Backstage Magazine Digital Edition: December 3, 2020

12.03.20

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2020 Emerging Talent Portfolio

From Netflix breakouts to “Borat” sidekicks, we’ve rounded up the stars of tomorrow you need to know

5 Pages OF CASTING NOTICES

Everybody’s Talking In conversation with

Richard E. Grant,

Max Harwood

shares his journey to “Everybody’s Talking About Jamie”

—and reveals just how he became the name on everyone’s lips

MFA Programs in Theatre Acting, Directing, Dramaturgy, Playwriting, Stage Management, Theatre Management & Producing Directing Application Deadline December 1, 2020 All Other Concentration Application Deadlines January 5, 2021

Offering Joint JD/MFA with Columbia Law School

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Full-time Faculty include Anne Bogart, James Calleri, Steven Chaikelson, Peter Jay Fernandez, David Henry Hwang, Brian Kulick, Lynn Nottage, Christian Parker, Michael J. Passaro

Contents The Green Room 4 Meet the inaugural Broadway Advocacy Coalition fellows

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

7 Kiera Allen talks making history with Hulu’s “Run”

Advice 9 NOTE FROM THE CD

How to become “emerging talent”

10 #IGOTCAST

Brian Conner

10 SECRET AGENT MAN

Put me in, coach!

Features 3 BACKSTAGE 5 WITH…

Aisling Franciosi

vol. 61, no. 29 | 12.03.20

Cover Story Cover Story You Should Prospecting for Gold Try It in Heels Your official guide to the 2020 Oscar nominations page 16

With his feature film debut in the hotly anticipated movie musical “Everybody’s Talking About Jamie,” there’s no denying Max Harwood’s born-with-it star power. The only question is where he’ll take it next

6 Broadway’s audience boom 8 This week’s roundup of who’s casting what starring whom

10 Annie Murphy reflects on “Schitt’s Creek”

Advice 13 CRAFT Survive and thrive

13 #IGOTCAST Mark Beauchamp

14 SECRET AGENT MAN

The power of intention

Features 4 BACKSTAGE 5 WITH...

page 12

David Alan Grier

8 MEET THE MAKER

12 MEET THE MAKER

Tara Miele, “Wander Darkly” writer and director

Cathy Yan, “Birds of Prey” director

9 THE ESSENTIALISTS Michael Walkup, artistic director

14 THE ESSENTIALISTS

Jeremy Woodhead, hair and makeup designer

11 IN THE ROOM WITH Lauren Evans

15 IN THE ROOM WITH

17 WATCH THIS SPACE

Victoria Thomas

Celebrate the stars of tomorrow with our inaugural Emerging Talent portfolio

21 OUR DREAM BALLOT

And the 2020 Oscar SHOULD have gone to…

24 ASK AN EXPERT Mae Ross on getting started in Los Angeles

32 ASK AN EXPERT

Amy Russ on principal and background work

Casting

Casting

19 New York Tristate

22 New York Tristate

20 California

27 California

22 National/Regional

28 National/Regional

Max Harwood photographed by Heather Glazzard on Oct. 28 at the Soho Hotel in London. Styling by Zadrian Smith and Sarah Edmiston.

Grooming by Nadia Altinbas using Sisley Paris and Kevin Murphy. On this page and cover: sweater by Lanvin.

Cover designed by Ian Robinson.

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The Green Room

Cover illustration by John Jay Cabuay.

Cover designed by Ian Robinson.

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Backstage 5 With...

Aisling Franciosi

By Allie Volpe

Despite a breakout role in 2018’s “The Nightingale” (one that earned her “rising star” and “breakthrough talent” recognition across the industry), IrishItalian actor Aisling Franciosi didn’t book another job for more than a year afterward. But good things come to those who wait: The dry spell lifted this year with a supporting role on HBO’s “I Know This Much Is True” and now as the tortured Sister Ruth on FX’s haunting “Black Narcissus.”

ILLUSTRATION: NATHAN ARIZONA/PHOTO: LEV RADIN/SHUTTERSTOCK.COM

What advice would you give your younger self? Know that even if you’re part of a project that has a lot of buzz around it and is critically acclaimed, there are still going to be moments [when] you won’t know what the heck is happening with your career. I started journaling not too long after [“The Nightingale”] for work purposes—not a personal diary—and it really helped me. I got to chronicle the exciting moments, but I also chronicled the moments where I was doing nothing and freaking out and no audition was going my way. When you get to read back on those previous down moments you had, it’s nice to know things will look back up again soon.

What’s one performance every actor should see and why?

Joaquin Phoenix in “The Master.” There’s this one shot where he’s talking to Philip Seymour Hoffman’s character and they’re at a table, and, strictly speaking, Joaquin’s not doing anything. He’s sitting there and [the camera is] just on his face.

What he’s doing is incredible for someone who literally is not moving. That struck me, the power of how much you can get from doing so little if you’re really truthful to the moment and completely invested in what’s happening in the scene.

What is your worst audition horror story? One [audition] I got sent to, the part was for a 12-year-old. [Laughs] I have always played younger than I am; I was 21, and I said to my agent at the time, “Are we sure I can go in for this?” And she said, “They say 12, but they’re even accepting 15-year-olds.” When I get to the audition, I’m—not kidding—standing next to 10-year-olds. I get in the room and they’re like, “Um, how old are you?”

What’s the wildest thing you’ve ever done for a role? [It was when I was auditioning for] “The Nightingale.” The first 10 pages or so, I thought, Whoa, this script is so great. I was only asked for the scene, but I noticed the character sang. I thought, If it goes well, they’re going to ask me to sing, so I might as well sing one of my favorite Irish ballads and send it off to preempt that.

I hadn’t finished reading the script at that point. Then, when I heard Jen [Kent, the writer and director] wanted to Skype with me, I finished reading the script. In one of the most important scenes at the end, my character sings a song—and it was the song that I had sent! I didn’t know it was in the script.

What advice do you have for actors who frequently selftape? Find a clear wall or a clear background. Have nothing distracting in the frame. If you can, check the levels of the other person reading, because sometimes, a friend may have a louder voice than others. I’ve heard from the mouths of casting directors that if they find it too annoying to listen to your tape, they’ll click onto the next one.

“On social media, everything can seem like a highlight reel of one great thing after the next. But it’s not always like that.”

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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

Broadway Advocacy Coalition Announces Its Inaugural Fellows The six-month program has been created to support Black womxn artist-activists

By Casey Mink

BACKSTAGE 12.03.20

demonstrate use of narrative or story in their work as a means of impacting systemic racism or criminal justice reform.

BAC received more than 180 applications from across the country; of them, 10 Black womxn were selected. They are Andrea Ambam, a Brooklynbased performance artist and writer; Dezi Eivah Bing, an actor and playwright from Washington, D.C.; Daniella Carter, a creative producer

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COURTESY BROADWAY ADVOCACY COALITION

THE BROADWAY ADVOCACY Coalition has announced the inaugural class of the BAC Artivism Fellowship, its sixmonth program to support Black women-identifying artist-activists. Announced in August, the purpose of the fellowship is to provide financial assistance as well as mentorship, networking opportunities, and educational workshops to participants. In order to be considered, artists needed to

from Queens; Jasmine Eileen Coles, a storyteller from New York City; Nicole Davis, a visual artist from Coralville, Iowa; DejaJoelle, a healing artist and cultural healing curator from St. Paul, Minnesota; ChelseaDee Harrison, a theater-maker from D.C.; Faylita Hicks, a poet, essayist, and multidisciplinary artist from San Marcos, Texas; Courtney Jamison, a multihyphenate from Los Angeles; and Kayla Stokes, a storyteller, director, and producer from NYC. “I am so incredibly honored to introduce our inaugural cohort to our community,” said Dria Brown, the BAC chief of staff and fellowship mentor, in a statement. “Now more than ever, it is important to amplify and uplift Black womxn and the incredible work we’ve consistently been doing. We’re inspired by the artistry and advocacy work of these 10 Black womxn we’ve selected, and

we are committed to investing in stories that speak truth to power and supporting change agents using their artistry to impact the world around them.”

The nominating committee, who met, reviewed all submissions, and deliberated in October, includes Zakiyah Ansari, Amber Iman, Andy Jean, Imani Mfalme, and Liza Jessie Peterson.

Fellowship mentor Nia Akilah Robinson also released a statement commending the chosen class on their submissions and the industry leadership they have demonstrated already: “The applications that these fellows submitted were moving, inspiring, and courageous.

These Black leaders are anchors for the change they want to see.

This cohort is forward-moving, and they all represent the definition of Black excellence.

I am honored to act as a mentor and resource to them in their six-month process with Broadway Advocacy Coalition.

But I’m sure that this bond will go beyond the six months. I feel that it will end up being a lifelong connection, which I am already incredibly grateful for!”

The Broadway Advocacy Coalition is a nonprofit “dedicated to building the capacity of individuals and organizations to dismantle the systems that perpetuate racism through the power of storytelling and the leadership of people directly affected.” It was founded by members of the Broadway community in 2016 in direct response to systemic racism, both nationally and within the theater industry.

To learn more about the Broadway Advocacy Coalition and the BAC Fellowship or to donate, head to bwayadvocacycoalition.org.

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take a dark turn when Anna witnesses what may or may not be a murder. Co-created

by Rachel Ramras, Hugh Davidson, and Larry Dorf, the series is executive produced

by Bell and Will Ferrell, among others. Bell is the only cast member currently attached to the project, but Wendy O’Brien Casting is filling up the list of series regulars.

Production is slated to begin in January 2021 in Los Angeles.

Who.” No actors are currently attached, but the series is utilizing the talents of Firefly Casting to fill out the ensemble prior to starting production in May 2021 in New York City.

‘The Time Traveler’s Wife’ Heads to HBO The premium cabler will adapt the popular novel

By Rebecca Welch

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

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

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

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FILM

A Newcomer Invades the Big Leagues

By Casey Mink

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

MORE CASTING HAS BEEN ANNOUNCED for Amazon Studios’ upcoming thriller “Invasion.” Joining previously announced stars Riz Ahmed and Octavia Spencer will be the young actor Lucian-River Chauhan, best known for his work on the Canadian series “Heartland.” The sci-fi feature, which has not yet begun production, follows two young brothers who go on the run with their decorated Marine father. The film will be directed

by Michael Pearce, who co-wrote the script with Joe Barton. Amazon currently holds the rights to the project and will co-produce.

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MARGAUX QUAYLE CANNON

Get cast!

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

“The Time Traveler’s Wife” “The Time Traveler’s Wife,” originally a novel by Audrey Niffenegger (which was also adapted into a 2009 feature film), is on its way to HBO. The series will follow the marriage between Henry, a man who sporadically travels through time due to a genetic condition, and his wife, Clare, who lives chronologically. Their relationship is thrown into continual chaos as they struggle to maintain a somewhat normal life together. The adaptation comes from Steven Moffat, who has plenty of experience with time travel narratives as the former showrunner of “Doctor

“The Woman in the House” Kristen Bell is packing up and moving to Netflix for the new limited series “The Woman in the House.” The dark comedy thriller tells the story of Anna, a lonely woman who becomes fascinated by a widower and his young daughter who move in across the street. But things

ALLEN FRASER/HULU

What’s Casting

“The Sex Lives of College Girls” Mindy Kaling is putting her own spin on the college friendship genre with upcoming HBO Max series “The Sex Lives of College Girls.” Randomly assigned to the same dorm at the esteemed New England Essex College, four women at the start of their independent lives set off to experience the world around them. Elizabeth Barnes Casting has filled the bulk of the series regular roles with actors including Amrit Kaur, Alyah Chanelle Scott, Renée Rapp, and Pauline Chalamet. Despite its bicoastal casting, the hourlong HBO Max comedy series is heading toward production in January 2021 in Los Angeles.

