but not totally certain of that obsessing over the latest draft of his self-referential musical ‘A Strange Loop”; extremely self-aware and extremely insecure with a warm but deeply ironic sense of humor; he wears

Musical Theatre

B.F. Ain. Theatre arts

www.molloy.edu/theatre-arts Manhattan & Rockville Centre, NY

his intelligence on his sleeve and in his writing; an usher by night, musical theater writer by day; Tenor, Eb3-B4.

• Seeking submissions from DC. • For consideration, email

AStrangeLoopCasting@gmail.com for instructions on how to submit a video audition by Oct. 16, 2020.

• Pays $700/wk. Equity SPT Agreement.

Utah Shakespeare Festival 2021 Season, Equity Video Submissions

• Casting Equity actors for the Utah

Shakespeare Festival 2021 Season.

Season includes: “Intimate Apparel” (LORT D company in repertory with Cymbeline. Lynne Nottage, playwright; Tasia A. Jones, dir.

Rehearsals begin June 8, 2021; runs July 19-Oct. 9, 2021), “Cymbeline” (LORT D company in repertory with Intimate Apparel. William Shakespeare, playwright; Britannia Howe, dir. Rehearsals begin June 7, 2021; runs July 20-Oct. 9, 2021), “The Comedy of Errors” (LORT B. William Shakespeare, playwright; Vincent Cardinal, dir. Rehearsals begin May 11, 2021; runs June 26-Sept. 11, 2021), “Richard III” (LORT B. William Shakespeare, playwright; Cameron Knight, dir. Rehearsals begin May 10, 2021; runs June 25-Sept. 10, 2021), “Pericles” (LORT B. William Shakespeare, playwright; Kent Thompson, dir. Rehearsals begin May 10, 2021; runs June 24-Sept. 9, 2021), “The Pirates Of Penzance,” (LORT B.

casting National/Regional Gilbert & Sullivan, playwrights; Cassie Abate, dir.-choreo.; Jeremy Mann, music dir. Rehearsals begin May 10, 2021; runs July 2-Oct. 9, 2021), “Ragtime” (LORT B. Terence McNally, book; Stephen Flaherty, music; Lynne Ahrens, lyrics; Brian Vaughn, dir.; Brad Carroll, musical dir.; Keenon D. Hooks, choreo. Rehearsals begin May 11, 2021; runs July 3-Sept. 11, 2021), and “The Comedy of Terrors” (LORT B. John Goodrum, playwright. Rehearsals begin July 2, 2021; runs July 30-Oct. 9, 2021).

separate notice in November.

Staff: Brian Vaughn, artistic dir.; Tanya J. Searle, artistic assoc.

• Company: Franck Casting. Staff: Alison

• Company: Utah Shakespeare Festival.

• Season runs in Cedar City, UT. • Seeking—Equity Actors: all genders,

18+.

• Seeking submissions from UT. • For consideration, submit videos or

links (w/PDF of headshot and resume) to casting@bard.org. Submissions will be accepted through Oct. 15, 2020.

For singers: Shakespeare verse monologue and brief song that shows your vocal range; for non-singers Shakespeare verse monologue and contrasting contemporary monologue. State your name and what pieces you will be doing at the top of your video. Videos should not be longer than three minutes total.

Submissions will be viewed by Brian Vaughn, Artistic Director and Tanya J. Searle, Artistic Associate. Stage manager applications will be accepted starting in December. Watch for

• Pays $1,008/wk (LORT B) and $739/wk.

(LORT D). Equity LORT Agreements.

Feature Films Teenage Musical

• Casting teenage actors who can sing

for a new original motion picture.

Production states: “Producers and creative team from Broadway and L.A. are joining forces on a new feature film.”

Franck, casting dir.; A Stage Door Films Production.

• Start Date January 2021/TBD (depend-

ing on Covid19) in Palm Beach County, Florida.

