Backstage Magazine Digital Edition: January 26, 2021

01.26.21

Method to the Madness

Sacha Baron Cohen teases the trick behind his careerbest work

BACKSTAGE.COM

From “Euphoria” to “Ma Rainey’s Black Bottom,”

Colman Domingo

hits an all-time high Will “The Flight Attendant” be the surprise hit of the 2021 SAG Awards?

8 film ensembles to keep on your radar this season

7 Pages OF CASTING NOTICES

outstanding performance by a cast in a motion picture gary oldman • amanda seyfried • lily collins • arliss howard • tom pelphrey • charles dance

“★★★★★ a towering performance by gary oldman. a career-best for amanda seyfried. seyfried. the film is stuffed full of great performances, from arliss howard to tom pelphrey and charles dance. dance . lily collins is superb.” empire

“a masterpiece. a superb ensemble. ensemble.” deadline

Contents

vol. 62, no. 04 | 01.26.21

Cover Story

Dirty Rotten Scoundrel As Hollywood’s preeminent prankster and the godfather of mockumentary comedy, Sacha Baron Cohen officially refutes any claims that he’s anything but one of our greatest screen performers page 20

The Green Room 6 The Gotham Awards anoint awards season hopefuls

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

10 Skylar Astin on “Zoey’s Extraordinary

Playlist” and filming during the pandemic

Advice 14 NOTE FROM THE CD

Being an on-set superstar

16 #IGOTCAST

Nevaeh Thompson

16 SECRET AGENT MAN L.A.’s latest landmark

Features 4 BACKSTAGE 5 WITH...

Colman Domingo

12 MEET THE MAKER

Steve Yockey, “The Flight Attendant” creator and showrunner

14 THE ESSENTIALISTS

Peter Francis, production designer

18 IN THE ROOM WITH Meredith Tucker

25 LAST BUT NOT LEAST

Don’t miss these late-arriving contenders for SAG’s film prizes

28 WITHOUT LIMIT

Your guide to 2020’s best TV movie and limited series performances

40 ASK AN EXPERT

Melanie Forchetti on how to book speaking roles

Casting 32 New York Tristate 34 California 35 National/Regional Sacha Baron Cohen photographed by Carlotta Moye on Nov. 30, 2020. Makeup by Liz Kelsh. Hair by Travis Balcke. Styling by Nicole Bonython-Hines. On this page and cover: Suit by Burberry. Shirt by Calibre. Hat

by Akubra. Additionally in story: Vest and pants by Dolce & Gabbana. Cover designed by Ian Robinson.

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01.26.21 BACKSTAGE

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Backstage 5 With...

Colman Domingo

By Allie Volpe

Over the course of his nearly 30-year career, Colman Domingo has acquired an extensive list of titles: actor, playwright, director, producer, talk show host, and award winner. In 2020 alone, he reprised his role as Strand on Season 6 of “Fear the Walking Dead,” which he also directed an episode of; starred alongside Zendaya on the “Euphoria” holiday special; and rounded out the all-star cast of George C. Wolfe’s “Ma Rainey’s Black Bottom.”

What advice would you give your younger self? Trust that your uniqueness will be your superpower. For a long time, I felt that no one really understood what I did. “Are you a dramatic actor, or are you a character actor? Are you in the circus, or do you do Shakespeare? Do you write musicals or plays? Are you working in the television space, or do you work in the film space?” I’m having such a prolific breakthrough because people finally realize, after so many years, [that] I do all of them. [Laughs] I would tell my younger self to continue to do all of them, and they will meet you where you live.

How did you first get your Equity and SAG-AFTRA cards?

My first union card was at Berkeley Repertory Theatre on a touring show for Theatre for Young Audiences called “The Yellow Boat.” I got my AFTRA card first, then my SAG card.

It was for a show called “Nash Bridges.” I was a recurring criminal every season.

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

One of the performances that I haven’t seen in a long time was in a film called “Uptown Saturday Night,” and it’s the role that Harry Belafonte Jr. played named Geechie Dan. People may know him as a singer or they may know him as a dramatic actor, but he is one of the most phenomenal character actors who has ever lived. You can’t even believe [how] Harry Belafonte—who is the most beautiful, graceful gentleman; he’s so articulate and intelligent—pours himself into this gutrocket, raw, hilarious gangster. It’s Brando-level.