Kiera Allen in “Run”

Adelaide in “Guys and Dolls” and Olive Ostrovsky in the “The 25th Annual Putnam County Spelling Bee,” so I’ve been really lucky.

What do you do to prepare for the next role you’re playing?

It really depends on the role itself and the demands of that role. But for Chloe in “Run,” I spent a lot of time writing—writing bios, character backstories, breaking down the script. Pretty much every day I had off, I was writing about the character.

The Slate

your questions in the lead-up to her highly anticipated feature film debut. She covered it all, from what it was like to work with Paulson to navigating the industry and pushing representational boundaries as a newcomer.

Living Her Dream

Kiera Allen is making history with Hulu’s “Run” and is only continuing to grow

By Benjamin Lindsay

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.

TELEVISION

Newer Blood for ‘Stranger Things’ ALLEN FRASER/HULU

MARGAUX QUAYLE CANNON

By Casey Mink

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What’s something you learned while working on “Run”?

The importance of embarrassing yourself. I think if you feel embarrassed and you feel too vulnerable and you feel like you wanna crawl in a hole, you’re probably moving in the right direction.

AS THE FIRST WHEELCHAIR user cast in a lead role in a thriller in more than 70 years, Kiera Allen is a revolutionary.

She’s starring opposite Sarah Paulson in “Run,” a psychological thriller from filmmaker Aneesh Chaganty now streaming on Hulu. Allen took over our Instagram to answer all

What technique did you study?

I was actually studying Meisner right before I had this audition. I was doing a summer intensive at the Maggie Flanigan Studio in New York, which I highly recommend.

NETFLIX TENTPOLE PROPERTY “Stranger Things” has announced a slew of casting for its upcoming fourth season. Joining the megahit as series regulars are Jamie Campbell Bower, Eduardo Franco, and Joseph Quinn. Additionally slated to recur on the new episodes are Robert Englund (the horror icon best known for the “A Nightmare on Elm Street” franchise), Tom Wlaschiha, Sherman Augustus, Mason Dye, and Nikola Djuricko. Production on the series resumed in late September in Atlanta and is still currently underway.

What’s your dream role?

I think right now, my dream role would be one that I write [for] myself. But I’ve actually been lucky enough to play a couple of my dream roles in local theater, like Miss

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Do you have tips for dealing with the disappointment of not getting a role?

That’s a good question, because it happens to all actors. I think what’s been helpful for me is to just think of the audition process as an opportunity to act and an opportunity to do what I love.

If I get the part, that’s the icing on the cake; if I don’t, I still get to do what I love.

Do you have a special way of memorizing lines?

I like to record my cue lines on my phone, and then I play them back to myself and speak my lines completely monotone, just to have the words.

What was it like to work with Sarah Paulson?

It really is a dream come true to work with Sarah.

Where do you see improvement for onscreen representation today?

It’s a big question; it’s too big, I think, for a single Instagram Story. But I will say I think “Run” is a huge, huge leap forward for authentic representation, and I’m very proud to be a part of that.

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

12.03.20 BACKSTAGE

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Meet the Maker

Tara Miele, “Wander Darkly” writer + director Diego Luna and Sienna Miller in “Wander Darkly”

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Blurring chronology, the film intentionally disorients us as it unspools. It’s a big structural risk—and has so far seen big reward; the film was named runner-up for the Grand Jury prize at the Sundance Film Festival earlier this year. Forgoing convention, the story follows Miele’s filmmaking approach: Don’t just write what you know—write what keeps you fired up.

“This career is not about behaving yourself, and I feel like women, especially, are so raised to be pleasers and to be good girls,” she says, citing Patty Jenkins’ direction of “Wonder

“This career is not about behaving yourself….

As a writer or as a director, you constantly have to be pushing for what you want.”

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Woman” as boundary-bending inspiration. “And as a writer or as a director, you constantly have to be pushing for what you want and advocating for what you want, and asking for an extra dolly shot or asking for a crane or pushing to keep the scene that everybody wants to cut.”

After years of minimal traction in the industry, what turned out to be Miele’s breakthrough was her short video “Meet a Muslim,” which she calls “the first thing I ever did that was distinctly not for my career.” Created in the aftermath of the 2016 presidential election, the three-minute piece was created in response to Miele’s mother-in-law voicing support for the Muslim ban at the dinner table.

“I just tried to take advantage of the moment when it came, but the truth is, it was the first time

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COURTESY LIONSGATE

JUST LIKE THE PROTAGONIST in her film “Wander Darkly,” writer-director Tara Miele was in a pretty horrific car accident a few years ago. “For just a bit, literally a split second, in my concussed state, terrified, I was like, ‘Oh, my God, I died,’ ” she remembers.

Miele, thankfully, survived the crash, as did her husband.

But it became the impetus for the film, an inside-out love story of sorts; Sienna Miller and Diego Luna star as a couple who reexamine the entirety of their relationship—both its wonders and its woes—in the wake of a devastating accident. “I’ve been really interested for a long time in trying to write a love story that told the best and the worst of it,” Miele says, “and how easy it is to get caught in the ‘shoulds.’ ”

I was using my voice for something I felt had to be said,” she remembers. “It was around the same time of the car crash, so it was like: Life is short, Donald Trump is going to be president, my voice is needed, step up. And it’s such a good reminder to trust your instinct as an artist and to say the thing you have to say, because that’s the thing that really changed my career.”

The video, in which various Muslim Americans are depicted simply existing, caught fire.

When it was picked up by Refinery29, clocking millions of views, Ari Emanuel (whom you may know as the real-life inspiration for Jeremy Piven’s “Entourage” character) emailed every agent at William Morris to say, “Stop what you’re doing and watch this. This is our new client,” Miele recalls. Once signed, she had two goals: to make a video for Hillary Clinton and to make “Wander Darkly.”

(The former remains the one that got away.)

The experience has become foundational—in her career, of course, but also in her life.

“Take lots of advice; go to all the panels; listen to everybody.

But then, somehow, when you’re sitting down at your desk, you have to make everyone be quiet,” she insists. “You’re so worried about what the agents might think or what the development assistant might think, or maybe it’s what your mom might think.

Write what’s urgent to you, write what feels emotionally real to you, write what you have to say. It just takes such a long time, too. Hopefully, you care about it enough to work on it for a long time.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “A STRANGE LOOP”: JOAN MARCUS

By Casey Mink

culture +

Spotlighting the people and projects you need to know

THE ESSENTIALISTS

MICHAEL WALKUP artistic director

Note From the CD

How to Become ‘Emerging Talent’

COURTESY LIONSGATE

ILLUSTRATION: MARGAUX QUAYLE CANNON; “A STRANGE LOOP”: JOAN MARCUS

By Marci Liroff

WE’VE BECOME A SOCIETY of lists. We’ve had David Letterman’s Top 10 lists, to-do lists, and myriad year-end best-of lists. As an actor, some of the most coveted to appear on are “emerging talent” lists.

You might ask: How do I land a spot on one of these muchsought-after rosters?

Of course, you know me: I’m always bucking the system.

Should it really be your goal to get on these lists? I don’t think so. If that’s the case, you may be traveling down the wrong path.

I’d rather see you expend your energy and talents on creating and maintaining a solid foundation in which to be a versatile performer. Chasing the red carpet life or striving for the A-list is an invitation to a hamster wheel you’ll never get off.

What I’ve seen in the last

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several years is that these lists are somewhat bogus in the way they characterize “new” and “upcoming” talent. As a longtime casting director, I’ve got to be plugged into who is new and hot on the scene. They may appear new to you, but my colleagues and I have been tracking (and hiring) these actors for years before they even get mentioned on such a list.

It’s important to ask yourself: Do I want to be famous, or do I want to be working with amazing filmmakers and turning out rich and authentic work?

Both paths take a lot of effort and tenacity. Don’t be fooled into thinking that you will get plucked out of obscurity and be an overnight success. I would wager that most, if not all, of the actors on these lists have been banging the drum for

By Casey Mink

Since 1998, Page 73 has been finding, developing, and producing theater’s next big thing, giving early-career playwrights their first New York City productions. The company’s efforts are in large part thanks to artistic director MICHAEL WALKUP.

spending your energy shooting up to the larger institutions of the more experienced directors or the famous actors to further your work. I think you get a lot more craft out of rolling up your sleeves with your own cohort, at least in the beginning.”

Peers can be great teachers.

“Work with your really immediate peers— directors, actors, other playwrights—who are right where you’re at: to get messy, to put things up on a shoestring, to quickand-dirty learn about your work in three dimensions, rather than

Page 73 looks for playwrights over plays.

“I’m always looking to develop playwrights before scripts, if that makes sense—a playwright who has a growing body of work, even if it’s not 20 years’ [worth]. It’s showing a real commitment to pursuing playwriting….

I’m really excited by

several years before you ever hear about them.

These performers have been taking classes for years, working on short films for free, appearing in Off-Off-OffBroadway plays, doing one-line day player gigs, working several jobs to pay the rent, creating their own content, and networking to build relationships within the industry. There have been sleepless nights spent wondering how they’ll pay their bills and take care of their family, and missed holidays and birthdays because they’re on location doing a bit part in what could be their “big break.”

Lots of sacrifices happen that go unnoticed by the general public. It all looks so easy and simple when you finally become aware of someone for their amazing work on screen or stage, but the work that went

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playwrights who love theatricality, whose work doesn’t seem like it would translate immediately to film or TV, because it keeps the liveness of theater paramount. Usually that means they’re very excited by language and how language is a really important tool of the stage, not something to be taken for granted.”

into it is never mentioned.

These lists are designed to make it look like a discovery story, but if you look closely, you’ll see that path is not paved with 100% success stories. The odds are stacked against you in your pursuit of movie star dreams.

My hope is that you’ll take this time to reflect on why you’ve chosen this career in the first place. That simple act can help you manage your expectations and goals.

I like to ask the kids I audition why they want to be an actor. If they say, “Because I have to,” I know they’re on the right path.

Want more?

Read our full Note From the CD Want more? at backstage.com/ Allarchives our Backstage Experts can be magazine found at backstage.com/magazine

12.03.20 BACKSTAGE

culture +

Spotlighting the people and projects you need to know

Put Me In, Coach!

BACKSTAGE 12.03.20

Some actors coach with their teacher, but that’s a mistake.

It makes more sense to use different people. Now, don’t get me wrong; I’m not suggesting teachers can’t coach. I’m just saying that exposing yourself to another approach is a smart move. It keeps you fresh.

There’s also a psychological component to consider. If you see your teacher every week, coaching with that person will feel like more of the same. But sitting down with a coach sends a clear message to your brain: Pay attention! This is something new. And on a subconscious level, you respond by being open and receptive.

I’ve always felt the best coaches are working actors.

