Backstage Magazine Digital Edition: November 12, 2020

11.12.20

5 Pages OF CASTING NOTICES

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2020 Wasn’t What We Expected.

Innovate. Adapt. Reach Higher.

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Contents

Cover Story

ICONS: MAXIM KULIKOV/THE NOUN PROJECT

State of the Arts

An in-depth look at how the film, television, theater, and voiceover sectors are managing during the pandemic

vol. 61, no. 26 | 11.12.20

The Green Room Advice

Features

Casting

4 Paradigm and Film2Future team up for underserved teens

9 CRAFT The benefits of virtual acting

3 BACKSTAGE 5 WITH...

Mark Strong

19 New York Tristate

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

10 #IGOTCAST Kelly Fine

7 Thomas Middleditch on “B Positive” and making your own opportunities

10 SECRET AGENT MAN Safety first, folks

9 THE ESSENTIALISTS Jennifer Davisson, producer

20 California 21 National/Regional Cover photo illustration by Eric Heintz. Cover designed by Ian Robinson.

11 IN THE ROOM WITH Russell Boast 24 ASK AN EXPERT Tony Rossi on dealing with industry stress

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8 MEET THE MAKER Hannah Fidell, “A Teacher” creator and showrunner

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BACKSTAGE, vol. 61, no. 26 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201.Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Backstage 5 With...

Mark Strong

By Allie Volpe

After his start on the U.K. stage led to a breakout TV performance in 1996, Mark Strong made the transition to film acting, building an impressive résumé playing spies, soldiers, and villains in “Sherlock Holmes,” “Kick-Ass,” “Zero Dark Thirty,” “1917,” “Shazam!” and more. Now, Strong is making a return to TV, starring in and executive producing the medical drama “Temple,” airing in the U.S. on Spectrum Originals.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: KATHY HUTCHINS/SHUTTERSTOCK.COM

What advice would you give your younger self? As a younger actor, you’re never aware where the next job is coming from, and every job feels like your last. The advice I’d give my younger self is: Relax, enjoy the moment, and know you’re lucky enough to have a career in the business. The advice I’d have for other actors is not to despair and not to let anybody else’s success interfere with your own journey.

What’s the wildest thing you ever did to get a role? I haven’t, actually! In the U.K., when I started acting, you would meet directors in the room, [and you wouldn’t] be required to learn the scenes. You would usually just talk about the part and read the scenes, the implication being this is the first stage of a process. Now, I feel quite sorry for younger actors; you’ve got to deliver instantly in your audition tape. I can understand that they might employ any means possible to stand out from the pack, particularly as it’s become so easy now for everybody to go on tape. I was fortunate in that I was never required to have to use that kind of thought process.

camera pointed at me. I’d usually just read the scene for the director. Suddenly being faced with a camera and a whole bunch of people and the scenes you were meant to have learned, I quite crumbled and didn’t really deliver what I was capable of.

How did you first get your Equity card? In the U.K., when you left drama school, every theater had two Equity cards to give away back in those days. If you were employed by a theater, you could have one of these cards. I basically left the Bristol Old Vic Theatre School to go to a job. It was a tiny repertory theater called the Worcester Swan Theatre.

Do you have an audition horror story you can share? I did an audition once for a Bond movie, and I hadn’t really prepared properly. It was a friend’s birthday party the night before, and I should’ve really been at home refining the scenes. I went in underprepared, thinking, This is going to be fine, but totally underestimating that on the day, I would be intimidated by the number of people in the room and the fact that there was a

What performance should every actor see and why? One that I watched was Antony Sher playing “Richard III.” And he played it on crutches, because the phrase that he took from the play that he remembered most vividly was Richard was described as a bottled spider. So he played it like a scuttling spider all over the stage, and it was absolutely magnetic.

“All you can really do is know that you love it, work as hard as you can, and keep your fingers crossed.”

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

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Industry

Paradigm Teams With Film2Future The agency is the first to partner with the nonprofit, providing industry opportunities for underserved L.A. teens

By Diep Tran

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high schoolers. As part of the partnership, Paradigm will give participants in Film2Future’s training program insight into agency representation and guidance on starting a career as an agent.

“Film2Future is eager to change the entertainment industry with our new partnership with Paradigm,” said Miller in a statement. “Together, we will grow the ranks of diverse voices in Hollywood through Film2Future’s professional-level training for underserved high school students that culminates in paid entry-level jobs on the creative side and

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business side. My first industry job was at an agency, and it offered me the opportunity to learn invaluable skills and to develop the network that has allowed Film2Future to thrive.

I am excited to partner with Paradigm to produce the next generation of Film2Futuretrained agents.”

Film2Future offers students free educational programs in filmmaking, animation, new technology, and advertising, with instruction and mentorship from industry professionals. Graduates of the program are then placed at colleges or in paid internships

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YOUNG PEOPLE WHO WANT to become talent agents now have a clearer path into the industry. Paradigm Talent Agency has signed a two-year agreement with the nonprofit Film2Future to offer mentorship programs, paid internships, and workshops to young people ages 14–18 who are interested in the world of representation.

Paradigm is the first agency partner for Film2Future, which was founded in 2016 by Haven Entertainment partner Rachel Miller. The nonprofit aims to diversify the entertainment industry and work with under-resourced Los Angeles

within the entertainment industry. Since its founding, over 125 students have completed the Film2Future program, with more than 50 finding paid internships or production assistant jobs with Hollywood production companies such as NBC, Netflix, CBS, and Shondaland. A number of students have earned college scholarships, collectively totaling over $1 million, to four-year programs at schools including the University of Southern California, the University of Wisconsin-Madison, and Syracuse University.

“We are at a historic inflection point to create meaningful change, and it’s incumbent on all of us to increase diversity,” said Shakira Gagnier, the vice president of diversity and inclusion for Paradigm, in a statement. “It’s hard enough to break into this industry when you have everything going for you. I’m proud to say that our entire team has expressed their commitment to give their time and expertise to a new generation of kids, and to join with Film2Future to show young adults the kinds of rewarding and fulfilling careers that are possible.

“For those who love artists and the art they create, we’re excited to provide mentoring and workshops led by some of the best and brightest agents in the business,” she continued.

“Not only will our agents find this experience richly rewarding, but I am certain that our agency will equally benefit from diverse perspectives, generational insights, and values.”

Applications and guidelines for applying to the program are not yet available.

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Karen has become social media shorthand for describing an entitled—and frequently, racist—white woman who uses her privilege as a weapon. Written and directed by Coke Daniels, the film “Karen” will follow Karen White, a white woman in the suburban South who terrorizes her Black neighbors, making it her mission to drive the couple out of the neighborhood. Cast by Michelle Lewitt, the thriller is set to star Taryn Manning in the title role. No other actors have been announced. Production is set to begin in Atlanta in December.

gained national attention and conflated homosexuality with insanity, to the detriment of progress for decades to come.

The film has yet to add any actors. Rich Delia is handling casting, and Jennifer Kent (“The Babadook”) will write and direct. Production is anticipated to start in 2021, with a location yet to be announced.

Amazon Sets Up 2021 Projects Two films for the streamer eye production dates

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

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

BACKSTAGE 11.12.20

“Karen” In the past few years, the name

“Alice + Freda Forever” A true story with a sinister twist is coming to Amazon.

Based on the book by Alexis Coe, “Alice + Freda Forever” will tell the ill-fated love story of two teenage girls in 1890s Memphis. Part romance and part true crime thriller, the film adaptation will follow Alice Mitchell and Freda Ward from the beginnings of their love affair to Ward’s violent murder at Mitchell’s hand.

The resulting real-life trial

TELEVISION

‘Gossip Girl’ Reboot Gears Up

By Casey Mink

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THE UPPER EAST SIDE WAS AWASH IN big news this week. HBO Max’s forthcoming “Gossip Girl” reboot has announced that Tony Award winner Laura Benanti will be joining the series, rounding out a cast that already includes Tavi Gevinson, Adam Chanler-Berat, and Jason Gotay, among others. Additionally, the streaming service announced that Karena Evans, who helmed the pilot of “P-Valley” on Starz, will direct the first two episodes of the teen drama.

A premiere date is not yet known, though production (adhering to COVID-19 safety guidelines) is currently underway.

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the latest news on project development during this time.

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

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What’s Casting

“The Tender Bar” George Clooney is toasting the life of Pulitzer Prize–winning journalist J.R. Moehringer in his next directorial endeavor, “The Tender Bar.” Based on Moehringer’s memoir of the same name, the film will tell the story of a boy who sought company and solace at a local pub in his 1970s Long Island town. There, regulars offered the youngster candid life lessons and a look into the world he would enter as an adult.

While no actors have been attached to the coming-of-age tale, cast by Rachel Tenner, Amazon has signed on to distribute the film. Production is set to begin around February 2021 on the East Coast.

The Slate

Not Resting on His Laurels

Thomas Middleditch is still finding new ways to flex his funny bone

By Gillian Russo

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.

AFTER LEAPING TO TELEVIsion screens in homes across America as “the Verizon guy” and becoming a favorite of prestige pay-cable comedy on HBO’s “Silicon Valley” (for which he earned an Emmy nomination in 2016), Thomas Middleditch is following up his best-known gigs with a new adventure altogether: a multicamera network sitcom.

He’ll star on Chuck Lorre’s CBS comedy “B Positive” as Drew, a divorced dad who needs a kidney, alongside Broadway’s Annaleigh Ashford as Gina, his unlikely donor. But TV is only a small part of his career in the arts. Sitting with Backstage for an Instagram Live interview, Middleditch talked about his experiences being, among other things, a Twitch star, a scam victim, and an octopus. (More on that last one later.)

He hopes that “B Positive” will introduce him to a new audience.

“I was prepared to have some

FILM

By Casey Mink SELA SHILONI

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A COVID19 Delay on an A-List Production

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time off, but basically, Chuck Lorre and the co-creator, Marco Pennette, they just reached out to me and said, ‘Hey, you want to do this thing?’ And I figured it was a way to tell a story to a different, new audience that might not know [me]. This may come as a shock, but most of America doesn’t actually have HBO! I took this as an opportunity to say, ‘Hey, here’s a whole new audience. Let’s see if I can bring them entertainment as well.’ ”

few actors and creators, really, that just sit there and wait for stuff. That’s not really what happens. Basically, you have to be hustling all the time on multiple different fronts.

I don’t believe in luck, but there is a certain element of serendipity to this business….

I always think of [being] an octopus, with your eight arms out there dangling in the

sea, trying to get your, I don’t know, crustaceans or whatever. And if you’re not using all eight arms, you’re kind of being a shitty octopus. So use all the bits.”

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

Thomas Middleditch

Remember: “There’s no pay-to-play with a SAG card.”

“I was walking dogs in Chicago, and a guy drove up to me, and he was like, ‘Hey, man, can I have five bucks for parking?’ I gave it to him, and he was like, ‘Thanks, man. I’ll remember this. What’s your number? I’ll hook you up. What do you do?’