• Seeking—Mandy: female, 15-17, all

ethnicities; unconventionally attractive girl next door look; intelligent, artsy, and a little shy/ awkward; we see the story unfold through Mandy’s eyes when her dad takes a teaching job at an elite private school on the east side of town to give her a top-notch education; she wants to fit in with the wealthy ‘privileged’ students but feels invisible to them, and longs for more out of high school life than academics; goes through a journey of self-discovery. Must be great with using body language to convey a message; must be comfortable with kissing scenes; must be a strong singer and move well

(dance training preferred). LEAD. Kayla: female, 15-17, White / European Descent; pretty, cunning, and selfcentered leader of the ‘it’ group in school; she exudes confidence and reeks of entitlement; high-end fashionista and very aware of appearances; can be ruthless when leadership is questioned or tested, and will turn her back on friends if they no longer serve her needs; character becomes very unsettled after life altering event shakes up her world; looking for actor who can convey strong emotional depth and expression; must be comfortable with kissing scenes; must be a strong singer and move well (dance training preferred). LEAD. Jake: male, 17-21, all ethnicities, to realistically play 18-19, all ethnicities; Evelyn’s attractive, pompous, yet well-liked college boyfriend; clean cut, muscular build and strong jaw line; former allAmerican, quarterback in H.S. and the son of a very wealthy politician who chastised him throughout his childhood when he didn’t measure up to perfect; highly goal-oriented and used to getting (or taking) what he wants – without consequence – and thus struggles with and lies about having to play 2nd string QB at college; can become frustrated, hottempered and volatile when he doesn’t feel complete control over things in his life; has a secret dark side. Must be comfortable with kissing scenes; talent must have some

experience playing football and be able to properly throw a ball; must be able to sing; SUPPORTING LEAD. Gavin: male, 15-18, all ethnicities; boyish good looks and charm, charismatic, artistic and “cool” without trying; veery popular, but not your stereotypical in crowder; good listener and friend; has a friendly, adventurous spirit, which when matched with his impulsivity, leads to unintended double trouble in the relationship department; must be comfortable with kissing scenes; must be able to sing and move; ability to play guitar is a bonus; SUPPORTING LEAD. Dana: female, 15-18, all ethnicities; a little “edgy” and sarcastic; doesn’t belong to any crowd and doesn’t want to; she interacts freely with those around her, no matter the clique they’re in; fearless; not afraid to put herself out there, because she moves past what others find awkward and finds beauty and humor in things that others miss; she is, embracingly and contently, her own person; must have great comedic timing, presence, energy, and confidence; must be able to sing (Belter), and move well (dance training preferred); SUPPORTING LEAD. Jennifer: 15-18, all ethnicities; ubertrendy and pretentious; the gossip girl of the in-crowd, and social media influencer; the kind of girl who makes all her decisions based on her social media platform and brand; must be able to sing, and move well (dance

Your Talent,

ON STAGE

Photo by Eric Woolsey from the 2018 production of Three Sisters

L E IG H GE R DI NE

College of Fine Arts

partners with The Muny, St. Louis’s summer home to professional musical theatre, and the St. Louis Shakespeare Festival.

The CONSERVATORY of Theatre Arts at Webster University is the only undergraduate training program that has a major regional theatre and an opera company on campus. The Repertory Theatre of St. Louis and The Opera Theatre of Saint Louis offer unparalleled opportunities for study. The Conservatory also

Majors include Performance (Acting and Musical Theatre); Directing; Stage Management; Scene, Costume, Lighting, Sound and Wig and Makeup Design; Costume Management; Technical Production; Scene Painting; and Dramaturgy.

Learn more at webster.edu/conservatory.

Web U_Backstage_OCT20.indd 1

9/17/20 9:29 AM

National/Regional casting

training preferred); SUPPORTING. Olivia: female, 15-18, all ethnicities; stylish and savvy trust fund girl with a wild side; the cattiest member of the in-crowd, and a real mean girl to anyone outside the group; she holds both herself and others to a high standard and puts a lot of pressure on her own shoulders to do things well; must be comfortable with same sex kissing scene; must be able to sing, and move well (dance training preferred); SUPPORTING. Kat: female, 15-18, all ethnicities; naturally pretty, surfer girl type (will not need to actually surf); member of the in-crowd and enjoys the party scene, but has a free-spirit coolness factor that conveys her individuality from the group as the less catty, easy-going one; must be comfortable with same sex kissing scene; must be able to sing, and move well (dance training preferred); SUPPORTING. Billy: male, 15-18, all ethnicities; very outgoing and funny member of the in-crowd; he’s the epitome of zest and enthusiasm, the life of the party; genuine person who means well, but not taken seriously; provides the comedic relief; must have great comedic timing, presence, physicality, energy, and confidence; must be able to sing and dance well; SUPPORTING. Ty: male, 15-18, all ethnicities; cares more about partying and girls than anything else; part of the in-crowd, though very content doing his own thing; must be able to sing, and move;

SUPPORTING. Betty: female, 25-40, all ethnicities; quintessential high school drama teacher; strong vocalist.