Some actors coach with their teacher, but that’s a mistake. It makes more sense to use different people.

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Brian Conner

By Jalen Michael BRIAN CONNER knows that the best way to excel in his career is by taking control of it—and using every resource at his disposal.

Look beyond what’s on the page.

“In my most recent project, I play the lead role of an angel disguised as a homeless man. I loved the synopsis of the story and the character’s essence…. If I can relate to the character’s essence, then I will apply for that role.”

Backstage is here to help.

“I have a full profile [on Backstage]. I am constantly applying for roles that fit me and that I know I can commit to.

Backstage gives me the tools I need; I just have to use them.”

Dedication will take you where fear cannot.

“Commit 100% and give it everything you have, even if that means doing free student films and short films. The more that you put yourself out there, the more you will get noticed and the more relationships you will build within the industry.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; CONNER: ALEX RAIN

HOW DO ACTORS BECOME successful? They go on auditions, and they book jobs. It’s just that simple. The rest is noise.

So the next question is: How can you improve your chances of booking? Well, there are many ways to do that, but I’m going to suggest that an acting coach could add a lot of value to your team. I’ve had many clients improve their booking ratios by using the right one.

The first thing you need to know is that an acting teacher and an acting coach serve different functions. Teachers see you in class every week for an extended period of time. There are other students there, which is a good thing—you can learn from them, too! A teacher’s goal is to improve your overall skills.

Coaches, on the other hand, will have a single session with you.

It’s one-on-one, and their goal is to help you prepare for a specific audition.

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

That’s because they’re in the game. They’re going out on auditions just like you, so they totally get it. Are you up for a part on “9-1-1”? No problem. The coach booked the show last year. That kind of boots-on-theground experience is invaluable, because the coach can give you the inside scoop on how the casting office is run.

So, what, exactly, should you be coaching for? (Please don’t say everything.) These sessions aren’t free, so you should save the expense for major auditions.

It just wouldn’t make sense to coach when you’re reading for a small co-star on “All Rise” or “The Rookie.” That’s something you should be able to handle on your own. But you should definitely spend the money if you’re up for a guest star, recurring, or series regular role.

Keep in mind that the skills you learn in a coaching session don’t have an expiration date, either. They stay with you and carry over to your next audition. So if money’s an issue, a strong coaching session will prepare you for the next few opportunities.

At some point, you may be called on to play a character with an accent. Some actors can handle this challenge, while others can hardly keep their words straight without one.

That’s why there are accent coaches who focus exclusively on making you sound like just about anyone else in the world.

Better yet, the production company will usually cover the expense. (By the way, I’ve been told a Cajun accent is the hardest one to learn.)

Remember that you’re the captain of your team. That means you have to recruit the best players at a cost you can afford.

And if someone like me is your pitcher, the right coach will make an excellent shortstop.

Play ball!

culture +

Spotlighting the people and projects you need to know

In the Room With

Lauren Evans

This casting director is no stranger to identifying young talent with potential

By Elyse Roth

drama groups, and swim clubs—specifically for Jackson’s role [which went to Kedar Williams-Stirling]. I believe it is important to think outside the box, especially when looking for young actors. After a big session, we printed out photos of those who [we] had met that day, placed them on the floor, and tried different combinations. I like to think we were open-minded; we took chances.

We met with people who hadn’t done anything, on the advice of good agents. We enjoy tracking the National Youth Theatre and drama school graduates. We often contact drama groups, youth clubs, schools, and colleges. I’ve been known to approach people on the street if I feel they suit a specific brief.

What advice do you have for auditioning actors? Relax! The process is so much more enjoyable and successful if you don’t place too much pressure on yourself and the situation. We are here to help facilitate a good audition, so work with us.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; CONNER: ALEX RAIN

PRESTIGE TELEVISION SERIES CENTERED ON YOUNG CHARACters are having quite the moment, from “Euphoria” to “Stranger Things” to a handful of Marvel series and beyond. Anchoring the casts of many of these major projects are brand-new faces ready for their careers to blast off. Lauren Evans, a casting director behind one of these very ensembles, searched the U.K. high and low to populate Netflix’s “Sex Education.” And before setting out on her own, she worked with legendary CD Nina Gold to help find the sprawling casts of series like “Game of Thrones.” In other words, she’s no stranger to matching talent with their big-break roles. Here, she shares with Backstage where she looks for talent and offers some advice for young actors looking to find their first opportunity to showcase their skills and practice their craft.

What advice do you have for young and early-career actors? First, be yourself.

Talk about things other than “industry talk.” I’m very keen to hear about people’s cats and wacky families. It’s nice to get a glimpse of the person who will turn up to set should they get

backstage.com

the part. Prepare well. Read the entire scene, not just your lines.

The stage directions are often there to help your performance.

If something in the scene confuses you, ask questions. We’re more than happy to help where possible. I’ve often encouraged young actors to tape themselves

at home so they can watch their performance. They need to develop an understanding of what works onscreen and adapt their style of delivery.

Describe your audition process, especially when seeing actors who are newer to the industry. Where do you find new talent? For a series like “Sex Education,” most of the series regulars auditioned a number of times. There were initial rounds with me, callbacks, and chemistry reads. It was so important for the chemistry to look natural. We started with the conventional route [of finding] actors represented by theatrical agencies. But then we looked further afield to include National Youth Theatre,

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What makes an actor memorable in an audition? I remember a conversation as we walk to the taping room as much as an audition, so just be yourself. No audition is wasted; we’re constantly thinking of other things you might be suited for.

What shouldn’t an actor do in an audition? Actors shouldn’t be rude or abrupt, even if they’re having a bad day.

Don’t dismiss the direction or challenge it, as it’s usually a request from the director, producer, writer, or someone else on the production.

Want more?

Read the full interview at backstage.com/magazine

12.03.20 BACKSTAGE

BACKSTAGE 04.02.20

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backstage.com

You Should Try It in Heels With his feature film debut in the hotly anticipated movie musical adaptation of “Everybody’s Talking About Jamie,” there’s no denying Max Harwood’s born-with-it star power.

The only question is where he’ll take it next

By Benjamin Lindsay - Photographed by Heather Glazzard

“A CINDERELLA STORY!” RICHARD E. GRANT exclaims, barely containing his excitement as Max Harwood recounts his journey to “Everybody’s Talking About Jamie.” And a Cinderella story it truly is—only Harwood’s has more glitter, higher heels, and a fairy drag mother in Loco Chanelle, played by industry vet and Oscar nominee Grant.

Prior to being plucked from a self-tape stack of over 3,000 young hopefuls, Harwood was just a second-year university student studying theater in London. Agentless and with no professional screen credits to his name, he took the leap after some coaxing from a friend to get his materials in order and submit. Soon thereafter, at the end of a yearlong talent search with casting director Shaheen Baig, director Jonathan Butterell had his Jamie New, the teen drag queen sensation who dreams of a stage bigger than his South Yorkshire home can contain. “Everybody’s Talking About Jamie” is adapted from book writer and lyricist Tom MacRae and composer Dan Gillespie Sells’ Olivier Award–nominated West End musical of the same name, which itself was adapted from Jenny Popplewell’s 2011 TV documentary “Jamie: Drag Queen at 16” and the true story of Jamie Campbell. After some pandemic-induced delays, the film is finally set to hit theaters on Feb. 26, 2021.

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RICHARD E. GRANT: I’m going to go all the way back: How did you hear about this movie in the first place, and where were you in your life?

MAX HARWOOD: Well, I was at school. I was in my second year. A friend of mine, Lydia, said that Shaheen Baig was looking for someone for this part, and there was an open casting call.

REG: When you say school, do you mean acting school or school-school?

MH: Yes, I was in my second year of uni. I was like, “Ah, surely not. It’s a movie. No.” I was training in theater at the time. I’d worked at a cinema growing up when I was 16; I always was the one that was sweeping the popcorn and hand-ripping the tickets. I never thought that I would be in the movie. Then [Lydia] basically forced me into sending a tape to Shaheen. After that, I was on the journey of auditioning and stuff, which was very bizarre, and it just snowballed into where we are now.

REG: You knew that [the audition] was for a musical and that it was called “Everybody’s Talking About Jamie.” You knew that?

MH: Yes. I had seen the show before I’d auditioned. I went to see the show in February the year that it came out in the West End. It had only been out a few months then, I suppose. I saw the show, and I really loved it. The music

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in it is amazing, as you know. Dan Gillespie Sells is just incredible; I love him. I watched it and I thought, Maybe this is something that I could do when I leave school.

REG: Do you know how many people auditioned for the movie role that you finally got?

MH: I don’t know. It’s in the thousands, I believe. Are you going to tell me the specific number now?

REG: Three and a half thousand, and it was over an entire year! Take me through [it]: You sent in your first tape, then what were the next stages?

MH: Then I think there were a few more tapes, actually. I taped a few of the scenes from the movie. Then I got the call to say that they were doing a group audition at the Old Diorama Arts Centre in London. They said, “You’ll be meeting the director and the casting director. Please prepare.” I think it was three scenes and two of the songs.

We went in and we all did a dance round together. Then they started calling people in one by one. When I went in the room, they said, “Dan Gillespie Sells is here.” I was thinking, Oh, no, I’m going to have to sing two of this guy’s songs in front of him—that’s really daunting! On top of that, when I got in the room, they were like, “OK, we’ll start with ‘The Wall in My Head.’ Do you want to wear the heels?” Then they got out these 12.03.20 BACKSTAGE

20TH CENTURY STUDIOS

red heels, which he wears in the show. I was like, “Absolutely, yes. I will do the song in the heels.” I haven’t had much experience in heels at all, and I just thought, I’ve got to do this on a wing and a prayer here. Slipped on the heels—they were a little too big. Did the whole song.

I left that day thinking, That was a fun day. I’m not going to hear anything; back to school I go. Then I got a call to say, “Would you like to come to do a day with us?” The day was a screen test in a little studio in London, and then they put me in full drag for the first time. Obviously, to put someone in drag is quite a long process. At that time, I was thinking, This two-hour process—they can’t be doing it with hundreds of people.

Surely not.

REG: Did you have an agent by this time?

MH: No, I didn’t have an agent or anything. I was just on my own. I was emailing back and forth with Shaheen myself.

REG: How long was it between being told by Jonathan that you [had] the part to us two meeting in Soho in a little rehearsal room and reading through all our scenes together?

MH: It was probably a week or two. Not long at all.

REG: How nervous were you on the first day of shooting? Because your first day was my first day, as well.

MH: I remember feeling so nervous that day, and then, very early on, you said to me something like, “We’re not doing heart surgery here. We are telling stories, so we have to find fun in it.” That instantly put me at ease.

REG: I’m glad to hear that. From your drama training, did [filming] seem like a world away from what they had said you would experience? Because what I love about the industrial nature of filming is that there are cables and lenses and props and people to help you, and a real costume and a real set.

You don’t have to go to the zoo and look at a chimpanzee for two hours and think, Well, how could I play a chimpanzee? It’s very practical and real. I think that’s something that as much as people at drama training try to give you, until you actually do it, it’s not the same thing. Would you agree with that?

MH: I totally agree with you on that, because

I was overthinking a lot at the start. On a film set, it was comforting to learn that there were people there to touch up your eyebrow or to move a piece of hair. All of these little details are telling the story. I feel like I learned that my job was to deliver the lines with the right energy and be with the actor I’m with.