And I was like, ‘Well, I dog-walk, but I’m also an actor.’ Long story short, he ended up scamming me out of all this money because he kept promising me he was going to get me my SAG card. Don’t trust anyone that says, ‘I’m going to get you your SAG card. I know people.’

There’s no pay-to-play with a SAG card.”

He encourages actors to stay busy and make their own opportunities.

“Especially now, there are so

IT IS THE NEW NORMAL, AFTER ALL. Production has been temporarily halted on the Olivia Wilde–helmed feature “Don’t Worry Darling” after a member of the production team tested positive for coronavirus. The New Line feature, which stars Florence Pugh, Harry Styles, and Chris Pine, was shooting in downtown Los Angeles on Nov. 4 when an order was given to suspend production for about two weeks. All those on set who may have been exposed, including the cast, have since gone into quarantine.

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Hannah Fidell, “A Teacher” creator + showrunner

By Casey Mink

Nick Robinson and Kate Mara on “A Teacher”

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separate entities.

She’s also certain that the respective projects have debuted in vastly different environments, particularly for women filmmakers. “Just personally, I’ve seen a real difference in the way female writer-directors are treated, [and] the way female-centered stories are treated, as well,” the showrunner says. “The sort of cultural climate today is more inclined to tell complicated stories that involve women, more so than it was before, and that’s very exciting.”

Though the industry has changed considerably over the last seven years, Fidell’s telling of a story that centers around sexual abuse in 2020 has not been drastically informed by the advent of the #MeToo or Time’s Up movements. The

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series does investigate the power dynamics at play more thoroughly than its source material, but that has more to do with its form.

“The film had so many constraints placed on it because of budget,” Fidell recalls of the indie. “What was more interesting to me was focusing quite a bit on Eric’s perspective and the students, and being able to see how these relationships begin.

To be able to develop Eric’s character more [for the series] was not necessarily a consequence of #MeToo and the cultural perception of what should and shouldn’t be on television today.

We just have a name for it now.”

A demented love story of sorts, the series stars Kate Mara and Nick Robinson as the teacher and student. There are other characters, but just barely.

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CHRIS LARGE/FX

HANNAH FIDELL HAS A rather disturbing Google Alert set up to notify her whenever a female teacher is arrested for an illegal relationship with a student. By her account, it goes off every other day. “There are no statistics about it because it’s vastly underreported, and there’s no organizing body keeping track of how often this happens,” she laments.

But her focus on the subject isn’t just a macabre fascination. Her new FX miniseries, “A Teacher,” depicts a female teacher, Claire, who has an affair with her underage male student, Eric. The 10-episode series, which premiered Nov. 10, is based on her film of the same name from 2013. And though both projects cover the same treacherous subject matter, Fidell views them as entirely

A lot rides on the audience leaning forward and knowing what they’re watching is wrong, but being too compelled to look away. It’s a tricky balance to strike, one that both Fidell and the actors had to bear in mind.

“Their chemistry is part of what makes this such a complicated thing,” Fidell says of her leads. Mara had been attached to the project for a while (she’s also an executive producer), so she and Fidell took Robinson to lunch to gauge his interest.

Ultimately, Fidell saw in him a bit of what she saw in the character—a kind of intrinsic quality she always looks for when casting.

“I find just having a conversation is much better than having someone read. I even prefer to watch interviews over watching them tape,” she says. “They have to embody at least a bit of the character already, which obviously helps get it right. It’s also about being able to give actors the freedom to move in scenes.

For me, it’s never about an actor hitting the mark. The camera’s always secondary to the performance, which I think helps add authenticity, because the actors don’t have to think about where they’re going to land. That just exponentially helps ground the performances in reality.”

Realism, unfortunately, will not be lacking in “A Teacher.” But that, Fidell insists, is the point.

“Whether it’s film or television, I’ve always been drawn to works of art that really force the audience to not be passive,” she explains. “If you saw the two of them walking down the street together and they weren’t a student and teacher, would it be OK?” She pauses. “There’s just a lot to think about.”

VIRTUAL ACTING: SOPHIECAT/SHUTTERSTOCK.COM; “THE RIGHT STUFF”: NATIONAL GEOGRAPHIC

Meet the Maker

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Craft

The Benefits of Virtual Acting

THE ESSENTIALISTS

JENNIFER DAVISSON producer

By Robert Peterpaul

CHRIS LARGE/FX

VIRTUAL ACTING: SOPHIECAT/SHUTTERSTOCK.COM; “THE RIGHT STUFF”: NATIONAL GEOGRAPHIC

THOUGH THERE’S A LOT WE don’t know about our industry’s future, one thing is certain: There’s going to be a lot of video chat acting. Whether you’re auditioning, taking an acting class, or even filming projects, getting used to the at-home medium will be key.

Since the human mind is conditioned to see negatives, we immediately think about all the glitches these services have. But, dare I say, there are really interesting aspects to virtual acting that can enhance your performance skills.

In a way, the video chat format is the love child of cinema and theater, and it has the ability to prepare you for both.

Leave the waiting room and enter the chat, because we’re about to focus on five positive elements of virtual acting.

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Glitches are gifts.

“Oh, no! You’re frozen!” We’ve all been there. Someone’s mic isn’t on, or your app randomly decides to start updating—the list of glitches goes on and on.

But that’s life, right? Look at a glitch in the system as a gift. It essentially snaps you out of your head and grounds you in the present moment. Glitches are little reminders to stop “acting” and start living in the circumstances of the scene.

Get comfortable with being uncomfortable.

Let’s face it: Even with the closest of friends, video chatting can be awkward. You talk over each other, and the merry band of aforementioned glitches strikes. It’s uncomfortable by nature. So shouldn’t it be the perfect acting exercise? One of the best parts of being an actor

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For JENNIFER DAVISSON, who runs Appian Way Productions with Leonardo DiCaprio, the mark of a worthwhile project is plain: If you make something compelling, people will watch it. Their latest, the Disney+ limited series “The Right Stuff,” is compelling seven times over, telling the story behind the Mercury Seven.

entertainment. There’s a flip side to that: The cinematic experience, [as it] is becoming harder and harder to find movies that really can live in big theaters, putting COVID19 aside. And that, I think, is going to be the challenge of the next few years: making sure people remember how specific and wonderful that experience is.”

For producers in 2020, more content means more problems.

“Obviously, there are so many different streaming platforms and channels and ways in which you can consume

For Davisson and DiCaprio, it’s simple: Find meaningful stories.

“I say the same thing all the time: Find something that you believe in and never let it go. If you believe that a story

is learning to live with discomfort. Discomfort creates truth.

Fight the urge to bandage over awkward moments by “performing,” and see what comes when you sit and listen.

Stop eyeballing me!

Acting over video conference calls can help you break the acting habit of staring straight into your scene partner’s eyes the entire time. Look at them, look around your room, and—we’re actors, so I know you’re doing this—look at yourself from time to time.

Take in the scene!

You’re in control.

As frequent self-tapers will know, when you film yourself at home, you have total creative control over your setup. Make a space that will put you at ease and allow you to dive into a scene. While there may be uncomfortable moments that arise, since you’re starting from

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By Casey Mink

is worth telling, you’re right. Just never stop. If it takes two, four, six, 25 times to get something going, it’s your own personal belief and passion that ultimately is going to be what drives something all the way home.

You can’t be daunted by the nos.”

a fresh and relaxed point, you’ll be more open to the natural unfolding of them. On another note, this is great practice for learning to light and frame yourself!

It will get you camera-ready.

Being on camera will help you hone your TV and film skills.

With video chat, you’re literally confined to keeping your performance within a rectangle. You don’t have to project to the back of the house; you don’t have to hit any blocking. Your job is just to be. And that’s a skill every human should try to master.

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Peterpaul is an actor and a Backstage Expert.

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All our Backstage Experts can be found at backstage.com/magazine

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Safety First, Folks

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and the Canadian unions were arguing over testing. The local standard allows for testing actors twice a week, testing the crew members who work close to them once a week, and zero testing for the rest. But SAGAFTRA safety requirements are stricter, so new standards had to be established.

The problem is that local labs were overwhelmed by the additional workload. So every show that was scheduled to start shooting during September and October had to shut down while they waited for their test results. I’m talking about “Batwoman,” “Riverdale,” and many others. Most shoots were dormant for about two weeks, which is a lifetime in the world of television. Everyone is back at work now, but the fear remains that more delays could cause more shutdowns, costing each show hundreds of thousands of dollars.

Unfortunately, not every

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Kelly Fine

By Jalen Michael KELLY FINE loves to take charge in her acting career and show off every angle of her abilities— even when the industry’s shortsightedness tries to stop her.

Age is just a number (yes, even in showbiz).

“The narrative of [my recent project] was awesome and so important—not just to me, but to all the other actors who are looked at differently because of their age.”

Look for the complexity in every character.

“I love a role where I can add some depth and layers to it—the fun, cool mom; the sister; the flirt; the quirky best friend; the cougar; the strong, passionate woman who isn’t afraid to express her feelings and tell you what she needs.”

Point to where you want to go, and Backstage will help you get there.

“Through Instagram Live and casting alerts, you see who is in charge of casting for projects and learn about upcoming projects…. You need to take control of your career, and Backstage is the perfect resource to do this.”

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

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ILLUSTRATION: SPENCER ALEXANDER; FINE: SANDRA NISSEN PHOTOGRAPHY

THE TIME HAS COME TO look back at the last eight months so we can get a sense of what your acting future holds.

There’s still a lot of uncertainty out there, but steps have been taken to get the world of film and television back on track.

Tyler Perry was one of the first producers to create a wide-ranging plan that allowed TV production to resume during the lockdown.

Perry shoots his shows at the 330-acre studio he owns in Atlanta, so they were able to use a quarantine bubble model.

That means they tested and sequestered the entire cast and crew on the lot for the whole shoot. Nobody went in; nobody went out. This was a unique but effective approach.

You’ve probably heard that the American TV shows that shoot in Vancouver are safely back in production. That’s true, but it took a while to get there.

From Day One, our studios

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production was able to go on.

Due to COVID-19, Showtime canceled the second season of Kirsten Dunst starrer “On Becoming a God in Central Florida,” and after ordering and beginning preproduction on the fourth and final season of my personal favorite, “GLOW,” Netflix about-faced and decided not to move forward with it.

The worst part is that both series were renewed more than a year ago, but those decisions had to be reversed. In these situations, the regulars still get paid, but I’m sure they would have preferred to keep working.

To maintain safety on set, many productions have been employing a pod approach, in which the cast and crew are separated into groups with little or no interaction. It’s a lot like zone defense basketball.

Here’s how it works: When three crew members tested positive on the new “Scream” movie, they were quarantined; but the production didn’t have to shut down, because those crew members weren’t in the main pod, which contains only the actors, director, assistant directors, and the DP. “Jurassic World: Dominion” also had to stop production for two weeks due to COVID-19 cases. Even though a second round of tests came out negative, the people who had initially tested positive had to quarantine along with everyone they’d come in contact with. That’s called playing it safe, and it’s the right move. (I hear the dinosaurs are fine.)