Megan: female, 13-15, all ethnicities; nerdy but trendy; must be able to sing, and move; FEATURED. Stella: female, 13-15, all ethnicities; nerdy but trendy; must be able to sing, and move; FEATURED. Mia: female, 13-15, all ethnicities; nerdy but trendy; must be able to sing, and move; FEATURED. Ian: male, 13-15, all ethnicities; nerdy but trendy; must be able to sing, and move; FEATURED. Kali: female, 9-12, White / European Descent; trendy, outgoing and full of life; must be able to sing and dance well; FEATURED. Dave: male, 40-50, all ethnicities; Mandy’s father who works at the school; proud, supportive, and understanding parent who only wants the best for Mandy; always checking up on her making sure she’s okay.

• Seeking submissions nationwide.

• For consideration, email submissions to

teenage.musical2020@gmail.com.

• Pays $206 min. for leads; $125 min. for

Non Union Supporting. SAG Ultra Low Budget Agreement.

Student Films ‘Ben,’ SCAD Student Thesis Film

• Casting “Ben,” a story of Ben struggling

in his movie dreams and cruel reality.

Note: We know that filming is challenging during this period, and we will do our best to ensure the safety of the actors and crew members. SCAD has clear On-set Productions Safety Protocols, and all shooting will follow these safety protocols. We will carry out complete disinfection and protection measures, provide complementary disinfection products, regularly measure and record the body temperature of on-set members, and avoid physical contact.

• Company: SCAD. Staff: Popply Zhao,

dir.; Zhen Guo, prod.; Ruitong Zhao, prod.; Gray Ma, DP.

• Shoots Oct. 16-18, 2020 in Atlanta, GA

and Oct. 19, 2020 in Savannah, GA.

• Seeking—Ben: male, 21-35, all ethnici-

ties, a person who wants to pursue his movie dreams but lacks his abilities; he is not firm in his will and easy compromises with reality.

• Seeking submissions from GA. • Send submissions to yuzhao27@stu-

dent.scad.edu.

• No pay.

‘Dog Control’

• Casting “Dog Control,” a student film

about a killer balloon dog that is on the run and attacks a group of friends during their Zoom call. Production states: “Beware. You’re in for a scare. The students of CSULA are paying homage to ‘Goosebumps’ with their own twisted tale.”

• Company: California State University

Los Angeles. Staff: Angie Amezcua, casting dir.; Isaiah Alexander, casting

dir.; Tiffani Calvillo, prod. Richard Santoyo, dir.

• Rehearses and shoots on Saturdays

remotely. Any other meetings during the week will be scheduled based on availability.

• Seeking—Jennifer: female, 18-30, a

law student who is in a loving relationship, or so she thinks. Facial expressions are very dominant for this character. Her reactions tell you all you need to know. John: male, 18-30, quiet with the best poker face. Seems uninterested in everything. Very monotonous. Jayden: female, 18-30, bubbly attitude. Has mastered putting on a happy face to hide her secrets.

Ramon: male, 18-30, loving boyfriend with a suave nature. Balloon Dog: 18+, showcase your best sinister/creepy/ kooky voices in your reel.

• Seeking submissions nationwide.

• Send submissions to amezcuaangie18@

gmail.com.

• In your cover letter, note your availabil-

ity on Saturdays and indicate any recording equipment you may already own (microphones/cameras). Also note if you have any roommates or anyone in your household who can assist in the remote filming process.

• Film credit and copy of final product

will be provided.

‘Enfants de Papel’

• Casting pour “Enfants de Papel,” un

film-these de Harvard sur l’identité des sans-papiers. Synopsis: Lorena a 17 ans et vite aux Etats-unis comme sans-

UNIVERSITY OF ILLINOIS DEPARTMENT OF THEATRE

ILLINOISTHEATRE

CODY CHEN The Joffrey Ballet Production Manager

BETSY BRANDT TV: Marie Schrader on Breaking Bad, Life in Pieces, Michael J. Fox Show; FILM: Magic Mike, Quest

JOIN OUR

working alumni theatre@illinois.edu | 217.244.6189

JON MICHAEL HILL BROADWAY: Superior Donuts (Tony Award Nom., Outer Critics Circle Award); TV: Det. Marcus Bell on Elementary, Detroit 1-8-7

MALLORY PORTNOY Originated the role of Gertie Cummings in the Tony-award-winning Broadway revival of Oklahoma!