I think training, in some cases, can overcomplicate that process and put lots of blocks to you actually getting to—not an end result, but an A performance, like you say.

Being on a set, you are sometimes in a real shop or a real nightclub, or you’re in a real

street, or on the floor outside a real shop at 4 o’clock in the morning. That is your reality when you’re shooting: just actually being in the moment and going, “I’m really cold. I’m lying covered in blood outside a shop. It’s 4 a.m. I actually feel quite sick.” Do you know what I mean? The reality of it helps you so much.

REG: Apart from the exhaustion of the long hours and you being in every single scene, what was the thing that you found the hardest to cope with, making your first movie?

MH: I think the hardest part for me making the movie was just the sheer amount I had to

20TH CENTURY STUDIOS

With Richard E. Grant in “Everybody’s Talking About Jamie”

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MH: What I’ve learned is that each individual

What is for you will come to you. You need to be uniquely and authentically yourself so the things that are meant for you drop in your lap.

take on in terms of learning, which I loved.

Also, one of the hardest scenes to shoot was my drag performance, because I’m not a drag queen and I hadn’t done drag before, and I love drag so much. I put so much pressure on myself to do justice to all of those lipsync performances that I’ve seen and loved throughout the years.

REG: At your vast age and vintage now, would you have any advice for a performer starting like you did?

MH: I suppose I would just say—this is going to make me sound a little bit cringe—[but] just being you is enough.

REG: Bull’s-eye.

MH: Within acting or performing or being a dancer or a writer or a creative person, don’t try and morph yourself into someone else, because those things are for that person.

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What is for you will come to you. You need to be uniquely and authentically yourself so the things that are meant for you drop in your lap. And that’s what I would say. I don’t know if that sounds a bit too profound and a bit too old and wise, but that’s all I believe I can say.

REG: How old are you, Mr. Harwood?

MH: 23.

REG: I am 63, and I am only just learning that.

I can tell you the number of drama students that I knew from when I was training 40 years ago who would do brilliant imitations of well-known actors, and I’d think, Oh, my God, that’s what you’re supposed to do.

Let’s be like that. None of those people have really, without exception, had successful careers, because they’ve been trying to be people that are already doing performances.

They weren’t true to who they really were.

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person working with you—Sarah [Lancashire], Sharon [Horgan]—you all have completely different energies and ways of working. The energies that you bring to the characters and the performances that you deliver are all uniquely you at the root of them, despite things you add in terms of mannerisms or research that you do. The root of everything when you’re an actor is you. Your outward energy is the vessel, right? You can change and mold that, but it won’t ever be someone else’s heart within you delivering that promise.

REG: Absolutely. How difficult was it, once the shoot finished, to go back from that incredible intensity of three or four months that you were working, and then it stops?

MH: I can’t lie to you, I did find it quite hard!

Especially going from not having any work to being the No. 1 on a film set to going back to having no work, you go, “Am I going to do anything else? Is this for me?” I think every actor has impostor syndrome within them.

[But] I’ve been really lucky. When I’ve texted you, you’ve replied and just been there to offer advice. I think that’s really important going forward. I really hope, Richard, in the future, [that] I’m at a stage where a young actor comes in [and] I can actually deliver to them what you gave to me, which is such strong support. Having that is the best thing, because we’re all just humans going through life. There will be ups and downs. You have to learn to manage those.

REG: I’m so touched that you’ve said that.

The other thing that I’m struck by is that impostor syndrome. I’ve found that the common denominator for almost every actor I’ve ever worked with in all these decades is that on the one hand, we have low self-esteem but large ego—because you’re going, “No, no, no. Don’t give her or him the part. Give me the part!” And then as soon as you’ve got the part, you think, Well, do I deserve the part, or surely somebody else?

I was just in a read-through a month ago for this job that I did in Atlanta, “Loki.”

When we did the read-through on Zoom, I thought, Everybody else is brilliant. Everyone else knows how to play that part. But my part just sounded like concrete coming out my mouth. Knowing that every actor goes through that­—it levels the playing field, because every job you start, you are at the beginning again. I thought that it would improve with age and that you get less fearful. It doesn’t! It stayed the same. Be warned.

MH: Oh, gosh. Yes. [Laughs] Maybe I should get out now!

This interview has been edited and condensed for clarity. Styling by Zadrian Smith and Sarah Edmiston. Grooming by Nadia Altinbas using Sisley Paris and Kevin Murphy. On first page: coat by Lanvin, sweater by Ben Sherman, jeans by Loewe, shoes by Grenson. On third page: sweater tank top by Valentino. On fourth page: sweater by Lanvin.

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Watch This Space

Celebrate the stars of tomorrow with our inaugural Emerging Talent portfolio

By Benjamin Lindsay NO ACTING CAREER IS THE SAME AS THE NEXT. SOME ARE MADE after years of training, rejection, and perseverance; others are made seemingly overnight with one stellar self-tape and a leap of faith. From newly minted Netflix stars to award-worthy feature film breakouts, you’ll find a mix of it all in Backstage’s Emerging Talent portfolio, where we’re spotlighting not only some of our favorite performers of 2020–21, but the performers we haven’t seen before—and will be sure to see again.

Maria Bakalova

BAKALOVA: FELICITY KAY; BRAVO: HEIDI TAPPIS; FRANCIS: NATHAN JOHNSON

(“Borat Subsequent Moviefilm”) As Borat, Sacha Baron Cohen takes no prisoners in his dedication to comedy performance; the fact that 24-year-old Bulgarian actor Bakalova not only holds her own but elevates the material is a testament to just how special a performer she is. She’s even getting Oscar buzz for it.

What do you love most about being an actor?

The reason I got into acting was the ability to escape from reality.

I’m a dreamer. One famous line from a Bulgarian play called “The People From Oz” has driven me—and, I believe, many of my

Ciara Bravo

colleagues back at home—from the beginning of my artistic journey. It goes, “In the theater, my dears, every Tin Man has the opportunity to find their heart.”

I know I can’t ever truly escape myself, but at least for a bit, while wearing my characters’ shoes, I feel like I am living their lives, and that makes me feel free.

What’s your No. 1 piece of audition advice?

Let your intuition guide you.

Forget about what you’ve been thinking before. Preparation is useful only for confidence. Your instincts and flexibility will get you the part.

Ciara Bravo

(“Cherry”) At 23, Bravo has spent nearly half of her life onscreen, but it’s thanks to her turn as a young wife nursing an opioid addiction in “Cherry” that the industry is sitting up and listening. Opposite Tom Holland, she breaks your heart from the first frame.

Who is the casting director who gave you your first break?

I have such a hard time answering this question, because how do you even define a “break”? I constantly feel like I’m cracking new barriers in my career, and that is largely in part to many wonderful casting directors to whom I owe so, so much. That being said, my first role as a regular on a TV show, on “Big Time Rush,” was cast by Geralyn Flood. That was 11 years ago, and we remain friends to this day.

What’s one screen performance

Midori Francis that inspires you as an actor and why?

This changes every year with all the gorgeous new art we get to see. Some of my favorites recently have been Michaela Coel in “I May Destroy You,” Noah Jupe in “Honey Boy,” and FKA Twigs in her music video for “Cellophane.”

Each performance holds such a subtle, heartbreaking beauty that left me reeling for days.

Midori Francis

(“Dash & Lily”) If you binged Netflix’s holiday romcom series “Dash & Lily” and didn’t immediately fall head over heels for Francis, we advise you to stop reading this list. Her emotional dexterity and heart-on-her-sleeve sincerity are no doubt what took

her from New York theater to the small screen.

What do you love most about being an actor?

I love the fear of going into a new place and watching that fear shrink as I find my way. I love finding chemistry and trust with my scene partner and playing with them. I love when the words breathe. And, of course, I mostly just love to pretend.

Who is the casting director who gave you your first break?

I suppose my real first “break” was when I booked a play called “The Wolves,” written by Sarah DeLappe. Telsey + Company cast that, and [casting directors] Karyn Casl and Will Cantler have since become part of my theater family.

What’s one screen performance

Maria Bakalova

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Tiffany’s.” I think she was just so expressive, even without dialogue, and sometimes by only using her eyes. Her character, Holly Golightly, is a multilayered, complex character, yet she does it so effortlessly.

What’s your No. 1 piece of audition advice?

Use the nerves that you may be feeling to fuel your performance, and channel that into your scene.

Do what you need to get into the right head space, because you know yourself best at the end of the day. Besides, if you’re nervous, it means you care. That’s good.

Amir Wilson

Michael Rainey Jr.

Michael Rainey Jr.

(“Power Book II: Ghost”) We have a feeling the best is yet to come for Rainey, who at age 20 has gone from acting on Starz’s über-popular “Power” to leading his own spinoff series, “Power Book II: Ghost.”

What do you love most about being an actor?

What I love most about being an actor is that I get to meet different people, travel, [and] experience different cultures. I get to inspire people, I get to make people laugh, and I get to be different people through my characters.

What’s one screen performance that inspires you as an actor and why?

I don’t have any specific

BACKSTAGE 12.03.20

[performance], but I do like Denzel Washington, Laurence Fishburne, and Samuel L. Jackson.

What’s your No. 1 piece of audition advice?

When you go in for an audition, go in with confidence.

Maitreyi Ramakrishnan

(“Never Have I Ever”) Ramakrishnan has experienced the journey that so many actors dream of. The Ontario native made her professional acting debut on Netflix’s “Never Have I Ever” after being selected from 15,000 young hopefuls.

Who is the casting director who gave you your first break?

Collin Daniel and Brett Greenstein were the casting directors who were a part of a worldwide search initiated by Mindy Kaling for “Never Have I Ever.” A whole team was behind it, and I am grateful to all of them for their efforts.

What’s one screen performance that inspires you as an actor and why?

I really love Audrey Hepburn’s performance in “Breakfast at

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For our full portfolio of 20 actors on the rise, visit backstage.com/ magazine.

RAINEY: @JUSSOBROOKLYN; RAMAKRISHNAN: VINSIA MAHARAJAH; ZENGEL: MAGDALENA HÖEFNER

that inspires you as an actor and why?

Sandra Oh in the first season of “Killing Eve.” From the moment she wakes up in Episode 1 and her hair is all over her face and she is screaming, she takes us on a journey of a messy, human person that I really appreciated.

Maitreyi Ramakrishnan

(“His Dark Materials”) Colin Firth, Lin-Manuel Miranda, Ruth Wilson, and Julie Walters are just a few of the actors Wilson has called his colleagues in his first three projects alone. He’s now co-leading the second season of HBO fantasy series “His Dark Materials,” and we can’t wait to see what he does next.

What do you love most about being an actor?

I love putting myself in other people’s shoes and being able to almost think like a different person. I also love getting to travel the world and meeting amazing people whilst doing the thing I love.

Who is the casting director who gave you your first break?

Karen Lindsay-Stewart for “The Secret Garden.” I owe so much to her for that role.

What’s your No. 1 piece of audition advice?

It doesn’t matter if you don’t land the audition every time, and the decision isn’t always directly affiliated with your acting ability.

I’ve learned that not all roles will suit you. It’s all about timing.

What’s one screen performance that inspires you as an actor and why?

The one who inspired me the most is for sure Tom Hanks.