The good news is that we’re moving forward, and there are protocols in place to keep you alive and well. The bad news is the word “normal” has lost all meaning—you might as well remove it from the Hollywood dictionary.

culture +

Spotlighting the people and projects you need to know

In the Room With

Russell Boast

CSA’s president shares the status of casting in the midst of a tumultuous year

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; FINE: SANDRA NISSEN PHOTOGRAPHY

AS A CASTING DIRECTOR, THE CASTING SOCIETY OF AMERICA’S president, and a father, Russell Boast is used to having his hands full—and the year 2020 has only added to the load. Before he was leading CSA, he was well into implementing his diversity and inclusion initiatives with the organization through town halls and open calls; then, as the country reckoned once again with pervasive racial inequities this summer in the heat of the coronavirus pandemic, Hollywood’s casting directors turned inward to assess what in the industry needed changing. Via email to Backstage, Boast reflects on the efforts that have been made since, how productions safely adapted to remote casting processes, and what CDs (who are often the first talent advocates for a project) can continue doing to increase diversity onscreen.

How have the last eight months been for you as a casting director and as president of CSA? It’s been a difficult time for all of us. Back in March, I wasn’t fazed. We’re entertainers; we create light when there is dark.

It’s what we do! I immediately started imagining everything online—creating a virtual

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office, Zoom breakout rooms, online chemistry reads, the whole gamut. With CSA, we have a strong and committed board, and I am surrounded by a lot of smart, talented, and professional peers who have, during the lockdown, continued to go above and beyond for the organization. As the days

turned into weeks and weeks turned into months, I realized that my focus had to be on my family. Explaining the pandemic to my two young boys, making them feel safe, and introducing virtual schooling became paramount to me. As much as I missed work and many of my CSA duties, my kids had to come first.

What were some of the frustrations for those peers you mentioned? What larger conversations have CDs been working through? For many, [it’s] the loss of work and the uncertainty of their futures.

These months have been a great time to catch up on the vast number of shows available, take general meetings, and read scripts—for those who

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aren’t on lockdown with their kids. However, many CDs aren’t working, or are doing prep on projects with vague start dates as the industry navigates getting productions back to work safely. Uncertainty is a breeding ground for frustration and fear, especially for creatives. Still, I encourage anyone who may be experiencing this uncertainty as a roadblock to channel those frustrations back into art.

What new elements and approaches to casting do you think will stick beyond this moment? The ability to do just about everything online will be around for good. When the self-tape emerged a decade ago, my stomach churned. While I saw the advantage of access beyond actors who could physically come into my office, I was attracted to casting because I love people, actors, and the relationships that start in the room. If I’d wanted to sit behind a computer all day, I would have pursued a degree in accounting.

However, something from the past, which those of us who have been around for a while have missed, is reemerging: meetings with actors. With time on their hands, many casting directors have been doing general meetings again. For those who have been casting virtually, a meeting with our director has become increasingly important. They replace those human moments before and after the audition when we get to know each other. We’ve learned a lot about technology [and] a lot about what we can do and, I assume, will continue to do online moving forward.

Want more?

Read the full interview at backstage.com/magazine

11.12.20 BACKSTAGE

BACKSTAGE 11.12.20

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backstage.com

An in-depth look at how the film, television, theater, and voiceover sectors are managing during the pandemic IF, IN MARCH 2020, YOU CAME ACROSS A VIDEO OF EMMYS being handed out by someone in a tuxedo-style hazmat suit to practically every cast member of a Canadian sitcom, you couldn’t have known what sort of dystopian hellscape you were witnessing.

(You might have already known that “Schitt’s Creek” was very, very good, but we digress.)

Photo illustrations by Eric Heintz

backstage.com

Many months later, nothing can surprise us anymore.

“Social distancing” is common vernacular, auditions are almost entirely remote, and Mandy Patinkin is on TikTok. Suffice it to say a new normal has descended and stayed on Broadway, Hollywood, and beyond.

Thanks to COVID-19, our lives have changed more in the last eight months than in the last eight years, both personally and professionally. Every corner of the performance space has been affected by this virus: Film and TV productions are moving along in fits and starts; many movie theaters have yet to reopen; and Broadway remains shuttered through at least May 2021 while producers struggle to find streaming solutions. Voiceover, on the other hand, seems to be thriving amid the chaos, with at-home and remote recording options at actors’ fingertips.

The road to restarting has been more difficult for some

13

performers than others, but the last couple of months have seen some bright spots. As production is slowly but surely picking back up in major hubs like Los Angeles and New York, creators, actors, and crew have learned to adapt their processes to accommodate COVID-19 safety protocols.

Theater-makers are finding both new and familiar audiences online, potentially democratizing a notoriously exclusionary medium. And most actors are taking time to learn new skills and rest so they’ll have plenty to draw from come showtime.

For this week’s special State of the Arts issue, Backstage is taking a look at four major entertainment sectors—film, television, voiceover, and theater—to see how they’ve changed, how they’re coping with the ongoing disruption to the status quo, what’s next for the talent they hire, and everything else actors need to know during this time.

11.12.20 BACKSTAGE

ALL ICONS: MAXIM KULIKOV/THE NOUN PROJECT; “TENET”: ALON AMIR; “RUMBLE”: PARAMOUNT; “EVANGELION: 3.0+1.0 THRICE UPON A TIME”: STUDIO KHARA; “RUN”: HULU; “COMPANY”: BERNARD B. JACOBS THEATRE; “DAYS OF OUR LIVES”: NBCUNIVERSAL; SHUTTERSTOCK.COM

State of the Arts

Why VO has emerged as one of the only sure bets for working actors during the coronavirus pandemic

By Jamie Muffett

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backstage.com

“RUMBLE”: PARAMOUNT; “EVANGELION: 3.0+1.0 THRICE UPON A TIME”: STUDIO KHARA; SHUTTERSTOCK.COM

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LAUREN ELISABETH/SHUTTERSTOCK.COM; “DRAGON BALL SUPER”: ADULT SWIM

Voiceover

THE LIGHTS WENT OUT ON THE vast majority of entertainment productions when COVID19 hit eight months ago, but there was one corner of the business that was able to adapt quickly to lockdown, restarting and reinventing itself almost immediately: voiceover.

In March, with sports postponed, Broadway dark, and television and film production on hold, agencies began repurposing stock footage to create new ads; graphic designers, editors, copywriters, directors, and producers began working together over Zoom, Google Meet, and Slack; and game developers and animation houses picked up where they left off, collaborating from the comfort of their homes.

Eventually, production bubbles, rigorous testing, and strict sanitation procedures allowed for limited filming to resume.

And throughout all of this, voice actors continued to deliver their work across many genres.

So what makes the voiceover industry so seemingly indestructible?

A once-centralized industry dominated by media markets in New York City and Los Angeles, voiceover had already undergone fairly significant changes in the last 10 to 15 years—transitioning away from attended studio sessions in coastal cities and toward a growing number of voice actors auditioning, networking, and working almost entirely from home. Having already created much of that infrastructure, VO was able to adapt quickly to new safety-compliant production pipelines, and it was voice actors with home studios, technology skills, and versatility who were poised to benefit most from an industry otherwise walled off from its talent.

But it wasn’t just voice actors with home studios who stood to gain. Production houses such as Funimation in Texas compiled studio packs to mail to talent that included USB microphones, stands, iPads, and software, allowing production to continue animation dubbing with talent recording and engineering themselves. Pillow forts, repurposed closets, and

LAUREN ELISABETH/SHUTTERSTOCK.COM; “DRAGON BALL SUPER”: ADULT SWIM

“RUMBLE”: PARAMOUNT; “EVANGELION: 3.0+1.0 THRICE UPON A TIME”: STUDIO KHARA; SHUTTERSTOCK.COM

under-duvet sessions became the norm for voice actors. Meanwhile, production teams tested new technical possibilities on their end.

“The actors’ willingness to learn a new system inspired the engineers to continue to push and find better ways to communicate and encourage everyone involved, as well as work to refine our new systems,” says Justin Cook, senior director of audio production at Funimation, an entertainment company that specializes in the dubbing and distribution of East Asian media, most notably Japanese anime. “Back in March, when the whole country began to shut down, we could understand the reason for the precautions, but we believed we had a responsibility to our community and fans to keep getting fresh new anime to their screens. Our fans and voice talent have come to depend on us to deliver, on a weekly basis, nearly 20 dubbed episodes per week, and we felt this responsibility…. Both the livelihoods of our talent and the investment our fans have made in the characters and stories we help bring to life are real.”

The traditional casting process had to adapt, too.

“Before the pandemic, I auditioned every VO actor in person at Sound Lounge. When we went remote, I didn’t want to lose that face-to-face quality of knowing the actors I was submitting, so I created Virtual Booth,” says NYC casting director Alexa Magnotto. Her system allows her to work with actors

The Funimation booth at Stan Lee’s Comikaze Expo

to help alleviate the pressure of self-directing and communicate expectations around booking a job.

“To meet the demands of today, actors have been tasked with creating a professional setup and learning how to properly record themselves at home—it’s stressful. I like to think I’m taking some of that stress away by working together on the copy so that the actor can feel confident with their audition…. Anxiety can change the energy of a read,” she says.

Virtual Booth has allowed her to expand her VO talent pool to include actors from all over the country and continue to “maintain that personal connection while respecting the safety of our actors and clients.”

More work-from-home opportunities have also benefited actors contending with physical challenges who no longer have to spend time, energy, and money traveling from studio to studio for auditions and bookings.

“Dragon Ball Super”

backstage.com

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Maria Pendolino, an awardwinning voiceover talent, has been working remotely from her professional home studio since 2014. “As a differently abled actor with mobility challenges due to psoriatic arthritis, there are huge benefits to being able to work from home,” she says. “I control my physical environment, which I’ve designed around my challenges for ergonomic comfort. I also have access to my exercise and physical therapy equipment.”

While it’s impossible to predict where the entertainment industry will be on the other side of the pandemic, it’s likely that media production will be forever changed. Many new processes and systems have been created, and expectations and preconceptions have been altered. In voiceover specifically, a more democratic system has emerged, one that doesn’t result in privileged, able-bodied actors inevitably finding themselves at the front of the queue.

Talent, ingenuity, and grind are, more than ever, critical indicators of success today, which is something we should all celebrate—a rare win in this unrelenting year.

11.12.20 BACKSTAGE

Television

How a long-running soap opera is keeping the coronavirus in check

IN LATE SUMMER, ACTOR ERIC MARTSOLF GOT NEWS THAT THE soap opera “Days of Our Lives” was resuming production Sept. 1.

Martsolf, who has been with the show since 2008 and won a Daytime Emmy in 2014, was excited to go back to work. Then his producer asked him a strange question.