What’s the wildest thing you’ve ever done to get a role? I have an upcoming film called “Zola,” which is based on a viral tweet.

I play this complicated pimp, and I really go for it. I wanted to unknow myself and change the way I speak. [My character has] a Nigerian accent. I changed a lot of things that I know about myself. A great challenge is to find something human in someone you think is doing very inhuman things.

“I’ve just always been that guy; I’m willing to learn and try something new, and I don’t have any limitations on that.”

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

What is your worst audition horror story? I was doing a pilot season in New York. It was my last pilot season, because I got so frustrated with the idea that I had to audition every single day of the week—sometimes two or three auditions— and I never had time to prepare. I go into this one audition, and the casting assistant gave me all these notes before I even opened my mouth. So I did it, and the casting director just yelled at me, “Stop! Colman, stop! What are you doing?

You’re doing way too much. Just simplify.” I felt embarrassed and I felt angry. I looked square at the camera with so much rage and said the lines while not moving at all, and I walked out and actually took the sides and threw them in the trash.

“ONE OF THE YEAR’S TEN BEST. McDormand adds another indelible character to her gallery of tenacious women, refusing to be a casualty of economic hardship as she discovers both the struggle and the rewards of transient living.”

David Rooney,

For Your Screen Actors Guild Awards ® Consideration

Cast in a Motion Picture

Frances McDormand • David Strathairn Swankie • Linda May Male Actor in a Supporting Role

David Strathairn • Bob Wells

Female Actor in a Leading Role

Frances McDormand

’

A FILM BY CHLOE ZHAO

Female Actor in a Supporting Role

Swankie • Linda May

NomadlandFYC.com

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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Frances McDormand in “Nomadland”

Awards

Gotham Awards Build Steam for ‘Nomadland,’ Riz Ahmed

Honoring independent filmmaking, the Jan. 11 event is one of several precursors to the Oscars

By Jack Smart

BACKSTAGE 01.26.21

Gotham Awards’ history, all five nominees for best picture were directed by female filmmakers. Writerdirector-editor-producer Chloé Zhao’s “Nomadland” (from Searchlight Pictures) took home the award, solidifying its status as a contender after wins at both the Venice and Toronto International Film Festivals. Starring Frances McDormand as a van-dwelling nomad, the film triumphed in the category against “First Cow” (A24), “The Assistant” (Bleecker Street), “Never Rarely Sometimes Always” (Focus Features), and “Relic” (IFC Midnight). It also took home

the Gotham Audience Award, which is voted upon by members of the institute.

The Gothams’ international feature award also went to a female filmmaker: director and co-writer Fernanda Valadez for her Mexican drama “Identifying Features” (“Sin Señas Particulares”).

The screenplay award was split between two winners: writer-director-star Radha Blank for her debut feature, “The Forty-Year-Old Version” (Netflix), and writer-director Dan Sallitt for “Fourteen” (Grasshopper Film). The Bingham Ray Breakthrough Director Award, meanwhile,

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COURTESY SEARCHLIGHT PICTURES

CELEBRATING 30 YEARS OF honoring independent filmmakers, the Jan. 11 IFP Gotham Awards continued their tradition of boosting awards season hopefuls. The event is presented by the New York City nonprofit formerly known as Independent Filmmaker Project, now rebranded as the Gotham Film & Media Institute.

Following the new normal established by the 2020 Emmys, the BAFTA Television Awards, and others, the 2021 Gotham ceremony virtually connected remote nominees and presenters, broadcasting from Cipriani Wall Street in Manhattan.

For the first time in the

went to Andrew Patterson for his directorial debut, “The Vast of Night” (Amazon Studios).

Winning Gotham’s two prizes for television, breakthrough series in long and short format, respectively, were HBO’s Emmy-winning “Watchmen” and the critically acclaimed “I May Destroy You.” The ceremony’s acting winners were Riz Ahmed for “Sound of Metal” (Amazon Studios), Nicole Beharie for “Miss Juneteenth” (Vertical Entertainment), and, for breakthrough actor, Kingsley Ben-Adir for “One Night in Miami” (Amazon Studios).