After I found out that I would be acting alongside him in “News of the World,” I watched a lot of the films that he made. “Forrest Gump” took my breath away.

And when we started working together, Tom became more than a colleague; he became a mentor.

I already knew a lot about working in front of the camera, but every day I was totally surprised with how deeply he could let himself get into character, and watching him act was a big gift. “News of the World” is my first movie in America, and I cannot describe how thankful I am that I had the opportunity to work with him.

What’s your No. 1 piece of audition advice?

Be yourself, jump into every emotion, and ride the wave.

Helena Zengel

(“News of the World”) Every once in a while, there comes a young performer who acts with grace and emotional virtuosity well beyond their years. With her awardworthy turn in “News of the World,” the German-born Zengel proves to be a force—and quite possibly Tom Hanks’ 12-year-old match!

Helena Zengel

backstage.com

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

Submit a Notice |

New York Tristate Student Films ‘The Cave On The Island’

• Casting “The Cave On The Island,” a

horror film that centers around Milton, who, after finding himself in the afterlife, attempts to find out how he died with the help of a guide. Note: This film involves mild violence, cursing, fake blood, and prop cigarettes.

• Company: Hofstra University. Staff:

Kevin Ontaneda, dir.; Tianna Vanrossum, prod.

• Shoots Dec. 15-18 in Hempstead, NY. • Seeking—Milton: male, 25-45, all eth-

nicities, a slightly nerdy and average nuclear husband who distinguishes himself as a rather good person; however, he’s clouded by ignorance and fear which plays into his fate in the afterlife. Rosemary: female, 25-45, all ethnicities, a loving housewife who seems distant from her husband but loves him nonetheless; however, her mental health mixed with infidelity pushes her to the edge of the relationship. Daughter: 6-14, all ethnicities, nonspeaking role; role involves actions, such as sitting, running, laughing, and hiding; fake blood will be used in one or two scenes.

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

• Auditions will be virtual due to Covid-

19 precautions. Include photo’s of you in your submissions. Videos in submissions are encouraged but not required.

• Food and transportation provided.

Professional digital downloadable copy of work provided as well.

Scripted TV & Video ‘Godfather of Harlem’

• Casting featured background with

open availability for the second season of the Epix series “Godfather of Harlem,” starring Forest Whitaker. 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.

• Company: Roman Candle Casting.

Casting picks of the week

Staff: Todd Feldman, casting dir.

• Shoot dates TBD (must have open avail-

ability) in the NYC area.

• Seeking—Featured African American

Males & Females: all genders, 18+, Black / African Descent, various featured roles in the second season of “Godfather of Harlem,” which takes place in 1964. Seeking specific hairstyles. Males: no dreadlocks, twists, high afros, or fades. Females: no braids or weaves; must be comfortable with blowing out or flat-ironing natural hair; indicate if you have a wig that could work. COVID tests are mandatory and masks must be worn whenever not on camera. Must have open availability.

BY LISA HAMIL

musicals

‘Million Dollar Quartet’ Submit self tapes for this Equity Arvada, CO live production running Spring 2021

tv

phone number to reach you.

‘Tumwater’ Get the job done for this workplace drama series directed by Ben Stiller in NY

masks must be worn whenever not on camera.

film

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

gmail.com.

• In your submission, include the best • Paid. COVID tests are mandatory and

‘Love, and the Deadly Virus’ Find love in Los Angeles, CA during a global pandemic

HBO’s ‘Succession’ Season 3, Bosnian Government Official

• Casting background actors for season 3

of the HBO series “Succession.”

tv

• Company: Grant Wilfley Casting. Staff:

Faith GWC, casting assoc.

‘Godfather of Harlem’ Run the city in this Epix series starring Forest Whitaker in NY

• COVID test Dec. 14; tentatively shoots

Dec. 16.

• Seeking—Bosnian Government Official:

male, 30-69, White / European Descent, SAG-AFTRA male, 30s-60s, to portray a Bosnian government official.

COVID test on Dec. 14 and tentative work on Dec. 16. Must have smart business attire. Would be interacting with principal characters. Must be comfortable with COVID tests and wearing masks when not on camera.

stage

‘Watching & Listening’ Let sports change your life in this zoom Equity Staged reading

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

‘Tumwater’

• For consideration, submit your name,

directed by Ben Stiller.

nyc.com.

• Casting extras for “Tumwater,”

phone number, union status, availability for Dec. 14 and Dec. 16; what IDs you can bring to fill out I-9; if you worked season 1 or 2 and if so, note what role; if you are comfortable with COVID tests and wearing masks when not on camera; confirm you have smart business attire; and send current selfies (no filters, no headshots; production will be submitting photos to the director) to succession@gwcnyc.com with the subject line titled “Backstage: Bosnia.”

• Shoots TBD in NY. • Seeking—Anarchist Punk Musician

Types: all genders, 18-40, all ethnicities, to portray Anarchist Punk Musician Types; facial piercings, mohawks, tattoos, shaved heads, etc. a plus; include in notes section if have any experience w/modern punk music, if you follow or have followed any punk bands etc.; anything pertaining to that world, we’d love to know!

• Seeking submissions from NY. • Send submissions to extrascasting-

nyc@gmail.com.

• Pays $178/8 hrs. for work date, $100

COVID test stipend. SAG-AFTRA.

• Pay provided.

19

Reality TV & Documentary ‘Evil Lives Here,’ Ep 607

• Casting episode 607 of “Evil Lives Here”

for the ID network.

• Company: Red Marble Media. Staff: S.

Jeanty, casting dir.

• Shoots Dec. 1-4 in Washington, CT. • Seeking—Child Derek: male, 10-12,

White / European Descent, he thought it was funny to prank and bully his siblings growing up. He was would always jump from out of closets and hide behind doors to give his brothers and sisters a fright. To him, all his pranks were innocent little jokes, nothing that should be taken too seriously. Derek’s sister Linda never found them to be funny and considered his pranks to be odd and cruel. She hated his “rough house” behavior because she was often Derek’s main target since they were closer in age. His parents believed he would grow out of his prank-ish / bullyish ways but he never did. As Derek got older his “playful ways” started to become borderline dangerous. Which eventually would lead to him getting in trouble with the law in his late adolescent /teenage years.Lead role.Brown eyes and short brown hair, average height and build.Implied violence: Shirt pulling (a staged rehearsal will happen on set) - child actor will act as annoying older brother / “pull” back of little sister’s t-shirt while she watches tv. Child Linda: female, 7-10, White / European Descent, loved growing up in a big family. As a kid, she enjoyed playing with her 8 brothers and sisters. But she would often have a hard time playing with Derek, her old brother. Derek always seemed to play a little “too rough” with Linda than he did with his other siblings. She didn’t mind have a pesky older brother, she just hated that it felt like he was doing it to torture her.

No matter how much Linda tried to tell her parents that her brother’s behavior was troubling. They constantly would tell her that boys will be boys and that Derek was only going through a phase.

Linda knew better, the way Derek use to smile after pulling a prank or the way he would get a kick out of pulling her hair.

There was a certain evil behind it, and she was the only one who could see it.

Brown eyes and medium-long brown hair, average height and build.Note: Shirt pulling (a staged rehearsal will happen on set) -child actor will be

12.03.20 BACKSTAGE

casting California watching tv while older brother actor “pulls” back of sister’s t-shirt.Simulated Drowning Scene: child actor will be standing up and will partially submerge their face in a small-medium size waterfilled glass container (“fish tank”). They will then proceed to blow water bubbles into the tank. The action is similar to bobbing for apples.Production states: “A staged rehearsal will happen on set/ safety meeting will happen prior to filming.The child actor must be comfortable wearing a 1-piece swimsuit with a pool towel wrapped around their body.

Comfortable holding breath/strong or trained swimmers preferred.” Adult Derek: male, 18-21, White / European Descent, smart, charming, and cunning.

His family would describe him as being a handful. He was a bit of a rambunctious kid, but his parents thought he would outgrow this behavior. As Derek got older, he continued to break the rules at home and at school. When he was a teenager he started getting in trouble with the law and that would carry on throughout his early adult years. Just when his family thought he was getting on the path of the straight and narrow. Derek went out and committed an act of murder. Now, he once again is making his sister clean up his mess. But what he doesn’t know is that Linda, his sister is done doing his dirty work.Brown short hair, brown eyes, clean-shaven but willing to wear a fake mustache, average height, and build.

Adult Linda: female, 18-21, she was faced with the toughest decision of her lifetime. She had to choose between helping an innocent victim get justice or helping the police put her brother behind bars forever. As long as Linda can remember she always felt like something evil was lurking inside of her older brother, Derek. There was something frightening about the way he would smile after he would “playfully” pull her hair. When they were kids, he would oftentimes play rough with her and pulled dangerous pranks on Linda and her other siblings. No matter how much she tried to tell her parents about Derek’s aggressive and manipulative behavior, no one would believe her. It was then that Linda thought it would be best to start to distance herself from Derek but always keeping a close eye on her brother’s whereabouts. It was clear to Linda that her brother enjoyed playing cat and mouse mind games with her. Derek, however, underestimated the hold he had on Linda, she was tougher than he thought, and she no longer would let him play her like a pawn.Brown short - medium long hair, brown eyes, average height and build.

Mom: female, 40-45, White / European Descent, helpless, hopeful, and has lots of patience. She always had her hands full raising her 8 kids. She had an even harder time trying to manage her son Derek. Mom has always tried her best to be a good mom and role model for her children. But somehow her son Derek always found ways to get himself into trouble. When he was a child, she and her husband would tell themselves that he would grow out of his rebellious behavior. Instead, Derek’s behavioral issues got worse when he became an

BACKSTAGE 12.03.20

adult. For years, she would watch her son go in and out of jail. But it would be her own daughter that put him behind bars forever.Medium length light brown hair, brown eyes, average height and build. Sue - Teen Sister: female, 18-20, grew up in a big family with eight brothers and sisters. As a kid, she used to love spending time outdoors playing with them. Just like any sibling relationship they would oftentimes fight and trick each other. But there was something different about her little brother Derek. He took pride in inflicting pain on them. Especially, on their little sister Linda. Sue didn’t like how Derek would always pick on and bothered Linda. She like the rest of her family thought he would grow out of his childish ways, but she would later learn that Derek was not only a danger to their family but to society as well (looking for talent that can play 16yr-18 yr range). Long brown hair, brown eyes, average height and build.

Frankie, argue about whether or not to continue their life of crime after finding out they are having a baby.

• Company: Park Alisal Pictures. Staff:

Justin Aaron Sirkin, Cole Swanson, coords.

• Shoots TBD in Los Angeles, CA. • Seeking—Marco: male, 19-25,

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

• Currently looking for local hires in NYC,

NJ, and CT.

• Production states: “To help stop the

spread of COVID. We will be filming in a nearby isolated location in Washington, CT. • COVID safety precautions will be in full

effect during filming. Production will also have a COVID compliance officer on set.

• Must be a local to the areas listed. Must

self report.”

• Pays $210/day plus $105 for COVID

testing.

Music Videos ‘Steak & Lobster’ Music Video

• Casting “Steak & Lobster,” a music

video.

• Company: 72 Madison Design Group.

Staff: Marquan Gary, videographer.