BACKSTAGE 11.12.20

Martsolf. “I guess they’re going to wig her up. I’m looking forward to it. I really hope it happens.”

This is just one of the many changes that film and TV productions have had to make in order to get back to work during the pandemic. According to Martsolf, working on a COVID19–proof set has been a “strange” experience. At the beginning of every workday, every member of the cast and crew has to do a health survey via an app called Reel Health. When they check into work, they receive a nasal swab test. Then they’re told to go back to their cars and wait for 30 minutes for the test results. If the results are negative, the actors are told to go straight to their trailers. “And that’s where you stay until you’re called up to set.

You’re masked the whole time,”

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for COVID-19 twice a day, which means that touching, and even kissing, may be back on the menu. “We filmed Christmas yesterday, and later this week we’ll be filming New Year’s Eve, and there are some kisses,” Martsolf teases.

But physical contact between actors is only allowed when they’re shooting. As soon as the actors step off the set, the masks are back on. “They will shut the thing down if people aren’t taking it seriously,” Martsolf says. And his wife is still on call, just in case.

It’s evidently been a time of change for the film and television industry, but also one of resilience and creativity (partner acting aside). Says Martsolf: “Even given all these guidelines and all these strange changes of environment we have to endure, I’m still thankful to be able to act and go to work.” He adds, “ ‘Days of Our Lives’ is one of the longestrunning shows in history. We’re not going to let this virus slow us down.”

backstage.com

“DAYS OF OUR LIVES”: NBCUNIVERSAL; SHUTTERSTOCK.COM

“He said, ‘Eric, has your wife acted before?’ ” Martsolf recalls.

As it happens, his wife, Lisa Kouchak, is also an actor. “She and I met on the Broadway tour of ‘Joseph and the Amazing Technicolor Dreamcoat.’ He’s like, ‘Perfect. We may have to use her at one point and call her in.’ ” Kouchak wasn’t being called in for a new character. Instead, she was going to be a stand-in in any scenes that required kissing or other forms of physical intimacy.

That’s because the new COVID-19 production guidelines discourage prolonged physical contact between actors, which makes it particularly difficult when part of the job is love triangles and fits of passion, as is the case with daytime soaps.

“She’ll be my lover, but they’re not going to show her face,” says

says Martsolf. The cast members now do script reads and run lines over video.

Then it’s time for hair and makeup. When production first resumed in September, hair and makeup personnel did their jobs while wearing full PPE. But ever since a production team member tested positive for COVID-19 (they were asymptomatic) and production was shut down for a week, the “Days of Our Lives” actors now do their own hair and makeup.

Martsolf admits that learning how to do his own makeup has been a challenge. “I don’t even know what I’m doing,” he says. “I looked like I was getting ready to do ‘The Phantom of the Opera.’

My wife said, ‘You might want to give that another shot.’ ” Since “Days of Our Lives” resumed filming, there have not been any scenes requiring physical contact, though after production was paused, new, stronger testing protocols were put in place: Actors now test

“COMPANY”: BERNARD B. JACOBS THEATRE; SHUTTERSTOCK.COM

By Diep Tran

Theater

Months into the shutdown, a stage actor, producer, and artistic director ponder where we are and where we’re going

By Casey Mink

“DAYS OF OUR LIVES”: NBCUNIVERSAL; SHUTTERSTOCK.COM

“COMPANY”: BERNARD B. JACOBS THEATRE; SHUTTERSTOCK.COM

IT’S MID-OCTOBER, AND GREG HILDRETH IS HAPPY TO HOP ON THE phone for an interview. “What the fuck else am I doing today?” the actor jokes. “In the early days, it felt kind of novel to do things like cook meals at home or hang out on a Saturday. I’m used to having a lot of structure in my day, so to be thrust into the unknown without an end in sight—the novelty, I guess, has worn off.”

On March 12, when every Broadway theater was forced to shutter indefinitely to slow the spread of the coronavirus, Hildreth was starring in the glitzy revival of Stephen Sondheim’s “Company,” which was just over a week shy of opening. His only certainty now is continued uncertainty.

The same can be said for the thousands of performers, stagehands, designers, and other workers in New York and beyond who make up the live arts sector, an industry among those hit hardest by the pandemic. By its nature—large gatherings in enclosed spaces, many of which are old, with poor air circulation— stage production is looking at the longest and most arduous road to recovery.

However, theater-makers are nothing if not creative, and through this endlessly despairing time, innovation has thrived.

Take, for example, storied OffBroadway institution the Vineyard Theatre, whose 2020–21 season is an amalgam of virtual, outdoor, and, eventually, when it is safe, in-person performances under its East Village roof.

“It’s been very inspiring to see artists responding to the current moment, but also to what’s possible, artistically [and] technologically, when we’re not able to gather together,” says Sarah Stern, the Vineyard’s co-artistic director. “Part of the Vineyard’s mission statement is to push the boundaries of what theater can be and do.

It’s something we were always thinking about, even before the pandemic. Now, in this space, it absolutely raises that question:

backstage.com

Is it theater if it happens online, if we’re not physically gathered together, if you can’t see the reaction of the audience, if it survives forever as a recording, if it’s not ephemeral?

“Access is a problem theaters have had for a long time,” she adds. Stern sees the increasing democratization of theater as a silver lining during this fraught moment. So, too, does Rachel Sussman, a Tony-nominated producer who hopes the tough experiences and lessons learned will be applied when—to borrow a trite turn of phrase—this is all over.

“We’re not limited to 41 theaters on Broadway or the major nonprofits that typically get the most visibility. All of the content has a platform online and the potential to be seen and amplified,” says Sussman of virtual productions, which are commonly free to view or donation-based, and frequently lure A-list talent. “We’re learning in the digital space that price and proximity are no longer barriers to entry. I’m curious to see how live theater—and, in particular, commercial theater—will reckon with that when we’re live again.

And I hope we will interrogate the structures that have upheld it as a white and elitist art form.”

One cannot discuss the current state of the theater without also acknowledging the intersection of race and the pandemic. As protests surged across the

17

country over the summer, theater, like many industries, finally began to examine its systemic racism.

It’s an introspection that was made possible in part by the pause causing strife for so many.

“So many of our BIPOC colleagues have gone on record talking very openly and honestly about the things they feel have not worked in this industry or have perpetuated racism in this industry,” Stern says. “That’s an area where, I think, nothing should be the same about it when we return to our physical spaces.”

New BIPOC resident and artistic directors have been announced at Lincoln Center Theater, Second Stage Theater, and others, and there are forthcoming initiatives to continue dismantling the historically white industry when it returns.

But, like all moves toward justice, it will take time and continued focus. As Hildreth says, “The fact that the Broadway League is at least taking steps to acknowledge the inequities that exist in our industry is commendable, and there’s obviously a lot we as a community need to continue to be aware of and work for. That is a good thing that’s come out of this.”

11.12.20 BACKSTAGE

Film

With the immediate future of movie theaters in the balance, creators and distributors are pushing their work to the streamers

By Allison Considine WHILE THE SUMMER TYPICALLY USHERS IN A THEATRICAL RELEASE schedule that boosts box office sales, and the fall kick-starts the awards season releases we’ll be hearing about until winter’s Academy Awards, the coronavirus pandemic has drastically shifted the when and how of this equation. Christopher Nolan’s thrice-delayed “Tenet,” which moved from a July to September release date, was heralded as the movie that would mark the industry’s return to theaters after cinemas shuttered last spring. Instead, the Warner Bros. film’s comparatively tepid box office results moved the goal posts farther back for other big-budget films: Marvel’s Scarlett Johansson–starring “Black Widow,” James Bond installment “No Time to Die,” and Steven Spielberg’s “West Side Story” remake are just a few of the delayed 2020 blockbusters now set for 2021.

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“Greyhound” found its home on Apple TV+; the Janelle Monáe starrer “Antebellum” debuted on PVOD; and the fall’s streaming slate of new feature films continues to grow with HBO Max’s pre-Halloween release of “The Witches,” the upcoming “Run” on Hulu, and more.

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backstage.com

HULU; SHUTTERSTOCK.COM

The long game of waiting for a spot on the ever-evolving theatrical release calendar has forced many new films to adapt their delivery method. Disney’s $200 million live-action “Mulan” was one of the first to forgo theaters when it premiered on Disney+ in September. Tom Hanks’

Whether at home or in a socially distant cinema seat, COVID-19 has changed audiences’ viewing habits—and they’re not alone.

Filmmakers are also grappling with how to get audiences’ attention. For one, the usual parade of press has been relegated to Zoom interviews and virtual junkets. “Run” writer and director Aneesh Chaganty and star Sarah Paulson are missing the promotional globe-trotting of a theatrical release. “We got to travel the world, and that was a lot of fun,” Chaganty says of his 2018 film “Searching.” “It was such an awesome reward for the amount of work that we put in.”

Similarly, first-time director Natalie Krinsky (“The Broken Hearts Gallery”) didn’t get to experience the thrill of touting her

film at in-person events before it hit limited screens in September.

But in a summer interview with Backstage, she found a silver lining to the film’s timing: “We’ve all been sitting at home with all our things for quite a while, so maybe there will be some sort of emotional reckoning and purging and some letting go.” Timeliness was also a factor in pushing “Antebellum” to streaming in lieu of theaters.

Considering its adapted digital release as Black Lives Matter retook the international stage this year, co-director and writer Gerard Bush emphasized that “there is an urgency to this moment,” and so the film pressed forward.

There are business-minded reasons to push for streaming during this time as well. For its part, “Run,” a thriller about a character locked inside, eerily dovetails with the pandemic, and its Thanksgiving week small-screen release will surely bring more eyes to it than the alternative. “Who are we going to be if we’re competing with ‘Fast & Furious,’ ‘Top Gun,’ ‘A Quiet Place,’ and ‘James Bond’?” Chaganty asks, noting that such big-budget movies will eventually hit theaters in a rush together. “We will not survive in that market.”

When that time of saturated blockbuster releases will come, exactly, remains unknown.

According to the National Association of Theatre Owners, an estimated 69% of small and midsize movie theaters will file for bankruptcy or close permanently if current ticket sale levels continue. The country’s top moviegoing markets remain closed at the time of publishing, and ticket sales outside those cities reflect limited audiences at socially distant viewings. This offkilter supply and demand leaves the country’s more than 40,000 movie screens in the balance, and filmmakers are joining NATO, the Motion Picture Association, and the Directors Guild of America in continued efforts to appeal to Congress for financial support for movie theaters. In the meantime, as mass communal activities continue to be on hold, more films might skip multiplexes to reach their audiences at home.

New York Tristate casting

Submit a Notice |

New York Tristate Short Films ‘Kirsten’

• Casting “Kirsten,” a short film written

and directed by Shayan Farooq.