With a film and guilds awards season stretched out between now and the April 25 Academy Awards, the Gothams’ early recognition of these indie artists should improve the odds of them breaking into their respective races. The 2021 Film Independent Spirit Awards, also encompassing the independent film community, are next in line to anoint contenders; those nominations will be announced Jan. 26.

Accepting Gotham’s special honors throughout the ceremony presentation were Viola Davis (Actress Tribute), Steve McQueen (Director Tribute), Ryan Murphy (Industry Tribute), and the cast of Aaron Sorkin’s “The Trial of the Chicago 7” (the inaugural Ensemble Tribute).

The late Chadwick Boseman’s Actor Tribute was accepted by his wife, Simone Ledward Boseman. “He was blessed to live many lives within his concentrated one,” she said in her speech. “He developed his understanding of what it meant to be the one, the none, and the all. ‘A vessel to be poured into and out of,’ he’d said.”

“THE BEST PICTURE OF THE YEAR.” F O R

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and potentially compromising murder case. With the woman he loves seeking help for her son who has become the prime suspect, the chief is forced to decide just how far he’s willing to go to protect them. Maura Tierney will join Daniels on the series, which Avy Kaufman is casting.

“Rust” is eyeing a potential early spring start, a full year after it was originally set to begin filming. (It was postponed due to COVID-19.) A shooting location is also in limbo as the production sorts out its previous delays.

What’s Casting

A New Kind of Sketch Show HBO Max greenlights a Michael Che comedy series

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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“Rust” Jeff Daniels has signed on to an upcoming adaptation of Philipp

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Meyer’s 2009 debut novel, “American Rust.” The project has already been granted a series order on Showtime, with a yet-to-be-determined number of episodes making up its first season. The drama will follow Del Harris, a police chief in the heart of the Pennsylvania Rust Belt, as he navigates a complicated

TELEVISION

‘Insecure’ to End With Season 5

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!

ALL GOOD THINGS MUST COME TO AN end—great things, too, including HBO’s four-time Emmy-nominated “Insecure.”

The cable giant has announced that the series’ upcoming fifth season will be its last.

Co-creator and star Issa Rae told Deadline that she and showrunner Prentice Penny “are so grateful that HBO believed in our show from the beginning and kept faith in us to see our vision through the end.” Production on the final episodes is expected to begin this month, with a premiere slated for sometime later this year.

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MARGAUX QUAYLE CANNON

Untitled Michael Che Project HBO Max has ordered a sketch comedy series from Weekend Update anchor Michael Che. The “Saturday Night Live” co–head writer will star in and write for the currently untitled series.

The topics the show covers will be drawn from current headlines, showcasing timely stories

and news events through a Black American lens. Each of the six episodes will focus on a specific subject, including police brutality, unemployment, and romance, taking a candid approach through vignettes and sketches. According to a press release, the show will be “less about being ‘right’ and more about being honest, even at the risk of being controversial.”

With production already underway, the project will continue casting throughout the winter with Hart Casting. Executive produced by Che and “SNL” creator Lorne Michaels, the series is shooting in New York until early spring.

“Summering” While summer vacation is usually a time for fun and relaxation, for a group of girls heading into middle school, the discovery of a dead body proves to be extremely disturbing. The girls struggle to cope as they contemplate their situation, as well as the prospect of growing up and saying goodbye. The film, which hasn’t attached any actors, has brought on Avy Kaufman to handle casting.

Directed by James Ponsoldt (“The Spectacular Now”), the project has yet to confirm a location or start date for shooting.

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BEST ACTRESS Viola Davis

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Skylar Astin on “Zoey’s Extraordinary Playlist” Backstage and open calls got him into the room.

“I used to subscribe to Backstage [in] print, and I used to go to the section where the open calls were for non-Equity parts. I [went to] a ‘Hairspray’ audition, [and] I got through a dance call and didn’t [get it].

But I got to meet the creative team, which was cool, so I got to do that through Backstage.

And then [I] was very lucky to be afforded some opportunities to audition for some kind of high-profile workshops. I’m lucky that when I was 16, one of my, like, third workshops that I ended up booking was ‘Spring Awakening.’ ”

The Slate

Say Yes to Everything “Zoey’s Extraordinary Playlist” star Skylar Astin remembers how Backstage got him into the room

By Matthew Nerber

The following interview for Backstage’s on-camera series The Slate was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.