• Shoots Dec. 21 at an office space in

Paterson, NJ.

• Seeking—Lead: female, 20-29, Black /

African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, actress needed for simple shoot.

• Seeking submissions from NJ and NY. • Send submissions to qentstudio@gmail.

com.

• Pay provided.

Southern California Short Films ‘Frankie & Marco’

• Casting ‘Frankie & Marco.” Synopsis: A

resistant small time criminal Marco, and his shifty girlfriend/partner in crime

Ethnically Ambiguous / Multiracial, White / European Descent, a 22 year old small time criminal living in a one bedroom apartment in Van Nuys, CA with the love of his life and partner in crime, Frankie; his criminal exploits are robbing convenient stores, gas stations, and liquor stores; so far he has not gotten caught but there have been many close calls and feels that the police are going to catch him soon; he isn’t paranoid of police but he is wary; his plan is to rob one last liquor store with Frankie and then run away to quiet little Pismo Beach in San Luis Obispo; while Marco is a criminal, at heart he is actually very good and moral; he doesn’t want to show this side of him however; Marco is like a Han Solo type; he isn’t a bad guy at heart but he doesn’t want to be seen as the good guy either; however, he does do the honorable thing at the end; after robbing the liquor store, Frankie tells him that she is pregnant as they are driving away from the scene of the crime they just committed; the film begins as they enter their apartment after the robbery; Marco is very much against having a child and thinks that a kid would just get in his way; he comes off as selfish to Frankie and therefore, Frankie decides to leave him and go raise the child on her own; with that in mind, Marco does try to apologize to Frankie but to no avail; as Frankie is attempting to leave, the police show up; Marco helps Frankie by buying her some time to escape from the police; Marco is arrested at the end but at peace of mind that he was able to help her; while he comes off as selfish, at heart, Marco is a good man. Marco and Frankie are both 22 years old and have been together since they were 19; they are usually very loyal to each other until Marco says he doesn’t want a child; it should be noted that he does care a lot about Frankie, even though he doesn’t show it until the end; Marco’s look is that of a French New Wave criminal like Alain Delon. Frankie: female, 19-25, a 22 year old criminal living in Van Nuys, CA with her lover and partner in crime, Marco; Marco and Frankie are not only a romantic partnership but are also a criminal partnership; they rob liquor stores, gas stations, and convenient stores; they have been doing this for about two years now and had many close calls with the police but they have been able to stay out of trouble; Frankie has been a criminal for just as long as Marco has; she started with theft and then moved on to robbery; despite Frankie being a criminal, she has a good heart and is willing to put her child before her when she realizes she is pregnant; the film starts when Frankie and Marco enter their Van Nuys apartment and are arguing about having the baby; they just came from robbing a liquor store and their plan is to go up to Pismo Beach and lay low. In the apart-

20

ment, Marco does not want the child but Frankie is set on having it; therefore, Frankie tells him that she is leaving him to go raise the child by herself; Frankie does this because Marco is acting extremely selfish and decides the baby is more important; after Marco apologizes, she still wants to leave; as Frankie is packing up her stuff to leave, the police show up; Frankie doesn’t see the good side of Marco until he decides to buy her time to escape from the police; it should be noted that Frankie has known about her being pregnant the night before but did not want to tell Marco until after they completed their robbery; she tells him in the car on the way to their apartment but we do not see this in the film; at first Frankie’s goal is to understand why Marco doesn’t want the child but once she realizes he is being selfish she decides to do what is best for the child, which means leaving Marco; Frankie has the look of a French New Wave girl like Anna Karina.

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

gmail.com.

• Sides will be emailed.

• No pay.

‘Love, and the Deadly Virus’

• Casting “Love, and the Deadly Virus,” a

dreamlike and unique love story set during the pandemic.

• Company: Little Monster Pictures.

Staff: Olivia Sandoval, dir.-prod.-actor; Catherine Kyritsis and Jennifer Bertling, crew.

• Shoots Jan. 29, 2021 in L.A. • Seeking—Silveria: female, 45-65, Black

/ African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, seamstress.

Introverted. Hypochondriac.

Fashionista. Artsy. Quirky. Note: Role requires backside nudity. Horace: male, 45-65, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, male, 40+. Hispanic/Latin/Afro-Latin).

Ballroom dance teacher. Relaxed, extroverted, unskilled with technology, and sassy,. Formal with dancing skills.

Note: Role requires backside nudity. Mr. or Mrs. Kramer: 70-80, male or female, 60+. All ethnicities. Retired, sloppy, and friendly.

• Seeking submissions from CA. • Send submissions to osandoval@inside.

artcenter.edu.

• Submit a self-tape audition.

• The producers plan to apply for a SAG-

AFTRA New Media Agreement.

Student Films ‘Dark Forest’

• Casting “Dark Forest,” a horror-com-

edy student short film.

• Company: NYFA. Staff: M. Salazar,

coord.

• Shoots TBD in Los Angeles, CA. • Seeking—James: male, 18-30, Black /

African Descent, Latino / Hispanic, man is being chased by extraterrestrials for a wrong doing that he did to the aliens.

Marco: male, 19-33, man is being backstage.com

California casting

chased by extraterrestrials for a wrong doing that he did to the aliens. Jason: male, 18-32, he is helping his friends to get out of a bad situation when extraterrestrials are chasing them for a wrong doing that his friend did to the aliens. Kate: female, 18-33, she is friend of three guys and date one of them; she finds her self in a situation that is out of her control because her friends and she are being chased by extraterrestrials because one of them did some wrong doing to the aliens. Angela: female, 18-35, White / European Descent, she is a dead woman that got shot by somebody inside of an alien spaceship; she is in alien laboratory against her will, when another person that got adducted as well, has a riffle and shoot her; now the aliens want him to take her dead body to her family but he (a group of friends) refuses and aliens chasing them as a consequences with the dead body.

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

head shot to mproductionsal@gmail. com. If selected you will be asked for a self video tape audition.

• Meal, credit, and copy of the final film

provided.

‘Forlorn’

• Casting “Forlorn,” a Chapman

University, Thesis Production aimed to be sent to Festivals.

• Company: Chapman University. Staff:

Shayon Bhattacharya, dir.-writer.

• Rehearses mid January-Mar. 1, 2021;

shoots Mar. 5-14, 2021 in California.

• Seeking—Asif Siddiqui: male, 22-32,

Indigenous Peoples, Middle Eastern, South Asian / Indian, mid 20s, a youngster without any education qualification in the US, migrates from job to job to carry himself and make a living because of a very estranged relationship with his family; his family is a wealthy Indian Muslim family living in the states and has made a name for themselves; extremely shy and someone who has difficulty, relating to people and lives in a world of his own, gets hired to take care of an Old Paralyzed War Veteran as a full-time help. Dave Lambert: male, 60-90, White / European Descent, a Vietnam War veteran; his right shoulder to his right Toe is paralyzed; lives in a Small Apartment with whoever is hired as a caretaker for him; extremely dependent but unfortunately his only son is more invested in his Business and Family rather than giving him some attention. Farooq Siddiqui: male, 55-65, Indigenous Peoples, Middle Eastern, South Asian / Indian, a Millionaire with an established Business in the States; has two sons, one of which is our Protagonist, who he isn’t proud of; doesn’t have any form of contact with that son until a day after fifteen odd years when they meet at a cafe.

• Seeking submissions from CA. • Send submissions to shayon08@gmail.

com.

company in the 1990s and traces his relationship with the new computer in the office. Production states: “A fun, energetic, but emotional story in the style of a Pixar short.”

Elayda, prod.-prod. mgr.

college graduate; awkward, fumbling, and innocent. Highly skilled at data analysis and stats. Knows more about computing than socializing. Kelly: female, 18-40, peppy and fresh-faced.

Recently graduated from university and eager to climb the office ranks. Kind and down-to-earth. Mr. Mayfield: male, 20+, a washed-up, mid-tier office manager who dislikes coming to work. Flatvoiced, flat-faced, and flat-footed.

Wants to retire but can’t. Corporate Man: male, 18+, a tall and menacing upper echelon boss with a smooth Southern drawl. Unintentionally patronizing. Male News Anchor: male, 18+, smart, stately and matter-of-fact.

Enunciates words well. Female Anchor: female, 18+, smart, stately, and matterof-fact. Enunciates words well.

• Shoots Dec. 9 or 10 at a studio in L.A. • Seeking—Model: 28-45, models with

• Seeking submissions from CA. • Send submissions to acb808@nyu.edu.

• No pay.

• Seeking submissions from CA. • Send submissions to sean.elayda@

really striking eyes and long lashes to demonstrate how to apply an eyelash serum. scale.tech.

• Submit a self-tape of you demonstrat-

Spec Commercials ‘Prada: Dark & Light’

• Seeking—The Shadow: all genders,

18-40, all ethnicities, the role of The Shadow is an exploration of it’s own being as it separated from it’s 3dimensional being; the shadow transforms from the world of 2dimension, to world where length, width, and height exists in space; moving to a new dimension, the shadow begins to perceive new ideas, both abstract and physical; it’s that moment as a child when we notice our hands for the first time and we realize we exist; that is the Shadow’s journey; encountering space and time; would prefer nonbinary actor/dancer so as to complete all three roles; as The Shadow shapeshiftes into multiple humans as to experience it’s previous lives.

“Sisterhood,” an original screenplay scene. Synopsis: Bella is a trans woman who is on a quest to finally change her gender to female on her driver’s license. She has to visit her sister and confront the life that she could’ve had.

• Company: UCLA. Staff: Emma Younan,

dir.

• Rehearsals will be over Zoom, dates are

flexible; performs Dec. 8 (10:55-11:25 a.m. PST) on Zoom.

• Seeking—Bella: transgender female,

18-25, all ethnicities, a hard-working waitress in her 20s, decides to finally get her name and sex changed on her driver’s license. In order to do that, she goes to get her birth certificate from her wealthy sister who abandoned her many years ago. Summer: female, 18-28, all ethnicities, a rich interior designer in her late 20s, is having a party at her late parents’ beach house when she gets an untimely visit from her estranged sister. Even though they used to be close, Summer never helped her sister when their parents abandoned her, so her visit brings up many uncomfortable memories. gmail.com.

Online Commercials & Promos

Zoom, and the scene will be performed one to three times as part of a class.

• Casting “Touch.” Logline: During the

Beauty Product Demo Model for Eyelash Serum

• Casting two female models to demon-

strate how to use a new eyelash growth

21

Black / African Descent. Female 2: 18-37, Ethnically Ambiguous / Multiracial, White / European Descent. Female 3: female, 18-33, Asian. Male 1: male, 18-37, Ethnically Ambiguous / Multiracial.

• Seeking submissions from CA. • Send submissions to holly@intothe-

forest.com.

• Will send audition details if selected.

• Pays $500/day, $1300 buyout.

Promo Video, NBA Superstar Doppelgängers

• Casting two doppelgängers who are

Staff: Nick Frantzen, prod.

cover transportation and provide copy of film for portfolio use.

• No pay. The project will take place over

• Shoot date TBD in L.A. • Seeking—Female 1: female, 18-36,

• For consideration, submit a self tape

• Pays $125/day for two shoot days. Will

mance time can not be changed.