• Company: Time Turner Films. Staff:

Shayan Farooq, writer-dir.; Louise de Nexon, prod.; Tristan Oliveira, DP. • One rehearsal TBD via Zoom; Shoots

overnight Nov. 21-22 in Hasbrouck Heights, NJ.

• Seeking—Jonathan: male, 26-28,

Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, an average guy who believes very strongly in the notion of fate; he isn’t necessarily dissatisfied with his conventional life, but still seeks excitement in little ways; this erroneous tattoo is one of those ways; however, when it doesn’t go as planned, his stubborn romanticism prevents him from making a genuine connection. Kirsten: female, 26-28, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, Jonathan’s ex-girlfriend from college; she’s skeptical of his proposal, but still is inclined towards seeking excitement the same way he is — after all, she does sit through the otherwise unsettling situation of her ex-boyfriend revealing a tattoo of her name. Kris: female, 24-26, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, the waitress at the cafe where Jonathan and Kirsten meet; she tends to find joy in her everyday life, even if it’s mundane; she overhears the pair’s VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

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.

Casting picks of the week

conversation and reveals to Jonathan that she is quite similar to him in a very specific way.

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

• Pay is $125/day, plus travel and meals

BY LISA HAMIL

provided. This is a SAG production and all talent will be asked to sign relevant contracts.

tv

Scripted TV & Video ‘Power: Book III,’ 18TLY Featured Spotter on Bike Starz series “Power: Book III.”

• Company: Grant Wilfley Casting. Staff:

• Pays $178/8hrs for work date, 1/4 check

film

‘Power: Book III,’ Featured Customers

stage

Faith GWC, casting assoc.

• Fitting and COVID-19 tests TBD date;

‘A Christmas Carol’ Revisit your past and change your future at the Rubber City Theatre in OH

tentative shoot Nov. 16 in New York, NY. • Seeking—Nonunion Men, 18 TLY: male,

18-23, Black / African Descent, 18 to look younger, to portray featured spotter on bicycle. TBD fitting and COVID tests. must be 18+ but must look very young - 14/15 years old. This show takes place in 1991. Must be comfortable being clean shaven and having hair cut or altered to be period appropriate.

Note if you are comfortable riding a bike! Do not submit if you are not comfortable receiving PCR & rapid COVID19 tests.

Online Commercials

Skincare Ad, Curology Show off your invincibility in San Francisco, CA

tv

ABC’s Disney Holiday Singalong Celebrate the season with song in Los Angeles, CA

• Seeking submissions from NY. • Send submissions to faith@gwcnyc.

com.

• For consideration, email your name,

union status, phone number, confirmation you are over 18, list full sizes, what two forms of ID you will bring to fill out I-9 paperwork if selected, and current unfiltered selfies (selfie and full body, no headshots) to casting@gwcnyc.com with the subject line “Backstage: Spotter on Bike.”

• Fitting and COVID-19 tests TBD date;

tentative shoot Nov. 16 in New York, NY. • Seeking—Featured “Corner Boy” and

“Spotter” Types, Nonunion: male, 18-25, Black / African Descent, Latino / Hispanic, seeking nonunion men, 18 to look younger, to portray featured “corner boys” and “spotter” types. TBD fitting and COVID tests. Tentative work date of Nov. 16. Must look very young.

This show takes place in 1991. Must be comfortable being clean shaven and having hair cut or altered to be period appropriate. Do not submit if you are not comfortable receiving PCR & rapid COVID-19 tests.

• Pays $178/8hrs for work date, 1/4 check

for fitting, $100 COVID test stipend (SAG-AFTRA rate for SAG-AFTRA actors). Pays $165/10hrs for work date, 1/4 for fittings, $60 COVID test fitting (nonunion).

‘Power: Book III,’ Featured Corner Boy and Spotter

• Casting background for the Lionsgate/

Starz series “Power: Book III”

• Seeking submissions from NY. • Send submissions to faith@gwcnyc.

• Company: Grant Wilfley Casting. Staff:

Faith GWC, casting assoc.

com.

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union status, phone number, confirmation you are over 18, list full sizes, what two forms of ID you will bring to fill out I-9 paperwork if selected, and current unfiltered selfies (selfie and full body, no headshots) to casting@gwcnyc.com with the subject line “Backstage: Corner Boys.”

‘The Gilded Age’ Advance to Sleepy Hollow, NY for HBO’s new series from the creator of ‘Downton Abbey’

‘25 Cents Per Minute’ Re-learn using a payphone in this Los Angeles, CA indie

• Casting background for the Lionsgate/

• For consideration, email your name,

for fitting, $100 COVID test stipend (SAG-AFTRA rate for SAG-AFTRA actors). Pays $165/10hrs for work date, 1/4 for fittings, $60 COVID-19 test fitting (nonunion).

• Casting background for the Lionsgate/

Starz series “Power: Book III”

• Company: Grant Wilfley Casting. Staff:

Faith GWC, casting assoc.

• Fitting and COVID-19 tests TBD date;

tentative shoot Nov. 16 in New York, NY. • Seeking—Customers Buying Drugs,

Nonunion: all genders, 18-35, all ethnicities, nonunion, to portray featured customers buying drugs. This show takes place in 1991. Must be comfortable being clean shaven and having hair cut or altered to be period appropriate. Do not submit if you are not comfortable receiving PCR & rapid COVID-19 tests.

• Seeking submissions from NY. • Send submissions to faith@gwcnyc.

com.

• For consideration, email your name,

union status, phone number, confirmation you are over 18, list full sizes, what two forms of ID you will bring to fill out I-9 paperwork if selected, and current unfiltered selfies (selfie and full body, no headshots) to casting@gwcnyc.com the subject line “Backstage: Drug Customers.”

• Pays $178/8hrs for work date, 1/4 check

for fitting, $100 COVID test stipend (SAG-AFTRA rate for SAG-AFTRA actors). Pays $165/10hrs for work date, 1/4 for fittings, $60 COVID-19 test fitting (nonunion).

‘The Gilded Age’

• Casting season one of the HBO series

“The Gilded Age.”

• Company: Grant Wilfley Casting. Staff:

Belle GWC, casting dir.

• Tentatively works Dec. 1, Dec. 2, and

Dec. 4 in Sleepy Hollow, NY. Covid test required Nov. 8 in Greenpoint Brooklyn.

Fitting will be held Nov. 9 in Greenpoint Brooklyn. Covid Test also required prior to the work on Nov. 30 in Greenpoint,

11.12.20 BACKSTAGE

casting California Brooklyn. Covid test is provided by production.

• Shoots the week of Nov. 16-20 (two

Charity Attendees, Nonunion: female, 35-70, White / European Descent, NYC/ Tristate Area locals only; set in the 1880s, nonunion women, 5’3”- 5’7”, 30” waist and below with long natural hair.

Men & Women must have no visible tattoos (especially on neck & hands) and must have no wool allergies.

Women must have natural hair colors only (no highlights, ombre, or balayage).

Seeking women with longer hair lengths preferably at least 4-6 inches below the shoulders (note current length of hair.) Must be okay wearing a corset, bustle, and multiple layers as appropriate to the 1880s. Men must have natural hair colors and be okay getting a period haircut and having your facial hair styled/altered to be period appropriate.

35-45, White / European Descent.

• Seeking—1880’s Caucasian Upscale

• Seeking submissions from NY. • Send submissions to gildedage@gwc-

nyc.com.

• For consideration, submit in the body

of the email your name, confirmation you are nonunion, phone number, confirmation you are local to the NYC tristate area, several candid full-body photos, photos from the back that shows your hair length, current photos without makeup, current hair length below the shoulders, confirmation you are okay wearing/working in a corset and/or bustle, all current wardrobe sizes (women: height, weight, dress, bust-waist-hips, shoe), what forms of IDs you will be bringing for your i9 if booked (if you have a VISA or Employment Authorization Card, let us know), confirmation that your hair has not been colored, dyed, or highlighted (if it has, elaborate), and confirmation that dates that you are available/submitting for to gildedage@gwcnyc.com with the subject line “BACKSTAGE 1880’s Charity, fully available.”

• Pays $165/10 hrs.

Online Commercials & Promos How-To Videos for Cleaning Product Brand • Casting for eight, 45 second how-to

videos for a cleaning product brand.

• Production states: “These will include a

video for 8 of their products which you will be acting as the mom/woman that lives in the home, demonstrating how they work in the location’s kitchen, patio, living room, and laundry room.

You will need to handle the cleaning products comfortably while speaking to the camera and will need to have maintained hands/arms.”

• Company: Three Summers Creative.

Staff: A. Lukac, coord.

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

BACKSTAGE 11.12.20

Southern California

days) in New Jersey.

• Seeking—Mom/Homeowner: female, • Seeking submissions from NJ. • Apply on Backstage.com.

• Virtual auditions are recommended.

Feature Films

• Pay TBD plus meals.

‘Little Red Planet’

‘25 Cents Per Minute’

run commercial for NYC Kidswear boutique, Little Red Planet. Synopsis: Each child is unique with different interests and characters, and each child deserves clothes that scream “Me”.

Each child deserves clothes with their own imagination, in their own planet...

We see a daughter come to their parent’s restaurant after school. She sits on a stool outside everyday, waiting for the parent to be done with work so they can go home. We highlight the beautiful relationship between a parent and their child.

edy anthology following six characters having unique experiences with payphones in contemporary (non-covid) Los Angeles.

• Casting “Little Red Planet,” a student-

• Casting “25 Cents Per Minute,” a dram-

• Company: Wayfarer Entertainment.

Staff: Wayfarer Entertainment and Justin Baldoni, exec. prods.; Tyler Burke, dir.; Jeanie Bacharach, casting dir.

• Shoots Nov. 11-23 in Los Angeles.

• Seeking—Matteo: male, 18-25, all

ethnicities, Italian. He’s a goofball who likes to make trouble. Must be able to do an Italian accent. Note: Include resume, headshot, and demo (if you have one) in your submission. Giorgio: male, 18-25, all ethnicities, 20’s Italian.

He alternates between enabling Matteo and keeping him in line. Must be able to do Italian accent. Note: Include resume, headshot, and demo (if you have one) in your submission. Julie: 18-25, all ethnicities, French. The only level headed and self aware person in the friend group. She tries to befriend Grace by offering her earplugs. Must be able to do French accent. Note: Include resume, headshot, and demo (if you have one) in your submission.

New Guy: male, 30-40, all ethnicities, 30’s, an unhoused man who lives in an alleyway. No lines. Note: Include resume, headshot, and demo (if you have one) in your submission.

Sanitation Worker: male, 25-40, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, Latinx or Armenian, late 20s-30s, threatens to take Kevin’s things to Marta. Flagrantly takes Kevin’s belongings after he doesn’t show up for 10 mins. Bit of an a-hole. Note: Include resume, headshot, and demo (if you have one) in your submission.

Christian: male, 25-30, all ethnicities, late 20’s/early 30’s- hipster type Morgan’s social media manager. Note: Include resume, headshot, and demo (if you have one) in your submission.