JACK MEHLER Lighting and Scenery Designer for Live Entertainment, Consultant for Performance Venues

SHANOLA HAMPTON TV: Veronica on Shameless, Miami Medical, and related numerous film credits

Join us for your BFA and make theatre that matters.

New in Fall 2021 - BFA in Arts and Entertainment Technology We offer BFA, MFA, MA, and PhD degrees in Acting, Costume Design and Technology, Lighting Design and Technology, Media Design and Technology, Scenic Design and Technology, Sound Design and Technology, Stage Management, and Theatre Studies.

casting National/Regional papiers. Elle a des correspondances avec Doïna, une fille sans-papiers à Paris.

• Casting “Children of Papel,” a movie -

thesis of Harvard on the identity of non - papers ... Synopsis: Lorena is 17 years old and soon goes to the United States without paper. She has connections with Doina a girl without papers in Paris.

• Company: Harvard. Staff: T.

Dominguez, coord.

• Répétitions virtuelles en Novembre;

tournage virtuelle Décembre.

• Virtual rehearsals begin November; vir-

tual shoot will be held in December.

• Seeking—Doïna: female, 18-22, Asian,

Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, ce rôle est complètement virtuel. This role is completely virtual.

• Seeking submissions nationwide.

• Send submissions to taniadomin-

confidentialité sera une priorité. Pour plus d’informations, veuillez visiter ou contactez nous pour message privé. https://forms.gle/ NW9mwDcjzUMkHmPb8 • Although my goal is to make currently

undocumented people the central agents of this project, formerly undocumented people, people from mixed status families or anyone close to this problem are also welcome. You don’t have to reveal your status, unless you want to. Anyone is welcome, with no supposed status, and privacy will be a priority. For more info, visit or contact us for private message. https://forms. gle/NW9mwDcjzUMkHmPb8.

• No pay.

Scripted TV & Video

guez321@gmail.com.

‘Women of the Movement’

sorte que les personnes actuellement sans papiers soient les agents centraux de ce projet, les personnes autrefois sans papiers, les personnes appartenant à des familles à statut mixte ou toute autre personne proche de ce problème sont également les bienvenues. Vous n’avez pas pour révéler votre statut, à moins que vous ne le souhaitiez. N’importe qui est le bienvenu, sans statut supposé, et la

the story of Mamie Till Mobley and her son Emmett Till.

• Bien que mon objectif soit de faire en

• Casting “Women of the Movement,”

• Company: Aisha Coley Casting. Staff:

Aisha Coley, casting dir.; Marissa Jo Cerar, Jay-Z, Will Smith, James Lassiter, Jay Brown, Alex Foster, David Clark, Rosanna Grace, Aaron Kaplan, Dana Honor, Michael Lohmann, Gina PrinceBythewood, and Tyran “Ty Ty” Smith, prods.

• Shoots January-May 2021.

• Seeking—Emmett Till: male, 13-15,

Black / African Descent, 14-years-old, Black, 150 pounds, 5’3”, with piercing hazel eyes, a slight limp, and a bit of a stutter. Born and raised in Chicago, Emmett is a city kid, a smart, sometimes cheeky, but quick-witted young man. A smooth talker and a real charmer. Naive when it comes to the ways of the world, he is thrilled to be able to visit his relatives in Mississippi where he soon discovers that there is a huge racial divide in the South after an incident with a white woman causes a terrible stir, and Emmett begins to feel a deep longing for home. Casting states: “We are committed to inclusive, diverse casting. For every role, submit qualified performers, without regard to age, sex, ethnicity, disability, race, color, national origin, sexual orientation, gender identity, or any other basis protected by law unless otherwise specifically indicated.”

• Seeking submissions nationwide.

• Send submissions to acoley200@aol.

com.

• Payment TBD.

• Company: Lpinsolutions. Staff: Michael

Dixon, president.

• Shoots in the Atlanta, GA area.

• Productions date tentative is Jan. 15-16

2021.