• Company: Into the Forest. Staff: Holly

the spitting images of two NBA superstars, Jayson Tatum and Kemba Walker, for a promo video.

dancing to the song “Human” by SEVDALIZA. Open to interpretation but looking for those who can vogue. Don’t be afraid to be performative and take risks. Feel free to explore these magical creatures and my inspirations on my IG: @criaturastarr .

• Note your availability, as the perfor-

• Casting a dental product shoot.

• Seeking submissions from CA. • Send submissions to jennifermontes08@

gmail.com.

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

Dental Product Shoot

Kissinger, prod.

• Shoots Dec. 5 & 6 in the LA, CA area,

• Casting a student scene study of

Nonunion.

locations pending.

• Company: ArtCenter College of Design.

‘Sisterhood’ Student Scene Study

• Pays $350/day. In perpetuity.

Staff: Jennifer Montes de Oca, Andres Paredes, David Herrera, coords.

fragrance Spec Commercial. Director states: “As I continue, I want to develop a visual language as it pertains to the usage of body and body performance.

Particularly the language of the body through dance and magical creatures.

These creatures want to feel what it is to be human, constantly questioning their truest existence. Magical creatures under the brand of “Immortal Creature.”

Student Film Agreement.

ing how to apply mascara or an eyerelated product.

Seeking talent with perfect teeth/ smile. Talent will be focusing primarily on their smiles and happy expressions and looking for models with great energy. Shoot consists of multiple reactions on a multi-colored background. Stills will be pulled from the video, and BTS content of the print shoot will be used on the client’s website and social media. COVID test will be provided 24 hours prior to the shoot date and talent must quarantine until then. Teeth whitening will also be provided a few days before the shoot.

• Casting for a student film for a Prada

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

• Copy and credit provided. SAG-AFTRA

COVID pandemic, a young woman with an autoimmune disease falls in love with a boy in the apartment across the street.

• Company: Scale Media. Staff: Sean

• Seeking—Claire: female, 18-24, White /

European Descent. Aaron: male, 18-26, White / European Descent.

• Records remotely.

• Seeking—Ethan: male, 18-30, an early

‘New Computer’

backstage.com

• Shoots late January or early February

2021. in Oceanside, CA.

Arts. Staff: Ben Michael, job scout.

‘Touch’

Computer,” a student film that follows the new hire of an upstart tractor sales

serum.

Andrew Brame, graduate film student.

• Company: USC School of Cinematic

• Pay provided.

• Casting voiceover talent for “New

• Company: New York University. Staff:

• Company: Elite Edge Productions.

• Shoots first week of December

(potentially Dec. 1, 2, or 3) in L.A.

• Seeking—Kemba Walker Look-Alike:

18+, Black / African Descent, a 6’0”, athletic, darker-toned African American male with short hair, trimmed beard, and great physique.

Jayson Tatum Look-Alike: 18+, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, 6’8”-ish, lanky, athletic, light-toned African American male with short hair, trimmed beard, and great physique.

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

• Pay provided.

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

12.03.20 BACKSTAGE

casting National/Regional

National/ Regional

ers the high soprano part (3 “Gs” above middle “C”) of “Riders In The Sky” (Johnny Cash song); also sings “I Hear You Knockin.”.

• Seeking submissions nationwide.

• For consideration, email photo and

resume to subm@optimum.net.

Submissions deadline is Dec. 8.

• Pays $100 stipend; paid after reading

• Seeking submissions from CO. • Video submissions starting Nov.

performance. Equity Staged Reading Code.

Plays Playwrights’ Center Season • Casting Equity actors for the

Playwrights’ Center 2020-2021 Season for a variety of new play workshops and readings. The Center develops 70+ plays each year with different creative teams.

• Company: Playwrights’ Center. Staff:

Hayley Finn, artistic dir.; Julia Brown, artistic programs manager.

• Season runs in Minneapolis, MN. Note:

Production dates TBD - the Center holds workshops year-round, ranging from 3-40 hour calls. Actors who audition will be considered for projects beginning in January 2021 and will be added to our database of actors going forward.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions nationwide.

• Zoom auditions will be held Dec. 8 from

10 a.m.-12 p.m. CST, Dec. 9 from 10 a.m.1 p.m. CST, and Dec. 10 from 10 a.m.-1 p.m. CST. • For consideration, email casting@

pwcenter.org with your availability, headshot, and resume. We will email you back to confirm a Zoom audition time. Associate Artistic Director Hayley Finn and Artistic Programs Manager Julia Brown will be holding the auditions. Visit pwcenter.org/general-auditions for audition sides. You will read one side of your choosing. When you join the Zoom call, you will be in a Waiting Room until the actor before you has finished. If you are not available for auditions, feel free to send a video of one side to casting@pwcenter.org.

• Pays $15.50/hr. Equity Special

Agreement.

‘Watching & Listening’

• Casting Equity actors for a zoom read-

ing of “Watching & Listening.” Synopsis: Sid is a lifetime New York Metropolitan baseball fan. His wife, Myrna hates baseball and the effect that it has on her husband. Desperate for support and understanding, Syd begins a conversation with the host of a New York Sports Radio station. What happens next is a magical adventure that takes Sid from his modest apartment in Queens to the NY Mets broadcast booth in LA. His life will never be the same.

• Staff: Del Fidanque, writer-dir.

• Rehearses Jan. 12, 2021 from 1-3:30

p.m. and Jan. 19, 2021 from 1-3:30 p.m.; AEA Zoom reading Jan. 21. (Call time 12:30 p.m.; performance 1-2:30 p.m.)

Note: Time zone is EST. • Seeking—Francesca: female, 40-49,

Sports Radio Host; she has no patience for callers who don’t get to the point immediately; sees herself as an authority on baseball; this is a gruff and ready gal who was born and bred in Brooklyn or the Bronx.

BACKSTAGE 12.03.20

30-Dec. 11, 2020. Actors should submit a song up to three minutes by video link (such as YouTube or Vimeo). Email your video link, and required headshot and résumé and indicate the role you are interested in. Place your name in the Subject line. Submissions will be accepted starting Nov. 30, 2020 through Dec. 11, 2020 by sending to ac_musicaltheatre_auditions@arvadacenter.org. Agent submissions will be held in early January 2021. For further information go to Arvadacenter.org or contact ac_auditions_email@arvadacenter.org Do not contact production personnel.

Musicals ‘Million Dollar Quartet,’ Equity Video Submissions

• Casting Equity performers for “Million

Dollar Quartet.”

• Company: Arvada Center for the Arts &

Humanities. Staff: Rod A. Lansberry, dir.-producing artistic dir.; Eric Anthony, musical coord.; Wojcik/ Seay Casting.

• Rehearsals scheduled to begin Mar. 9,

she’s really good. Nothing makes her happier than spending time with her besties skating. Even though life is tough at times, she’s passionate and strong. She’s not going to let anything stop her from living life to the fullest... “ Note: Ability to roller skate is a plus.

Gigi: 13-17, Black / African Descent, a black plus-sized girl. She has great style and a great attitude. She always brings her “can’t keep me down” energy to everything she does. Her body positivity is inspiring.

• Seeking submissions worldwide.

• For consideration, email self-tapes

using the sides below to zdselftaperequest@gmail.com. Note: Auditions may not be posted on YouTube, Vimeo, Facebook, or any other public site, even if password protected.

• Pay provided.

• Pays $969/wk. Equity LORT B Non-Rep

2021; runs Apr. 2-May 2, 2021 in Arvada, CO.

Agreement.

• Seeking—Elvis Presley: 18+, Baritone or

Tenor; early 20s; at the beginning of his career; songs include“Memories Are Made Of This”, “That’s All Right”, “Long Tall Sally”, “Peace In The Valley”, “Party”, “Hound Dog”; should sound and look somewhat like Elvis without being an “impersonator”; accompany yourself on guitar to “That’s Alright Mama”, “Peace In The Valley” or any other Elvis song of your choosing; must be familiar with his music and be able to play guitar. Jerry Lee Lewis: 18+, Tenor; early 20’s; rock & roll’s legendary piano prodigy and celebrated “Last Man Standing”; superb piano player, fun, energetic. Songs include “Real Wild Child”, “Great Balls Of Fire”, “Whole Lotta Shakin’ Goin’ On”. Accompany yourself on piano to “Great Balls Of Fire”, “Whole Lotta Shakin”, or another song of your choosing; must be able to play piano like Jerry Lee Lewis; comic skills a plus. Carl Perkins: 18+, tenor; mid 20s, the American pioneer of rockabilly music and best known for his song “Blue Suede Shoes.” Songs include “Who Do You Love”, “See You Later Alligator” or any other Carl Perkins song of your choosing; accompany yourself on guitar; must be an excellent lead guitarist and play electric guitar. Johnny Cash: 18+, bass or baritone; tall; mid 20s; Johnny Cash at the dawn of his epic career; songsinclude “Folsom Prison Blues”, “Sixteen Tons”, “I Walk The Line”, “Riders In The Sky”; accompany yourself on guitar to Folsom Prison Blues (the show’s version of 16 Tons) or any other Cash song of your choosing; must be familiar with his music and be able to play guitar. Sam Phillips: 18+, tenor or baritone; mid 30s; father of Rock’n’Roll and founder of Sun Records whodiscovered Elvis, Johnny Cash, Jerry Lee Lewis, Carl Perkins, and many others including Roy Orbison and B.B. King; a charismatic figure in American music; must have a strong stage presence and abilityto command an audience; this track may cover other male roles.

Dyanne: 18+, mid 20’s; an aspiring singer and Elvis’s girlfriend; a great singer with a wide range; sings solos and back-ups through the show; she sings “Fever” in her alto range and cov-

Student Films

30-Second Video Messages, Santa Actor(s)

‘Waiting on Host’

messages to be sent out to customers of our holiday website. All recording done virtually with your own computer or mobile device. You must own Santa costume or have similar outfit. The video messages will be between around 30 seconds each, mostly scripted, and involve Santa sending holiday greetings to a specific customer in each video.

Opportunity for multiple Santa actors depending on number of video messages needed.

• Casting “Waiting on Host,” a student

short film about a dancer’s life during COVID-19.

• Company: UCSB. Staff: Jon Lewis, dir.

• Shoots remotely, dates TBD. • Seeking—Mom: female, 30-50, all eth-

nicities, the mother of Jessica, the lead; Mom keeps Jessica updated with the family during COVID. Mom is kind, compassionate and empathetic. She feels for her daughter who is all alone in Los Angeles and must hear about family strife through virtual communication.

Nana: female, 50-70, all ethnicities, the strong willed, independent grandmother of Jessica. She catches COVID19 and her life and Jessica’s life is forever changed. Her communication is limited through virtual correspondence with her granddaughter. Ms. Yahontov: female, 50-70, White / European Descent, a stern Russian dance teacher for Jessica. She is stern, has strong facials, and must be able to expressively convey emotion.

• Seeking submissions nationwide.

• Send submissions to productionwoh@

gmail.com.

• No pay.

Scripted TV & Video Network TV Comedy Pilot • Casting young female actors for a

Network TV Comedy pilot.

• Company: Zora DeHorter Casting.

Staff: Zora DeHorter, casting dir.; Chloe Curran, casting assist.

• Shoots January/February 2021 in Los

Angeles, CA.

• Seeking—Paris: female, 10-14, Black /

African Descent, smart, enthusiastic, confident, and adorable girl. She is a very special person - a force of nature.