BACKSTAGE 01.26.21

There’s a science to filming during the pandemic.

“Safety is paramount, not only in my personal life, but here in Vancouver and on [the] set [of ‘Zoey’]. It’s a totally new normal for as long as we need to deal with it. We started [filming] in August and did the two-week quarantine. And now we have, literally, scientists on set in lab coats. There’s a whole operation surrounding the big operation of filming. So it’s pretty interesting. It took a minute, but we’ve adjusted.

Now I know exactly what I’m getting myself into.”

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FILM

David O. Russell Rounds Out His New Cast

By Casey Mink

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

THE A-LIST CAST OF DAVID O. Russell’s upcoming film has added even more muscle with the addition of Zoe Saldana and Oscar winner Rami Malek. The ensemble project—which is still untitled—also features previously announced stars Margot Robbie, John David Washington, and frequent Russell collaborator Christian Bale. The plot and other details are being kept tightly under wraps; however, production has already begun. Arnon Milchan of New Regency is on board as a producer, along with Matthew Budman and Anthony Katagas.

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SERGEI BACHLAKOV/NBC

SKYLAR ASTIN IS YOUR CLASsic triple threat. His chops landed him a breakout role in the original Broadway cast of the smash hit “Spring Awakening” at a young age, and he’s since made a name for himself in the “Pitch Perfect” films and on the CW’s “Crazy Ex-Girlfriend.” Astin currently stars as Max Richman on NBC’s “Zoey’s Extraordinary Playlist,” which returned this month following the first season’s

romantic cliffhanger. The show features characters that break into song to express their emotional states—the perfect outlet for Astin’s many talents.

He’s taking things a day at a time during the production of “Zoey” Season 2.

“I was very curious [while filming Season 1]. I have a great relationship with Austin Winsberg, the creator, and he would give me little nuggets and even consult me about certain things, especially musically. And this year, with so much going on and also it being a totally different operation that’s being run remotely, I think that it’s been kind of nice to take it moment to moment.

I do have a general outline of where [my character is] going. I think I know everything that I need to know.”

His advice for young actors: Say yes to everything.

“Something that I did was to just say yes to everything, unless it [felt] wrong for moral reasons or something like that.

There was a summer when I was doing ‘Spring Awakening’ where, you know, you do eight shows a week. But I said yes to every reading that I was either offered or my agents got me an audition for. And I was in the room with James Lapine twice, Joe Mantello, [and] Dolly Parton.

When you’re cutting your teeth, you just wanna work with everyone and be in the room.”

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Meet the Maker

Steve Yockey, “The Flight Attendant” creator + showrunner

By Casey Mink

Rosie Perez and Kaley Cuoco on “The Flight Attendant”

BACKSTAGE 01.26.21

But that tone—or, more accurately, tones—is exactly what the writer laid out in his pitch to Cuoco, an executive producer who secured the rights to the novel of the same name by Chris Bohjalian. Yockey recalls: “I brought a whole bunch of crazy to it. I was lucky enough that they gave me the job.”

The series, which concluded its first season in December and has been renewed for a second, is an exercise in what Yockey calls “genre blending.”

He adds, “It became a really interesting opportunity to explore addiction and trauma and also have some dark comedic fun. Everyone was like, ‘Are those two things going to go together?’ And I

12

was like, ‘Yes. Yes, they are.’ ” He also had the help of an anchoring performance by Cuoco, who, as the self-destructing Cassie Bowden, will shock those mostly familiar with her work from “The Big Bang Theory.” “Ten minutes into my first meeting with her, I was like, ‘Oh,’ ” Yockey says. “I knew I could write a really dark character, and the fact that it’s being played by Kaley will create this kind of friction that gives the show its magic.”

The series also features peak supporting performances from Rosie Perez, Michelle Gomez, and Zosia Mamet, all of whom Yockey credits with helping to ground the material. He cites their ability to “deliver on the

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PHIL CARUSO

FANS OF OFF-KILTER THEater have been aware of Steve Yockey’s work, including “Pluto” and “Blackberry Winter,” for some time. It’s probably why they are more surprised than anyone that he created one of last year’s biggest TV hits among both critics and audiences, “The Flight Attendant.”