• Company: New York University. Staff:

Stephanie Hui, prod.

• Shoots Nov. 17 in NYC. • Seeking—Parent (Mother/Father): all

genders, 38-50, the parent (Mother/ Father) is a chef at a restaurant; they are warm, comforting and caring; the parent and their kid have a strong, stable, loving bond. Son: male, 7-12, all ethnicities, The son is carefree, naive and full of life and energy! Daughter: female, 7-12, The daughter is cute, curious and an explorer!

• Seeking submissions from NY. • Send submissions to swh346@nyu.edu.

• For consideration, submit a reel if you

have one. COVID Update: We take the safety and hygiene of all our cast and crew very seriously. Those not on camera will be wearing masks at all times and we will be circulating hand sanitizers frequently. We will sit socially distanced for our lunch break.

• Meals and snacks will be provided. As

well as the copy of the commercial.

‘Yesterday Today Tomorrow’

• Casting “Yesterday Today Tomorrow,” a

lifestyle brand film that will juxtapose a day in the life of two different woman and show how the brand plays an influential role in their daily life.

• Staff: Vin N., coord.

• Shoots Nov. 18-19 in NYC. • Seeking—Karina: female, 27-33, Asian,

Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Ralph: male, 27-35, all ethnicities. Alicia: female, 35-45, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander.

Marybeth: female, 35-45, all ethnicities.

Drew: male, 6-9, all ethnicities.

• Seeking submissions from CA. • For consideration, submit headshot,

resume, and demo reel (if available) to 25centscasting@gmail.com.

• Deferred payment/Non Union only.

Scripted TV & Video

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

ABC’s Disney Holiday Singalong

• Must have headshots and video samples

ABC.

to be considered.

• Pays $750/day for lead and $500 for

supporting.

male, 5-12, White / European Descent, a union child actor to be a part of a Christmas scene. Must be local to Los Angeles.

• Seeking submissions from CA. • Send submissions to

Send videos and photos along with your portfolio.

gmail.com.

• Seeking—Boy with Christmas Tree:

• Casting a Disney Holiday Singalong for

Laurenwaterscasting@me.com.

• Pays SAG-AFTRA rates.

‘Attaway General,’ S2

• Casting season two of Brat TV’s

“Attaway General.”

• Company: Brat TV. Staff: Brat TV, talent

coord.

• Shoots TBD dates in Los Angeles, must

be local to the area.

• Seeking—Physical Therapist: all gen-

ders, 20-30, all ethnicities, upbeat, encouraging, comedic. Used very sparingly, they will help our two leads recover from their injuries. Jane / John Doe: all genders, 40-75, all ethnicities, a slip and fall patient who is disoriented and has forgotten their identity. May have a serious head injury, dementia or both. They wander away when our lead is distracted and says some controversial things.

• Seeking submissions from CA. • Send submissions to brat-talent@brat.

com.

• Pays $150/day.

Reality TV & Documentary Educational History TV Program, Host

• Casting an on-screen host for a

scripted history TV program about the Russian Revolution. The host appears in 12 segments introducing archival footage. Total on screen time is about 12 minutes.

• Company: Another Civil War. • Shoot date TBD in Nov. in L.A. • Seeking—Host for TV Program: male,

45+, voice: trained/professional, no accent.

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

• Due to COVID-19, production is

accepting only video submissions where the actor reads the text (provided below) on screen.

• For consideration, record a video of

yourself on your phone or a video camera and send the recording to us (or a link to your video). Sitting or standing - whatever is more comfortable to you.

• Pays $335 for one day of work.

Nonunion only. Production states: “We are a small production and we will not be applying for SAG/ AFTRA verification for a one time recording of an educational program.”

Music Videos

• Company: Lauren Waters Casting.

DigiWish Commercial

• Shoots in Los Angeles.

commercial.

Staff: Lauren Waters, casting dir.

20

• Casting a female dancer for a DigiWish

backstage.com

National/Regional casting

• Company: DigiWish LLC. Staff: Jon Bass

and Eli Watson, coords.

• Rehearses in November; shoots in

December.

• Seeking—Ballerina: female, 18-40,

must be adept in ballet and able to freestyle.

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

• Pays $230 per day. Meals provided.

Online Commercials & Promos ‘Children Of Nepal’

• Casting “Children Of Nepal,” a sixty-

second commercial encouraging donations to support the education of children in Nepal. Note: This is not another sad, sappy commercial featuring a talking head and B-roll. This commercial is humorous, very self-aware and requires great comedic timing. Our goal is to flip these typical commercials on their heads by presenting a fun, feelgood, engaging video about how easy it is to give back. COVID-19 Compliance: We are complying with LA County Public Health guidelines for this shoot.

Our set will be outdoors with a small crew. All talent will be blocked at an appropriately spaced distance, and have very limited (if any) contact. Masks will be required between takes. We will provide non-community crafty and individualized lunches should our shoot go beyond six hours. You may be requested to take a COVID-19 test at a rapid-testing location prior to shooting.

Details to follow. Location is currently being locked, but we’re anticipating in the South Bay Area.

• Company: Whitford Foundry. Staff:

Dustin Willis, dir.

• Shoots Nov. 14 in Redondo Beach, CA

(South Bay.).

• Seeking—Dewayne: male, 22-37, Black

/ African Descent, Ethnically Ambiguous / Multiracial, (20’s-30’s); friendly, coffee-drinker, suspicious he’s stuck in a commercial; he’s not wrong.

Sasha: female, 22-37, Black / African Descent, Ethnically Ambiguous / Multiracial, personal vehicle required; (20’s-30’s), patient, friendly, concerned about her boyfriend talking to himself; important: actor will be in the passenger seat of a parked vehicle; due to COVID-19, we’d prefer actor to be comfortable using own vehicle for shot; no other persons will be in your vehicle with you.

• Seeking submissions from CA. • Send submissions to dustin@dustinwill-

isfilm.com.

• No in-person auditions will be held, due

to COVID-19. Include a video or reel with your submission. We are seeking actors with great comedic timing and pace.

Remote interviews may take place to discuss project further. Include a reel or video with your submission.

• Pays $200/day. Crafty provided all day,

with individual lunches provided should we go beyond six hours. backstage.com

Fitness Company, Plus Size/ Relatable Talent

• Seeking submissions from CA. • Send submissions to napostol3@gmail.

a popular fitness company. Note: Due to the current situation, we are doing video call shoots with actors from home. These videos will be used for the brand’s social media ads FB and IG.

• For consideration, include your avail-

com.

• Casting Plus Size/Relatable females for

ability times for an audition and filming in your submission.

• For more info on the company’s work

visit https://firelightdigitalmedia.com/ or https://www.instagram.com/ firelightdigitalmedia.

• Company: Narrative Ads. Staff: Morgan

McVey, casting coord.

• Note: Dates will depend being these are

• Pays flat rate $150-$200 for a three

ongoing Clients who we shoot with regularly. We are looking for talent in Los Angeles, though the shoot would be from your own home to stay safe with Covid.

hour shoot. Open for discussion.

National/ Regional

• Seeking—Plus Size/Relatable Females:

female, 30-65, all ethnicities, who enjoy health and fitness!

• Seeking submissions from CA. • Send submissions to emily@narra-

tiveads.com.

Plays

• Pays $100 stipend.

Statement Skincare Ad, Curology

‘A Christmas Carol’

• Casting a digital ad for Curology.

• Seeking actors for Zoom auditions for a

Seeking emotionally invincible talent to serve fun, self-assured looks to camera.

One day studio shoot. Non-speaking.

new adaptation of “A Christmas Carol” as a one-person production.

• Company: Rubber City Shakespeare

Company. Staff: Dane CT Leasure, exec. artistic dir.; Joseph Soriano, dir.; Casey Robinson, playwright.

• Company: Curology. Staff: Joe Mayo,

video team lead-prod.

• Shoots Nov. 20 in San Francisco, CA. • Seeking—Look Server 1: female, 18-25,

• Rehearsals begin Dec. 1; runs Dec.

Black / African Descent. Look Server 2: female, 18-24, all ethnicities.

12-20. This is a remote production that Rubber City Theatre will live stream each night in keeping of the spirit of live theatre. Costume, props, and live stream equipment will be delivered to the actor (contactless delivery) to insure safety.

• Seeking submissions from CA. • Send submissions to kelsey.largoza@

curology.com.

• For consideration, submit an audition

and complete the casting survey to be considered (https://forms.gle/ U6rjUoBZznXhqkmUA).

• Seeking—Actor/Narrator: all genders,

18+, all ethnicities, the Narrator is telling this story to their family around the holiday season. They have prepared this story production in their living room to delight the family. Seeking a strong storyteller.

• For your audition, serve the following

looks to camera: be fierce; confidence, hair flip, moisturize your face...confidently; bathroom mirror amp up; school picture day; mildly delighted; content; feeling yourself - a good song just came on, or you love your shoes today.

• Seeking submissions from OH. • For an audition appointment, email

casting@rubbercitytheatre.com with your name, phone number, headshot and resume. You will be emailed back within 24-48 hours to confirm your slot and receive the Zoom link.

Appointments will be scheduled in the order received. If all audition appointments are taken or if there are members who are unable to attend on the audition dates, the theatre will make arrangements to accept video audition submissions from those members.

• Pays $500/day for one day shoot, plus

travel expense to set, PPE and meals provided. Antigen testing required and provided before joining day of production set.

Video Game App, Actors

• Seeking charismatic actors to be fea-

tured in a commercial for an upcoming video game app. No lines, just pure modeling/demos.

• Production states: “Simple concept: All

players will be living in their own world, then suddenly receives a live update from the video game app. Players simultaneously pull out their phone to play.”

• Equity’s contracts prohibit

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

• Company: Firelight Digital Media. Staff:

Nikki Robyn, casting dir.

• Shoots mid./end of November in L.A. • Seeking—Biker (Lead #1): male, 18-35,

all ethnicities, to play a biker. Minimal to no speaking parts. Gamer Girl (Lead #2): female, 18-35, all ethnicities, to play a Gamer Girl. Minimal to no speaking parts. Man at Home (Lead #3): male, 28-42, all ethnicities, to play a normal man living at home. Minimal to no speaking parts. Influencer (Lead #4): male, 18-35, all ethnicities, to play an influencer, being filmed at a public area (e.g. cafe). Minimal to no speaking parts.

• Company: CATCO. Staff: Julianna

Gonzalez, playwright; Leda Hoffmann, artistic dir.-dir.; Rowan Winterwood, casting coord.

• Rehearsals begin Nov. 16; runs Dec.

16-27. Note: All rehearsals will be conducted virtually, and performances will be pre-recorded and streamed.

• Seeking—Scrooge: female, 40-59, she/

her, Black woman from Columbus. Bank Owner. Cratchit: 30-49, Latino / Hispanic, he/him, Latino man. Father.

Bank Clerk. Tiny Tim: male, 8, Latino / Hispanic, he/him, Cratchit’s son. Latino.