• Seeking—George Wilburn: male, 55-70,

White / European Descent, comes from the old fashion world of executives. His father worked in insurance and was the breadwinner and his mother stayed at home. George Wilburn now evolved came from the world of a man should the head of things and women or somewhat lesser. He started his own tech company called Datalysis and is very successful, but began to realize that in order for his company to grown, he would have to change, so he accidentally bumped into a hypnotist on an air trip while seating in the first-class section. They happened to be staying at the same hotel, and he bumps into the hypnotist again in which after a conversation, agrees to try hypnosis to improve just one thing in his life. From then on after seeing the benefits, started to incorporate the concept of personal and professional development in the office.

• Seeking submissions from AL, GA and

Multimedia ‘Mind Over Stress’

• Casting for a video professional docu-

mentary/training video, “Mind Over Stress.” The maximum time of filming will be two days.

LA.

• Send submissions to lpinsolutions@

gmail.com.

• Note of any experience with hypnosis,

and must be willing to go through induction as part of a scene. The wardrobe requirement is a suit, loafer, thin black socks (ex. metropolitan over the calf).

theatre.indiana.edu

Master of Fine Arts

Acting, Costume Design, Costume Technology, Directing, Dramaturgy, Lighting Design, Playwriting, Scenic Design, and Theatre Technology

Nationally Recognized Faculty Member of URTA & USITT NAST Accredited Professional Summer Theatre

Bachelor of Arts Theatre & Drama

Bachelor of Fine Arts Musical Theatre Contemporary Dance

IU Midsummer Theatre Camp & IU Summer Dance Intensive for high school students

Water by the Spoonful (2019), photo by Daniel Meeks

National/Regional casting

• Pays $900/day, plus hotel. No

participation fees required. The company plans to apply for a SAGAFTRA New Media Agreement.

• The president has authorized for those

actors selected for an audition will have their travel compensated and half of their hotel expenses, should they decide to arrive the day before the audition.

Online Commercials & Promos

be reviewed. Conducting callback interviews via Zoom.

• Seeking submissions nationwide.

• Send submissions to emily@narra-

shoot via Zoom. Nonunion.

• Pays $75 flat rate.

Beauty Professionals for Expert Interviews

cooking sets, ice cream sets, and tea sets from Kidzlane.

• Seeking beauty professionals for

• Company: Trigger Casting. Staff: Sarah

expert interviews about different beauty- and health-related topics.

Seeking the following types of beauty professionals: board-certified dermatologists MD, MD dermatologists, board-certified dermatologists, licensed cosmetologists, licensed estheticians, masters in cosmetology, board-certified licensed cosmetologists, hairstylists and makeup artists, and beauty editors (who speak on camera or work at a magazine).

• Shoots Oct. 21-22 (needed for one hour)

Elayda, prod.-prod. mgr.

National Commercials Insurance Print Advertisement

• Casting a print advertisement for a

known insurance agency.

Sapien, casting dir. in Chicago, IL.

• Seeking—Portrait Talent: all genders,

25-80, all ethnicities, open to all types.

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

triggerchicago.com.

• Pays $250 for one-hour shoot, plus an

additional $750 if image is used in final edit. Usage if used: worldwide, full buyout of images indefinitely, holding exclusivity in car insurance.

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

• Company: Scale Media. Staff: Sean

• Shoots via Zoom or locally in L.A. • Seeking—Beauty Expert: all genders,

30-55, all ethnicities, male or female.

Passionate, friendly, upbeat, enthusiastic, able to break down complex ideas into more digestible sound bites, authoritative, kind, and welcoming.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, submit a self-tape,

introducing yourself, telling one fun fact about yourself, and explaining your experience and credentials in beauty,to casting@scale.tech. All submissions will

• Pays $650 for one-day local or remote

Kidzlane Toy Videos

• Casting videos for color-changing

• Pays $200 per half-day. Use is in

Mix. Staff: Lizeth Solis, dir.

• Two half-day shoots on dates TBD in the

Chicago, IL area.

• Seeking—Boy: male, 3-5, all ethnici-

ties, must be cooperative, enthusiastic, and imaginative. Girl: female, 3-5, all ethnicities, must be cooperative, enthusiastic, and imaginative. com.

perpetuity.

Online Ad for Athletic Wear Brand

• Company: La mas Chingona Michelada • Shoots Oct. 10 (4 p.m.) in Richmond,

TX.

• Seeking—Female: female, 21-40,

• Company: Narrative Ads. Staff: Jackie

Latino / Hispanic, preferably Hispanic heritage; full of life, independent, sassy, and charming. Being the best host at the party. Male: male, 21-35, all ethnicities, a little shy, but willing to try new things; once he gets comfortable, he too can be the life of the party and filled with confidence.