“People who have seen my plays are like, ‘Oh, God, he’s doing it on TV now,’ ” Yockey says with a laugh. And it’s true that the HBO Max series, which stars Kaley Cuoco as a jet-setting alcoholic and maybe-murderer, is an unlikely amalgam of suspense and raucous humor. It’s also, in quieter moments, a fully realized character study.

comedy but also drop in for the emotional stuff; and that’s really important.”

Though it’s his first experience as a series creator, Yockey has written for television before, on shows including “Supernatural.”

The transition from playwriting to episodic writing was intentional, though it came after a year of nonstarters. “I immediately sat down and started going, ‘Let me write something that I think I would see on television,’ ” he remembers. It was only when he decided to write a script that was, by his own account, “crazy” that he finally got some traction.

“You [have to] get in this kind of mindset where you’re like, OK, I’m just going to write something I’m passionate about. I’m not going to worry about producibility,” he says.

It was, ironically, a lesson he first learned at the start of his playwriting days in NYU’s MFA program. “You just keep learning the same lesson over and over again in this field, which is: Trust your voice.”

He might be onto something, considering he’s learned it anew with “The Flight Attendant.”

“We’re not doing something you’ve never seen before, but we are doing it with absolute confidence,” he says. “You can really see hesitance onscreen, just like you can see it onstage.”

And though he readily acknowledges it’s the easiest thing to say and one of the hardest to do, every artist should try to lead with that same brazenness. “We’re doing it because it’s what the story wants to be,” he says. “There’s a certain point in your career where, if you’re really going to stick it out and you’re going to make a life of this, you have to decide that your choices are worth fighting for.”

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Note From the CD

Being an On-Set Superstar

THE ESSENTIALISTS

PETER FRANCIS

production designer In “The Father,” Florian Zeller’s play that he adapted for the big screen with Christopher Hampton (in theaters Feb. 26), Anthony Hopkins portrays Anthony, a man falling deep into the throes of dementia.

He becomes increasingly disoriented—and so, too, does the audience watching, thanks to production designer PETER FRANCIS and his mazelike sets.

By Marci Liroff

WORKING ON A TV SERIES OVER THE LAST THREE MONTHS HAS reminded me how much knowledge actors need in order to work on a set effectively. Here are three must-know tips that even acting classes don’t often teach you.

1

Know your lines. You’d be surprised how many actors get hired and come to set without knowing their lines.

If you don’t know your lines inside and out, you won’t be able to hear and implement the director’s notes, because you’ll be too busy trying to remember what to say. Be prepared for changes in the dialogue. In some situations, you will need to be word-perfect, sticking to the script exactly as written.

In others, you may be encouraged to improvise or catch the “happy accidents” that may occur. I should also note that, unless otherwise requested, your performance on set should be exactly as it was in your audition and in rehearsal.

Now is not the time to try out

something new, because it’s not what you were hired for.

2

Prepare for your marking and blocking rehearsal.

When you arrive on set, you will run through what’s called a marking or blocking rehearsal.

This is when actors run through a scene with dialogue and, along with the director, sort out what the action is within the scene. For instance: You come into the room, say a line to your girlfriend, grab your keys and phone, and walk to the door; your girlfriend joins you there for a goodbye kiss, and then you exit. While you’re doing this, someone from the camera department is marking every place you go with tape or little beanbags on the ground.

The set was intentionally puzzling.

“We wanted to make it feel cinematic, so we made the set quite complicated. The rooms are quite large, but we wanted them large

By Casey Mink different entrances and exits and rooms, so you never quite know where you’re going. It was a little bit like a maze.”

to give us a scope [in order] to make them feel smaller…. I’ve done my job if we contributed to the whole telling of Anthony’s story and his dilemma by changing the set to make it more confusing. The layout of the set—we designed it so that we have many

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Pace yourself. I think the biggest misconception about shooting is that it’s action-packed and fun-filled.