Eight years old. Ghost # 1: all genders, 18+, all ethnicities, from the 90s. Means business but deep down is full of heart.

Ghost # 2: all genders, 18+, all ethnicities, flirty and fashionable. Scrooge’s Mother: female, 40-59, Black / African Descent, she/her, Black woman. Fanny: female, 30-49, Black / African Descent, she/her, Scrooge’s sister and the narrator. Black woman.

• Seeking submissions from OH. • For consideration, submit a headshot,

resume, and video of a contemporary monologue of not more than two minutes to casting@catco.org.

Submissions deadline is Nov. 12.

Callbacks will be held Nov. 13. Note: Central Ohio actors particularly encouraged to submit.

• Equity’s contracts prohibit discrimina-

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

• Pays $263/wk. Equity SPT 1 Contract.

Musicals ‘Nine’ In Concert

• Seeking video submissions from Equity

actors for various roles in “Nine: In Concert.” Understudies will not be cast.

In 2021, the Jennie T. Anderson Theatre’s musicals-in-concert series is returning to the stage.This series will include a four-show line-up; each one night only concert versions of shows that will provide a new way for patrons to experience live (or streaming) theatre. The Overture 2021 season consists of “Nine,” “Once on This Island,” “Chess,” “Sunday in the Park with George,” and “White Christmas.” Actors and musicians will be given the material weeks in advance, but there will only be five scheduled rehearsals prior to the one-night-only concerts/filmings.

• Company: Jennie T. Anderson Theatre.

• Parys $263/wk. Equity SPT Tier 1

Staff: Jonathan Davis, managing dir.; Maxim Gukhman, casting dir.; Amanda Wansa Morgan, music dir.; Susan Reid, dir.

‘A Columbus Christmas Carol’

Five days of rehearsals, one day of filming. Rehearsals begin Jan. 11, 2021; shoot starts Jan. 16, 2021.

actors for roles in “A Columbus

all ethnicities, Italian film director, mar-

Transitional Agreement.

• Seeking video submissions from Equity

21

Christmas Carol.”

• This is a six-day production process.

• Seeking—Guido Contini: male, 30-40,

11.12.20 BACKSTAGE

casting National/Regional ried to Luisa, lover toCarla and many in the past. He is torn apart mentally by his career, home and life; lead baritone.

Luisa Contini: female, 30-40, all ethnicities, Guido’s Wife. She is fed up with Guido’s philandering and inattention and is considering a divorce; lead mezzo-soprano. Little Guido: male, 9, Guido as a child as well as the inner voice for Guido. Carla Albanese: female, 18+, all ethnicities, Guido’s mistress. A blast from the past who continuously shows up at inopportune moments in Guido’s life. She is married but will leave her husband for Guido, if only he will get a divorce as well. Luisa knows about her; supporting alto.

Claudia Nardi: female, 18+, all ethnicities, Guido’s protégé, an actress who he wants to cast next film. She has a romantic history with Guido as well; supporting mezzo-soprano. Guido’s Mother: female, 60+, all ethnicities, dead, but appears to Guido and offers him guidance as well as inflashbacks; supporting. Liliane La Fleur: female, 18+, all ethnicities, Guido’s producer and former star of the famous “Folies Bergeres.” She wants his next film to be a musical; supporting mezzo-soprano.

Lina Darling: female, 18+, all ethnicities, La Fleur’s accomplice; featured mezzosoprano. Stephanie: female, 18+, all ethnicities, writer who helps Guido with his movie, also a film critic who has been particularly hard on Guido’s films in the past; featured soprano. Our Lady of the Spa: 18+, all ethnicities, works at the Fontane Di Luna Spa; featured soprano. Mama Maddelena: female, 18+, all ethnicities, Chief of the Chambermaids in the Fontane Di Luna Spa; featured soprano. Sarraghina: female, 18+, all ethnicities, featured Mezzo-Soprano-belt, a prostitute (Mezzo/Belt) A prostitute Guido visits as a child to learn about love and women.

The experience has a profound influence on his life.

• Seeking submissions from GA. • For consideration, all auditions must be

submitted using our online Airtable form (https://airtable.com/shrgerDwe00k4Mgy). Include your headshot/ resume and self-recorded tape of selections from Dropbox Folder (https://www.dropbox.com/home/ Overture%20Series/Nine/NINE-%20 Audition%20Materials). Self-tape the vocal and script sides for character(s) that most interest you. Use only the material selected for this audition.

Video submissions can be provided through any video format (YouTube, GoogleDrive, WeTransfer, Dropbox, etc.) Submissions deadline is Nov. 18.

• The Jennie T. Anderson is committed to

nontraditional casting and values diversity in all of its forms. We greatly encourage actors of all backgrounds to audition. Local actors particularly encouraged to submit. Once submission is viewed by personnel, video will be destroyed. Callbacks will be held electronically, as well.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such,

BACKSTAGE 11.12.20

Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

‘Love Me Dead’

LOA Agreement, pending approval.

prod.-dir.

• Casting “Love Me Dead,” a horror love

story about a man falling in love with his dead girlfriend.

• Pays $786 + health & pension Equity

• Company: Webster. Staff: Simon Baker, • Shoots Nov. 18-19 in Webster Groves,

MO.

• Seeking—James: male, 21-38, all eth-

Student Films

nicities, a worn-down man whose longtime girlfriend passed away several years ago; he is starting to now see visions of someone who looks a lot like her; James is constantly tired, and worn out, but will start being more expressive as the film progresses. Sherry: female, 18-30, all ethnicities, a manifestation of James’ dead girlfriend; she is the typical dream woman for James; flirty, caring, and is playful. Caleb: 20-33, all ethnicities, James’ long time friend; he cares a lot for James and tries to help him through everything that happened; he is his voice of wisdom.

‘Augury’

• Casting “Augury,” an advanced produc-

tion student film at Columbia College Chicago.

• Company: Columbia College Chicago.

Staff: Karen Chaney, dir.; Avi Zephyra, prod.; Kara Olander, casting dir.; Mia Johnson, writer; Evan Chhabra, writer.

• Rehearsals and shoot tentatively set for

February 2021 in Chicago, IL.

• Seeking—Evan / Knight-Captain: all

genders, 18-25, all ethnicities, a knowledgeable gamer, unpredictable in the wake of the passing of his close friend, Brent, a former member of the tightlyknit Dungeons & Dragons gaming party; struggling with accepting his passing, his lashing out and defensiveness impacts the continuing game and his remaining friendships. Jordan / Bjorn: all genders, 18-25, all ethnicities, Brent’s brother; the youngest friend in the D&D gaming party; supportive and tactile in helping Evan process Brent’s passing; creative in finding ways for others to cope, but blocks out much of his own feelings about his death. Cece / Aloura: all genders, 18-25, all ethnicities, a close friend in the D&D gaming party, first and foremost logical in dealing with Brent’s passing; not unaffected by his absence, but adept in concealing her pain. Brent / Gandrig: all genders, 18-25, all ethnicities, Jordan’s older brother and former member of the close-knit D&D gaming party; has recently passed, but lives on in the memories of his closest friends; charismatic and easy to love; actor will only portray Gandrig but will appear as Brent in still photos. Barmaid: female, 18-50, all ethnicities, featured extra. Barmaid of The Ship’s Wake Tavern in the D&D fantasy world; familiar and friendly to the gaming party; her frequent customers. The Ship’s Wake Tavern Patrons: all genders, 18-50, all ethnicities, bar patrons in the fantasy world of Dungeons and Dragons. The KnightCaptain’s Guards: male, 18-50, all ethnicities, guards answering to the Knight-Captain, combative in defeating anyone who stands in his way.

• Seeking submissions from MO. • Send submissions to simonbaker32@

webster.edu.

• No pay.

‘The Horse Room,’ Animation

• Casting “The Horse Room,” a thesis ani-

mation short film about a spunky kid and their reserved aunt travel through different dimensions to find what seems to be the seventh wonder of the world, a very special group of small horses. Synopsis: As time ticks away the pair is put to the test to see if they can reach their goal in time… but the Aunt is hiding a dangerous secret.

• Company: SVA Thesis Animation. Staff:

J. Mitchell, SVA Casting, School of Visual Arts casting office.

• Recording TBD remotely; talent must

have their own, professional-grade microphone/sound equipment.

• Seeking—Kid: female, 10-13, gender

non-conforming with a more feminine vocal quality, the Kid is very impulsive, and while their heart is in the right place they don’t always think things through; they want to rush through and reach their goals as fast as possible; however, they love their aunt and must learn to slow down and appreciate the time they do have together; the Kid is young and full of energy; must have your own recording equipment; share what you will be recording with in a note. Aunt: female, 40-50, has been around the block; many times; she is strong-willed, independent, and likes to thoroughly plan out anything before taking the first step; she wants to take risks and do whatever she can to be there for Kid and those around her but must learn to take it easy and let others in; Aunt is very wise and calm; must have your own recording equipment; share what you will be recording with in a note.

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

gmail.com.

• The audition will be a self-tape. If audi-

tioning for a lead or supporting, choose any of the sides included, and provide two takes of that side. If auditioning for an extra or featured extra, please provide two takes of an improvised line that is in-character of the role. For all roles, mention if you have experience with: theater; sword fighting/stage combat; crying on command; knowledge of Dungeons & Dragons, or experience playing the game.

• Seeking submissions from NY, TX, IL,

GA, CA and AZ.

• Apply on Backstage.com.

• Recording remotely. Talent must have

their own, professional-grade microphone/sound equipment. Describe the equipment you have access to in your note/cover letter.

• Each voice talent will receive $60/flat

for this non-union project.

• Meals provided, at least one copy given.

22

Reality TV & Documentary Engaged for the 4th/5th/6th+ and Final Time • Casting a new docu-series for a major

network. Production states: “Love wins!

Even if it takes a few tries. Are you currently in a relationship and either engaged to be married or hoping to get engaged soon? Have you or your partner been married/engaged at least three times previously? Do you believe there is no limit on chances at love and happiness? Are you ready to prove to the naysayers that you have found your soulmate? If you have had a long road to true love but have finally found it, we want to tell your story!”

• Company: ITV America.

• TBC, will film on location with couples.

• Seeking—Engaged for the

4th/5th/6th+ and Final Time: 18+, people who are currently engaged (or hoping to get engaged soon) and are preparing for their (or their partner’s) fourth, fifth, sixth etc. marriage.

Seeking real people with real relationships; this is not an acting role.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• To apply, send your name, age, loca-

tion, contact info, recent photos, and tell us about your (or your partner’s) prior marriages and engagements, as well as your current relationship.

• TBC - negotiated with network

Long Distance Relationship Reality TV Casting

• Casting long distance relationship real-

ity TV casting. Production states: “A major cable network is now casting long-distance relationship couples, who want to meet for the first time!