• Works remotely.

• Seeking—Athletic Female: female,

gmail.com.

• Casting athletic women in a commer-

cial for a well-known athletic wear brand. This is a work from home opportunity and the project will be for online and social media ads. Must be nonunion or SAG-AFTRA eligible.

Ng, casting dir.

20-30, all ethnicities, comfortable and experienced in doing athletic poses on camera.

7 Acting, Musical Theatre, Design Tech, Education 7 Equity Membership Candidate Program 7 Master Classes with World-Renown artists 7 Collaboration with DanceNOW/NYC 7 Annual Film Festival 7 State of the Art TV/Film Equipment and Production Facilities Available in Your First Year

@dsuperformarts

• Casting two roles in a product commer-

• Seeking submissions from IL. • Send submissions to casting@purei.

Levandoski, prod.

Theatre • Dance • TV/Film

DeSales.edu/performingarts

Product Commercial, La mas Chingona Michelada Mix

cial for La mas Chingona Michelada Mix. Synopsis: Commercial will be a fun party atmosphere with a cool 1950s costume change. The main character will be the female character. In her role, she will greet her friend, the male character, who arrives at the party. Because she is a good friend and hostess she offers him a drink before he joins the party. She offers him the best michelada mix. Both parts have some lines to remember.

• Company: PUREi. Staff: Matthew

Earn a Bachelor’s Degree in

Pippin, 2019

tiveads.com.

• Seeking submissions from TX. • Send submissions to lmchingona@

• Include a video reel and cover letter.

• Hourly pay and food and drinks will be

provided. There will be a change of

casting

National/Regional clothing so if the actor/actress doesn’t have the clothes, they will be provided.

Product Launch Video for Writing Tool • Casting product launch video for

Astrohaus’s “Freewrite Traveler,” a distraction-free writing tool for the professional writer on the go. Production will consist of two days of filming, featuring the talent in various locations using the “Freewrite Traveler.”

• Company: Clum Creative.

• Shoots Oct. 15-16 in Cleveland, OH. • Seeking—The Writer: all genders,

27-34, the talent for this production will be playing a writer who is trying to battle the distractions that plague them, eventually overcoming those distractions thanks to the help of the product, “The Freewrite Traveler” a portable distraction-free digital word processor. In addition, the talent will be providing voice-over detailing some of the features of the product.

• Seeking submissions from OH. • Send submissions to will@clumcre-

ative.com.

• Do not contact studio directly. Only

submissions via Backstage.com will be considered for roles.

• Pays $1000/day for two days. All-in pay-

ment that includes day rate, usage, full buyout, any applicable agency costs, travel, etc.

• Seeking submissions worldwide.

• Apply on Backstage.com • Note availability to record, and if you

have access to professional audio equipment and/or a recording studio.

For more info on the contest, visit https://join.backstage. comsoundstories-register/.

Film & Documentary (Voiceover)

• No pay. Winning projects will be

featured in Backstage and win prizes up to $5,000 in prizes, to be distributed among cast and crew.

Sound Stories: “The Call”

• Casting The Call,” for Sound Stories

contest. Sound Stories is a contest challenging creators to tell a story using only sound. Synopsis: Story is about a man calling his father.

• Company: Think Happy Media. Staff:

Uri Rosenrauch, dir.

• Records TBD. • Seeking—Father: male, 60+. Son:

35-55. Nurse: female, 30-70.

Sound Stories: ‘The Phone Call’

• Casting “The Phone Call,” a sound only

story for the Backstage Sound Stories 2020 Contest. Both the casting and production recording will be performed over the phone and using online meetings, as appropriate. Sound Stories is a contest challenging creators to tell a story using only sound.

• Company: Twilight Glow Films LLC.

Staff: Nitin Patil, dir.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Winning projects will be featured in

• Tentatively works remotely Oct. 9-16.

• Seeking—Neel: male, 30-40, an Indian

Backstage and win prizes up to $5,000 in prizes, to be distributed among cast and crew. Compensation includes potential prizes listed on the contest landing page.

American and a family man living in the US for over 10 years. Dad: male, 50+, an Indian about 70 years old; he is the father of Neel (lead) and loves his son, who is living in the US.