When I say that there’s a lot of

BACKSTAGE 01.26.21

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“hurry up and wait,” I’m being kind. You may find yourself with a 6 a.m. call time even though you only have one line in one scene that doesn’t shoot until 4 p.m. You have to learn to pace yourself so that you’re ready and fresh when they finally do get to your part.

Have plenty to do—bring a book, a knitting kit, or whatever else you like to do to pass the time, but stay close by and alert. A production assistant will come get you when they’re ready to shoot your scene. If you leave for any reason, make sure you tell a PA where you’re going so they can find you at a moment’s notice.

Want more?

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

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ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE FATHER”: COURTESY SONY PICTURES

You’ve got to hit those marks consistently and without looking so that you’ll be in focus and well-lit when you’re performing the scene. You also must manage your continuity.

Continuity is when you repeat actions in the exact same order, along with saying your lines in the same spot and making sure to have your phone and keys in the same hand for each take. The script supervisor is also tracking your continuity to make sure that all your takes are identical so the editor can cut them together for a realistic scene. You don’t want to be the actor who is a nightmare for the production because nothing cuts together.

Actor input is crucial.

“The actors don’t always automatically feel the first things I think about the set, obviously. It’s my job to go and teach it to them, and it gets them thinking about it.

They really love being consulted. Sometimes they say they can walk onto a set and they feel alien; it doesn’t feel like the place they’d imagined. If you can talk to them beforehand and give them some ideas and get some ideas from them, it’s vital.”

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Spotlighting the people and projects you need to know

Secret Agent Man

L.A.’s Latest Landmark

BACKSTAGE 01.26.21

following strict COVID-19 protocols. Reservations are a must, entrances are timed, and you have to wear a mask. And don’t be fooled by the side door designated for people who prefer not to wear one. It just leads you to a dark and lonely place where Hollywood dreams go to die.

When you enter the Museum of Stuff We Don’t Need Anymore, take a close look at the staff. Do they look familiar? Well, that’s because everyone who works there is a former sitcom star who couldn’t find another acting job when their show was canceled.

That’s the price actors used to pay when they were typecast as one specific kind of character. But, hey, they get the last laugh, because look who’s working now!

Explore the first floor carefully. There are several

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#IGOTCAST. Nevaeh Thompson

By Jalen Michael Like many 12-year-olds, NEVAEH THOMPSON loves drawing and watching cartoons.

But she also loves using Backstage to book meaningful gigs on her acting journey.

Don’t be intimidated by the big leagues.

“I was asked to come to Charlotte, North Carolina, twice to film three scenes [for a recent project]. The filming day usually began early in the morning and completed in the late afternoon. We filmed in three different locations. It gave me an opportunity to develop my acting skills.”

Use Backstage to find those opportunities.

“I normally check Backstage at least once a week for updates and messages. Audition requests are sent to my message inbox on Backstage or my personal email after I apply for a role. I advise everyone to take a chance and subscribe to Backstage.”

Networking can help you grow.

“I built a relationship with [my recent] cast.

Several cast members informed me that they also have upcoming projects they would love me to audition for.

My goal is to apply for larger roles.”

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

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ILLUSTRATION: SPENCER ALEXANDER; THOMPSON: GRAY O’NEAL

LAST WEEK, I DROPPED BY the storied Museum of Stuff We Don’t Need Anymore.

It’s located in the heart of Hollywood, right along the Walk of Fame. That’s how you know it’s important!

You probably haven’t heard much about our newest showbiz landmark, because it opened a few weeks before the pandemic began. It’s been able to survive because the city issued a special tax on every actor who earned less than $20,000 last year—and, boy, did the money pour in! I heard there was one government official who suggested that only movie stars should be forced to pay the tax, but that person was laughed out of his job.

The price of admission is $20.

Union actors receive a discount, and nonunion actors pay double. Naturally, the museum is

fascinating exhibits there. The gallery of black-and-white headshots is eye-catching, and the exhibit of demo reels on VHS is especially interesting.

Younger visitors might be confused by their existence, but the audio guide will help them understand these relics from our recent past.

My favorite spot in the museum is out back, in the Nostalgia Garden. That’s where you’ll find a long brick wall that’s been knocked down.