Have you been in a long-distance relationship with someone from another state? Has all your communication been over the internet or by phone? Are you ready to close the distance the meet for the first time? Then we want to hear your story!”

• Shoot is TBD. • Seeking—Long Distance Couple: all

genders, 18+, all ethnicities.

• Seeking submissions nationwide.

• Send submissions to tvlongdistance-

casting@gmail.com.

• For consideration, email the following

to TVLongDistanceCasting@gmail.com: your name, your partner’s name, and how long you’ve been together, phone number/contact info, both of your ages and location, and photo(s) of you and your current partner.

• No pay.

‘The Art of Design’

• Casting an art savvy interior design

professional for upcoming TV series.

On “The Art of Design” an interior design professional (or duo) offers to help homeowners liven up a blank canvas in their house. First, there’s a meeting…to get to know the family and see their space. Then, there’s a hunt…for the perfect piece of personalized art.

Next, a reveal…that special piece chosen by our expert that reflect their clibackstage.com

National/Regional casting

ents and their lifestyle. From there, a fast-paced and fun journey to letting the art inspire the story of the room.

And like each of our homeowners…no two transformations will be alike. No matter the home, no matter the medium, our design host and expert/s knows that there’s a perfect piece of art out there for every home and homeowner. And he/she/they are about to share the secrets on how to choose the right art to shape the perfect space.

• Company: Molly Knight Casting. Staff:

Molly Knight CDC, casting dir.

• Shoots 2021 in Canada/USA. • Seeking—Interior Design Expert/Host:

all genders, 25-40, interior designers / art experts to host upcoming series.

• Seeking submissions nationwide.

• Send submissions to hello@mollyk-

nightcasting.com.

• For consideration, submit your resume/

CV, press/media, photos/headshots, and short bio to: hello@mollyknightcasting.com with the subject line “Art.” • Compensation varies according to

experience.

Demo & Instructional Videos Healthcare Spokesperson • Casting a host/spokesperson for

• Company: DMG. Staff: Jason Bleu, CD. • Shoots Nov. 19 in the Chicagoland area

Children: all genders, 25-45, all ethnicities, a family dynamic (couple with a younger child or children).

Submission must include photo of entire family. Couple Living Together: all genders, 25-45, all ethnicities, couple living together. Submission must include photo of both people together. Single Person Living Alone: all genders, 25-35, all ethnicities, single person living alone. Same Sex Couple: female, 25-39, all ethnicities, same sex couple (FM). Apply for this role if you’re open to being paired up with another female actor to play this scene.

nicities, on-camera host to speak directly to camera.

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

ors.com.

• Conducting auditions via video/self-

tape. Sides are included.

• Pays flat rate for full day of production.

Online Commercials & Promos Mattress Social Media Ad • Casting mattress social media ad.

Production states: “Always loved to sleep in that dreamy bed? We’re working with an innovative mattress company on some new and exciting live action content for YouTube.” backstage.com

30- 45 who feel comfortable speaking about depression and anxiety on camera for a brand that provides highquality mental healthcare.

• Company: Narrative Ads. Staff: Jackie

N., casting dir.

• Works remotely from home.

• Seeking—Woman of Color for Mental

Health Project: female, 30-45, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, women of color who feel comfortable speaking about anxiety and depression. Must be able to promote a mental health brand on camera.

mediagroup.com.

• Note: If you have a bedroom that would

• Seeking submissions nationwide.

• Send submissions to charles@narra-

be nice to film in, send photos of that for consideration, along with the size of the bed (Twin 38”x75”, Twin XL 38” x 80”, Full 54”x75”, Queen 60” x 80”, King 76” x 80” or California King 72” x 84”).

tiveads.com.

• Pays $100 flat.

‘Youtuber Style’ Social Ad For Fintech Brand

• Also, if you have an empty bedroom

where production can make it look like you’re moving into the home with boxes to unpack, they’re open to that as an option as well.

• Casting a short ad promo for a finance

app that lets people make payments, save, and invest. Talent will need to have a home vlog-style set up to record from, as this is a fully remote role you will record yourself. The ad will be shown on Instagram stories/Snapchat style (portrait aspect ratio).

• If you have a cat or dog, post a photo of

them too in your submission.

• Pays $350 for the shoot/usage rights

• Shoots for two days between Nov. 15-17

• Seeking—Host: female, 24-45, all eth-

• Casting women of color between ages

• Seeking submissions from IL. • Send submissions to nathan@delack-

Staff: Lane McCall, dir.

change) in Houston, TX.

Women for Mental Health Project

• Seeking—Couple with Child or

Mobile Pixels Lifestyle Shoot

• Scheduled to shoot Nov. 23 (subject to

SAG-Eligible.

(could be suburbs or City. Still scouting locations).

healthcare facility video. Director states: “A Houston-based healthcare system is moving to a new administrative building. This video is to provide employees with a virtual walkthrough of the facility, and will serve to answer questions they may have about the operations and amenities of this new facility. We are casting a ‘host’ to appear on camera as a ‘tour guide’ and will use their voice to narrate throughout the video.”

• Company: Badcolors Productions.

• Pays $100. Must be nonunion or

• Company: Growthcurve Ltd. • Rehearses over video call and shoots

• Casting a lifestyle shoot for Mobile

Pixels, a company that sells portable monitors that attach to laptops that you can use pretty much anywhere. The concept of the video is a montage lifestyle shoot of a variety of people across different locations. Seeking a wide range of ages and demographics to show how versatile this product is.

Working adults in late 20s to mid 40s.

remotely.

• Seeking—Presenter: all genders, 21-31,

Black / African Descent, Ethnically Ambiguous / Multiracial, White / European Descent.

• Seeking submissions from NY, CA and FL. • Send submissions to hello@

growthcurve.co.

• Submit a short video with your

application.

• Company: Remedy. Staff: Austin

Simmons, prod.

• Pays up to $200 based on experience.

in the Raleigh/Durham, NC area. Talent only needed for one day each.

General Voiceover Voiceover and Modeling for Audio Erotica App • Casting voiceover and modeling

talent for &Jane, a new progressive, sex-positive online audio erotica platform. Talent will record prewritten stories, all written from women’s point of view, that offer context and empathy around sex and give agency to the storytellers and models representing them. Talent will also provide images to pair with the recorded material.

• Production states: “We are looking

for more talent to join our team and provide imagery and voiceover on a month to month basis. There’s no need for nudity or hyper-sexualized content - we’re looking for tasteful, creative, sensual, beautiful images.

You would provide your own imagery and script recordings, which typically range from 10 - 17 minutes (iPhone quality works fine) based off of scripts we provide.”

• Specifically seeking talent with all

different body compositions and racial diversity and very much welcome LBTQ+ models.

• Company: &Jane. Staff: Madeline

Concannon, prod.

• Works remotely.

• Seeking—Voiceover and Modeling

Talent: female, 18+, women of any orientation, body size, age, etc.

Specifically seeking talent with all different body compositions and racial diversity and very much welcome LBTQ+ models.

• Seeking submissions nationwide.

• Send submissions to madeline@hear-

jane.com.

• Audition process will include a short

reading and a few photos to access quality and communication.

• Pays $100 for those just providing

photos and $200 for those providing voiceover and photos.

Corporate & Internet Videos (Voiceover)

Dancers & Choreographers

$450/half day (five hours) for principle roles. Pays $175/day (up to 10 hours) for extras. Open to covering mileage/travel fees for anyone coming from out of state.

Software Welcome Videos

• Casting “Closure,” a photographic

Teeth Whitening Brand, Male Model

Staff: A. Lukac, casting.

• Seeking—Working Professional: all

genders, 23-50, all ethnicities.

• Seeking submissions from NC, VA and

GA.

• Send submissions to austin@

workbyremedy.com.

• Pays $750/day (up to 10 hours) and

• Casting three Software welcome vid-

eos. Actor would record one video 2 minutes and 10 seconds in length, and two 45 second videos.

• Company: Three Summers Creative.

• Recording must be completed by Nov. 13.

• Seeking—Australian Female Voiceover

• Casting male models for a teeth whit• Company: Narrative Ads. Staff: Emily

Talent: female, 18-60, high energy, informational, corporate.

• Works remotely from home.

• Seeking—Male Model with Nice Teeth:

threesummerscreative.com.

ening brand.

C., casting coord.

• Seeking submissions worldwide.

• Send submissions to amy@

18-35, all ethnicities, men with nice teeth for a teeth whitening brand.

• Pays $600 for all three recordings.

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

• Seeking submissions nationwide.

• Send submissions to emily@narra-

tiveads.com.

23

‘Closure’

adaptation of a poem.

• Company: Stop Action. Staff: Spencer

Trinwith, dir.

• Shoots in Wilmington, DE. • Seeking—Female Dancer: female,

18-35, all ethnicities, dancer with excellent technical ability. Classically trained a plus. Male Dancer: male, 18-35, all ethnicities, dancer with excellent technical ability. Classically trained a plus.

• Seeking submissions from DE, PA, DC,

MD, NJ and NY.

• Send submissions to spencer@

spencertrinwith.com.

• Include a dancer’s reel or social media

handle with your work.

• Pays $125/day.

11.12.20 BACKSTAGE

Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q:

Any tips for dealing with stress about the state of the industry?

—Pam S.

Our Expert Tony Rossi is an actor.

*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 11.12.20

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; ROSSI: COURTESY TONY ROSSI

The last time I was this stressed was when I was new to Chicago and had no clue how to be an actor. Fast-forward a decade, and I was in the best day job I’ve ever had, with access to auditions, and I’d landed my first lead role on a web series. Then came COVID-19. The job laid me off, CDs couldn’t cast me if they wanted to, and my web series was postponed. This is normally where I’d explain how things improved, but, unfortunately, that’s not yet the case.

But here’s the thing: If I went from where I was then to where I am today, that means I figured it out before—and I can figure it out again. In case you haven’t realized it, you’ll figure it out, too. If you’re not embracing the whole “things will get better” attitude, here are some tips to help.

Remember going to acting school and learning about script analysis and much more? I’m guessing you learned things you didn’t know before. We’re in a business where we have to deal with with constant rejection and comparison to our peers, but we’re not taught about our mental health, which means we lack some necessary tools. The pandemic is the same; no one taught us how to handle this. If you’re feeling extra stressed, start by going easy on yourself for feeling whatever comes up.

Also, if you’re an actor, that means you’re tough. You have a resilience others don’t necessarily have. You’ve done hard things before. You’ve figured them out. You’ll figure this out, too.

We live in an either-or type of world, so it’s natural if you jump to: “I have to be depressed or positive.” But what if we could acknowledge what’s going on and feel sad when we feel sad while accepting the good parts? Happy to have a break from auditions or your restaurant job? It’s allowed! It doesn’t mean you hate acting or wish ill upon the restaurant. You’re simply taking the good as well as the bad.

So focus on what’s in your control. Enjoy the good that comes with the bad, and remember that you’ve done hard things before. You’ll learn how to do them again and get through this.

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