A girl who loves to roller skate- and

22

Multimedia • Casting Santa actor(s) to record video

• Company: Holiday Card Company.

Staff: Shaan F, casting dir.

• Shoot begins Nov. 30-Dec. 24 virtually

(all actors nationwide encouraged to apply and record video messages virtually from home).

• Seeking—Christmas Santa: male, 30+.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For your submission include between

1-3 video messages of 30-40 seconds each in Santa costume that involve wishing a customer Merry Christmas or Happy Holidays. Feel free to also send any relevant information highlighting if you have experience working as a Santa actor.

• Pays between $50-100/hr. depending

on the amount of video messages given, but you will be expected to record between 20-30 total video messages (at 30 seconds each) per hour paid. Actor must provide own Santa costume for their virtual recording and record with own computer or mobile device.

Online Pre-School Math and Science Series, Fun/ Energetic Personalities

• Seeking fun personalities for online

pre-school math and science series.

• Production states: “Seeking people with high energy for small children. This includes singing, dancing, movement, etc. A content creator with filming equipment at home: camera, microphone, great lighting, quiet space at home to record. We will provide the backstage.com

National/Regional casting

scripts in advance of the recording session. Each script is approximately 7-10 minutes long. Once you finish recording you upload your episode to Dropbox.

We do not expect you to edit the content. Having access to props like numbers, blocks, letters, stuffed animals, etc. is a plus. Having a YouTube, Instagram and or TikTok following is a plus as well. Please note that in your application. We will provide a pull up green screen for your backdrop, but if you already have one, that’s a plus. We are also looking to build a long-term relationship with a content creator for ongoing work, so nailing the first episode would mean the world to us! We do not expect you to edit the content, just upload the content to a designated Dropbox folder.”

• Company: Blue Studios.io. Staff: K.

Cambry, coord.

• Talent records remotely from talent’s

home. Note: You should have the proper equipment at home as well as space/time to meet the recording deadlines for content.

• Seeking—Pre-School Time Instructor /

Personality: all genders, 18-35, all ethnicities, see overall description.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, provide a link to your

YouTube, Instagram and/or TikTok profile. Include a description of the recording, lighting, sound equipment that your have at home. Include an unlisted YouTube link to your video audition in submission (see audition directions below) • Audition Instructions: Record a video

audition of the attached script below (see additional materials). Send a link to an unlisted YouTube video (Directions: https://support.google.com/youtube/ answer/157177?co=GENIE. Platform%3DDesktop&hl=en). Singing is required in the audition (see script).

Also, don’t forget to have fun and let your personality shine through.

• For some examples/inspiration visit

www.youtube.com/ watch?v=e0uKpU5GQdo, www.youtube.com/watch?v=zO6fAGztD5Q, www.youtube.com/ watch?v=em5MUG3W3Ek, or www.youtube.com/watch?v=8DcEESJ8t4Y • Pays $250/video uploaded. Production

states: “We’ll work with you to determine the recording schedule, but we’re flexible. No travel required. Content creator records content at home.”

• Seeking—PS5 Owner: all genders,

20-40, all ethnicities, charismatic and enthusiastic personalities who own a PS5 to promote a money-saving brand.

Must be willing to promote brand on camera. This is an at-home shoot.

App Commercial. PS5 Owners

• Seeking talent for a brand commercial

about saving money and finding the best prices. Talent must own a PS5 and be able to film with it to promote the brand.

• Company: Narrative Ads. • Works remotely from home.

backstage.com

yours. We will give you a copy of the final piece for your VO Reel.

ethnicities, fun, fit models of all sizes for studio and remote shoots. Must be comfortable modeling in bra and panties. Should have fun, outgoing personality, especially in audition.

Austin Welch, dir.

• Seeking—Bra Model: female, 18-35, all

• Seeking submissions nationwide.

• Pays $100 flat.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, production will be

Couples for Contacts Commercial

sending out selfie auditions that can be used for a variety of projects with multiple directors. Open to L.A. locals and talent that is currently sheltering outside the L.A. area.

• Casting real couples who both wear

contacts for a remote shoot for a contacts delivery service.

• Staff: E. Kennedy, casting.

• Shoots remotely from home with the

help of a remote director on date TBD (flexible).

• Pays $250 day. Nonunion. All media

buyout.

• Seeking—Lead Person in a Real Couple:

18-55, all ethnicities.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Pays $250 per person per project.

Singers

Nonunion, all media buyout.

Country Trio, Male Vocalist

Multivitamin Brand, Women of Color

• Casting a male vocalist for country trio.

• Company: S&A global management.

Staff: S. Flannery, coord.

• Seeking older women of color who

would be willing to try a 50+ multivitamin and promote it on camera. Note: Looking for genuine and fun personalities.

• Rehearses asap; performs in 2021 in

Vancouver, BC.

• Seeking—Male Country Vocalist: male,

18-26, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, production states: “Any forms of media listed about is fine, but include a headshot/ photo and cover letter. looking for a male country vocalist for country trio band. this role does require singing experience and country style. It’s optional to play guitar or not but would be helpful.” Male Country Back Up Vocalist/Multitasker Musician and Productionest: male, 18-26, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, production states: “Looking for a male country back up vocalist/ multitasker musician and productionist for country trio band. the 3 member will be the bones/rock for the group to build on, must have strong musical knowledge in productions. piano or guitar is required but both would be great and would be helpful to have vocal training too.”

• Company: Narrative Ads. • Works remotely from home.

• Seeking—Woman Of Color: female,

45+, all ethnicities, seeking authentic older women of color to promote a 50+ vitamin on camera; any experience with multivitamins is preferable.

• Seeking submissions nationwide.

• Send submissions to charles@narra-

tiveads.com.

• Pays $100 flat.

Product B-Roll Models

• Casting models in the Florida area for a

variety of product B-roll productions.

President states: “We are a video production company that shoots commercials, B-rolls, social media assets, and more. We work closely with QVC, HSN, and the Shopping Network.”

• Company: Bright Lights Media LLC.

Staff: Justin Sochovka, president.

• Shoots between Jan. 17-23, 2021 in

Saint Augustine, FL.

• Seeking—B-Roll Model: 18+, all ethnici-

ties, individuals for a multitude of product B-roll video shoots. Seeking individuals who are flexible and take direction well.

• Apply on Backstage.com.

• For consideration, submit both cover

letter/resume, and video or voice recording. Include name, age, musical experience etc.).

• Seeking submissions from FL. • Send submissions to Justin@

Brightlightsmediallc.com.

• Pays between $25-$50/hr. depending

Online Commercials & Promos

December. In-studio and remote shoots.

• Unpaid.

on experience and flexibility.

• Company: KN+SAW. Staff: Stephen

• Actual recording session will happen

over Zoom.

• Seeking—Mom/Spokeswoman:

female, 35-55, female voice; needs to sound 30 to 50 years old - Mom-ish / advocate of the store; happy, confident, friendly and genuine. Need to feel a true connection, which will draw us to the on-screen little girl’s magnetic personality; enthusiastic - without being over the top; we do *not* want the viewer to feel like they are being shouted at; there is only 20 seconds, so delivery needs to be quick but not rushed. Note: If I need shorten the script, I will.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, download https://

www.dropbox.com/t/pv12QRfKJCCt3D5n. 1 Read the script (below) to this video. This is a simple guide track to show general pacing of where the script falls on picture. Submit video to stephen@saw-art.com with the subject: At Home: Sleigh the Season - VO. • For reference visit www.sawphoto.

com/directing-reels/directing-reel/6 It sounds a bit rushed, and the enthusiasm feels a little forced (lacks sincerity.)

• Note: This is a passion piece to build our

directing reel, and yours. At Home is a store that sells home goods and seasonal decor: https://www.athome.com.

• Script: ‘Tis time to sleigh the season by

finding that just right christmas tree.

Ah, that’s the one. Perfect! Jingle all the way to At Home for all the holly jolly must haves that you will fa-la-la-love.

Save some serious green on greenery with christmas trees up to 50% off.* Shop the biggest selection of holiday style at the best prices, here, At Home.

Alternate Line Delivery: With Christmas trees up to 50% off, come save some serious green on greenery.

• Pays $100 flat fee for selected VO

Talent.

Stage Staff & Tech ‘Million Dollar Quartet,’ AEA SM • Seeking Equity stage manager for

future consideration for “Million Dollar Quartet.”

• Company: Arvada Center for the Arts &

Commercials (Voiceover)

Print & Digital Modeling

‘Sleigh the Season,’ :20 Retail Spot, Director’s Cut

Models for Digital Bra Projects

• Casting a VO artist for “Sleigh the

Season” a :20 retail spot - Director’s Cut. Note: This is for our personal Directing Reel. It is our director’s cut of an At Home store Christmas tree holiday tv spot we directed. This is not for the client. It is to build our reel and

• Casting fun, fit females of all sizes to

model bras and panties for a digital bra project.

• Staff: S. Furlong.

• Shoots before and after Thanksgiving,

with projects shooting into early

23

Humanities. Staff: Rod A. Lansberry, dir.-prod. artistic dir.; Keith Ewer, asst. musical dir.

• Rehearsals begin Mar. 9, 2021; runs Apr.

2-May 2, 2021 in Arvada, CO.

• Seeking—Equity Stage Manager: all

genders, 18+.

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

for this production. For future consideration, submit resume to lhoffman@ arvadacenter.org. Submissions deadline is Dec. 11.

• Pays $1,156/wk. Equity LORT B Non-Rep

Agreement.

12.03.20 BACKSTAGE

Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q:

How does a recently graduated actor moving to L.A. get started?

—@LadyTreciF

Our Expert Mae Ross is an acting teacher.

*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 12.03.20

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; ROSS: COURTESY MAE ROSS

The most important thing you can do as an actor who’s new to Los Angeles is establish a strong foundation. It’s so important that you have a solid, supportive, and positive community of like-minded peers and mentors. It’s even more important for you to have a strong financial foundation.

This could mean that you stay with a family member before moving in order to work and establish a robust savings account. If you’re going to be financially self-supported, I’d suggest saving at least $10,000 before arriving. Once you get to L.A., find a steady source of income right away. Make sure that your rent, bills, and acting classes can be easily covered and that your savings stay largely untouched. You’ll likely need them later on, when you’re so busy auditioning that you have to quit your day job to make it to all of your auditions.

You’ll also want to jump into a community of artists right away. The easiest way to do this is to get into a great acting class with a positive, uplifting teacher and motivating, supportive peers. Many studios allow free and low-cost audits so you can find the class that is best for you. You can also get involved in other athletic and creative classes that interest you.

Make friends! Meet people! Start building your community. Of course, right now, we are in a pandemic and studios are not offering in-person classes, so you can get creative and connect with new friends digitally and through other socially distanced outlets such as outdoor yoga and fitness classes.

Once you have your strong foundation in place, it’s time to get to work! You can create your online casting profiles, get some fantastic headshots taken, and start self-submitting on projects and building your demo reel footage. As far as getting an agent goes, the best way to meet one is through a referral from a teacher, classmate, or friend. That’s why building a community is so important. Also, I suggest staying in acting class and staying sharp with your skills. You’ll want to be ready when an awesome opportunity comes your way.

Wishing you a great start in Los Angeles!

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