Sound Stories: ‘Office Calls’ • Casting “Office Calls,” an audio story

for the Backstage Sound Stories Contest. Sound Stories is a contest challenging creators to tell a story using only sound. Synopsis: This story begins in a normal, boring office but takes a sharp turn when the truths of privilege and ignorance are unlocked.

• Staff: Jonathan Keyes, dir.-prod.-editor.

• Records remotely the weeks of Oct. 12

and 19. Preference given to actors with professional audio equipment or access to it.

• Seeking—Boss: all genders, 18+, typical

uppity boss that works for a sales

BACKSTAGE 10.08.20

company and is paid far more than he or she is worth; does not care at all about the world around them, and is only concerned with the progression of their own career. Can be a youthful or mature voice. Open to many interpretations. Employee: all genders, 18-41, youthful sounding, naive, employee just trying to survive the day to day workings of their job they are only at to make enough money to achieve their real dream. Open to any interpretations or accents. Voice 1: all genders, 18+, the ‘choir’ of the story, if you will. These voices question the thoughts and privilege of the Boss.

BIPOC and/or LGBTQIA+ people encouraged to submit. Also a plus if you can speak a non-English language.

Voice 2: all genders, 18+, the ‘choir’ of the story, if you will. These voices question the thoughts and privilege of the Boss. BIPOC and/or LGBTQIA+ people encouraged to submit. Also a plus if you can speak a non-English language. Voice 3: 18+, the ‘choir’ of the story, if you will. These voices question the thoughts and privilege of the Boss. BIPOC and/or LGBTQIA+ people encouraged to submit. Also a plus if you can speak a non-English language.

46

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Sides will be provided in advance.

Casting between Oct. 5-8. See the following link for details and contest rules: https://join.backstage.com/ soundstories-register/.

• Pays $25 for the production shoot/

recording. In addition, 10% of the potential cash prize of the contest (if awarded). No participation fees required. Winning projects will be VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

National/Regional casting featured in Backstage and win prizes up to $5,000 in prizes, to be distributed among cast and crew.

Animation & Video Games (Voiceover) ‘Hunt a Killer’ Voiceover Roles

• Casting men and women ages 55-65 for

voiceover roles in “Hunt a Killer,” an upcoming interactive mystery game.

Director of production states: “At ‘Hunt a Killer,’ our mission is to revolutionize the entertainment industry by challenging conventional forms of storytelling.

We provide interactive entertainment experiences that position participants as characters in their very own thrilling mystery stories.”

• Company: Hunt a Killer. Staff: Melissa

LaMartina, dir. of prod.

• Records remotely in Oct.-Nov. • Seeking—Jody: female, 55-65, White /

European Descent, takes much pride in the small Maine island where she lives.

She used to be a strong woman but has become passive-aggressive and negative. Jody is an office manager, mother, and grandmother. Martin: male, 55-65, a charismatic and strong businessman who takes great pride in his work and home. Most people on the island view him as a friend and ally, but Martin can be very manipulative. He could have been a great politician, but he’s comfortable as a big fish in a little pond on the small island. Jordan: 55-65, a sleazeball. Divorced multiple times, he’s the type of guy who wears gold chain bracelets and a pinky ring. Jordan is too tan and seems to always be wearing boat shoes. He’s well-off but not wealthy and portrays himself as having much more money than he actually does.

• Seeking submissions nationwide.

• Send submissions to melissa.lamar-

tina@huntakiller.com.

• See audition sides.

• Pays $200/role. Each role appears in

one approx. five-minute audio scene.

Audiobooks & Podcasts ‘Dawn of Tomorrow, Episode III’

• Casting the second episode of “Dawn of

Tomorrow,” a serialized podcast made in the style of a fictional radio broadcast set in the 2150s. Synopsis: A retrofuturistic, steampunk inspired world where space exploration, science, and adventure rule supreme.The first episode can be found below.

• Company: The Carellini Co. Staff: Peter

• Seeking—Alacritous Thoi: female,

23-46, A young, beatnik-like spaceship racer coming up in the ranks - and for the first time in ten years, a serious challenge to Sacino, the reigning champ of the Yula Circuit; Alacritous talks fast, and says only what needs to be said; all she wants to do is “go fast, and keep going fast” ever since she stole her uncle’s motorcycle when she was ten; Alacritous talks in a raspy voice that sounds almost like this clip (starting at :10): https://www.youtube.com/ watch?v=OUNIm-bB9Wo; seeking Southeast Asian only actresses for the role. Bisselem: transgender male, 38+, in this galactic world, the planets that have been settled on by human explorers one hundred and fifty years ago have begun to slowly but surely sprout civilizations of their own - and that includes the silver-screen, as new styles developing are all the rage; that includes Bisselem, Ice Atlas’ premiere actor, musician, and poet, now Nor Vinaley’s (a cosmic hub of the arts) hottest up and coming superstar; Bisselem is an overtly humble, nervous, Michael Shannon-like introvert who only comes onto the show because he feels comfortable in front of Piesch; very in touch with his emotions and sensitivities, Bisselem’s popularity stems from that innocence: think Samwise Gamgee meets Jimmy Stewart; as Bisselem is from Ice Atlas, he is shorter and stouter, and with a thin, hoarse voice developed from living in the cold.

• Seeking submissions nationwide.

• Send submissions to plc297@nyu.edu.

• Include an audio reel in your

submission.

• Pays $175 for the Alacritous Thoi role,

and $100 for the Bisselem role.

Workshops The Vulnerability Workshop

• Seeking participants to learn the most

powerful exercises in our signature approach for immediately deepening your work and making yourself more available to the script, your partner and your characters reality. Synopsis: These tools can also be converted to actual preparations used on set or prior to an audition. This workshop doubles as an experiential, learn-by-doing seminar and an intense workout, giving the actor an unparalleled learning and artistic experience. Ideal for newcomers and advanced actors alike.

• Company: The Folster Studio. Staff:

Sean P Folster, facilitator.

• Runs Saturday, Oct. 10 from 3-5 p.m.,

EST.

• Seeking—Actors: 20-62, all ethnicities,

advanced beginner to professional actors welcome.

• Seeking submissions nationwide.

• Send submissions to info@thefolster-

studio.com.

• Cost: $70 for two-hour workshop.

Carellini, actor-creator.

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

• Records within the next two weeks

after the actor is chosen and contacted. backstage.com

47

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4790

3384

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1175

1175

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2072

746

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Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert

—@alfredramirezactor

It’s not uncommon for a person who has been out in the world for a few years (or longer) to discover that they need to retool. Looking in a mirror, they realize that they’re not the same person they were in college. They have more life experience. They have a greater awareness of the professional arts industry. They know how they’re seen by casting directors, filmmakers, and producers. They have a sense of their strengths and limitations, and are looking for assistance on how to correct, or at least minimize, the latter.

Elite athletes, even those at the peak of their profession, often continue to work with coaches.

They understand that an outside perspective can lead to breakthroughs that will benefit them in both the short and long term. Going to graduate school for an actor is akin to Tiger Woods working with his coach to learn a new golf stroke or Roger Federer collaborating with a mentor to improve his tennis serve. Attending graduate school or taking graduate courses can be a proactive step toward improvement for any actor.

Many actors choose graduate school because they’re seeking access to professional networks to further their careers. Most prominent graduate programs have engaged alumni—affectionately called their “mafia”—who serve as volunteer mentors, offer workshops, and create employment opportunities for current students as well as recent graduates.

Increasingly, the possession of a Master of Fine Arts degree is a requirement to obtain a teaching position at a college or university. I’ve encountered easily recognizable actors who, despite their professional credits, discovered that they couldn’t be hired as a full-time faculty member without having an undergraduate (and, increasingly, a graduate) degree.

Graduate schools are exciting places, in part because they move at a faster and more intense pace than undergraduate programs. You read more. Theater history and dramatic literature are often required. You make more theater. It’s not uncommon for a graduate student to spend 10–12 hours every day in class or studios. You’re surrounded by fellow students who, like you, are completely dedicated to acting and have chosen to invest significant time and money (which often involves loans) in the pursuit of a professional career in theater, television, and film. *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 10.08.20

48

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; YOUNG: COURTESY HARVEY YOUNG

Harvey Young is the dean of the College of Fine Arts at Boston University.

Why should an actor attend grad school?

Manhattan School of Music

MU SICAL THEATRE LIZA GENNARO ASSOCIATE DEAN AND DIRECTOR

MSMNYC.EDU

Office of Admissions and Financial Aid Manhattan School of Music

130 Claremont Avenue, New York, NY 10027 917-493-4436 admission@msmnyc.edu

Master of Fine Arts in Performance Pedagogy

You already know your craft.

Now come learn how to teach it.

APPLY NOW!

lmu.edu/mfapp