This sounds random, but it’s not. Inspired by the Berlin Wall, this structure represents the barrier that used to exist between actors who worked in film and those who worked on television. As recently as the ’90s, it was extremely difficult for a performer to make the leap from the small screen to the large one, and movie stars had no interest in doing the reverse. Isn’t history quaint and hard to believe?

You’ll find the museum’s screening room on the second floor. Make sure you check the schedule, because it changes every day. When I was there, the program focused on Hollywood’s failed efforts to turn non-actors into stars.

Watching these athletes, musicians, and comedians trying to act with zero understanding of craft was an amusing walk down memory lane. It’s a good thing we learn from our mistakes. Finding talent online on services like TikTok makes much more sense.

If you don’t have the pleasure of living here, let me assure you that Los Angeles is not the culture-free wasteland others would have you believe it is.

Our theaters are first-rate. The art scene is thriving. And the Museum of Stuff We Don’t Need Anymore is just the latest addition to our growing list of attractions.

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Spotlighting the people and projects you need to know

In the Room With

Meredith Tucker

The CD explains that sometimes, the key to casting a mystery is to avoid knowing the ending yourself

By Elyse Roth

How did the source material influence the casting process?

If it hadn’t been a mystery-thriller, I probably would have read the source material, because I always like to do that. But because the ambiguity of whether Jacob did it is important, I thought it would be helpful for me not to know how the book portrayed it. So I purposely didn’t read it. A lot of the boys would ask me when they came in to audition for Jacob, “Did he do it?” I would have to say, “I don’t know.” One of the notes they would write after auditions is, “That kid definitely killed Ben,” or, “That kid never would kill.” It was a way to gauge—a good marker to see if the boys were right or not.

ONE OF THE MOST CONTESTED CATEGORIES IN TELEVISION awards continues to be acting in a TV movie or limited series. That makes sense, considering it’s often these projects that draw major film actors to the small screen for the first time. Such was the case with Apple TV+’s summer whodunit hit “Defending Jacob” and its executive producer–star Chris Evans. In conversation with Backstage, casting director Meredith Tucker talks about casting the crime thriller and explains why it can be helpful for a CD to not have all the answers—and why she turns to Backstage to find new talent.

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He brought so many elements that we needed. He was empathetic, but the mystery would be sustained with him, which was super important.

He had been the lead of a very successful movie, so we knew he could keep the interest of the audience. Once they settled on him, we started looking for [actors for] Sarah and Derek.

We needed someone with a

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little bit of a musical background for Sarah; she was a bit of [an] artsy outsider. When Jordan [Alexa Davis] did this confessional scene, she was so heartbreaking. It was just a spectacular audition. We had a tough time with Derek, but Ben [Taylor] eventually taped, and then he came for a chemistry read when Jordan and Jaeden were already in Massachusetts.

How did the young talent and heavy subject matter factor into the casting process?

Angela Peri did the local casting, and most of the teens were local Boston-area kids. They were very important, and Mark [Bomback, the show’s creator,] was adamant about keeping

Where do you like to look for fresh talent?

Especially with special skills stuff, a lot of times we will use Backstage. We’ll sometimes call the schools, but especially with kids, the non-acting schools [are] not as welcoming as they once were. We contact a lot of acting schools. When I worked on this Italian [project], we called a lot of Italian American organizations and places like that. I worked on a project called “Mamma Dallas” for HBO that had a trans element, so we reached out to that community through Facebook.

Want more?

Read the full interview at backstage.com/magazine

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RAQUEL APARICIO

Describe the casting process for “Defending Jacob.”

[The character of] Laurie almost entirely entailed lists and offers. They homed in on Michelle Dockery quickly.

She’s quite a chameleon. With the kids, I read kids in person in New York, and kids put themselves on tape all over the place. [Jacob actor] Jaeden Martell’s tape came in early.

an air of reality with all the performances—nothing too heightened. Everyone should seem like a normal kid. That’s what’s so tragic about the whole story, is that you think Jacob is just this normal kid, and then he’s not.

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

Dirty Rotten

Scoundrel BACKSTAGE 04.02.20

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As Hollywood’s preeminent prankster and the godfather of mockumentary comedy, Sacha Baron Cohen officially refutes any claim that he’s anything but one of our greatest screen performers

By Benjamin Lindsay Photographed by Carlotta Moye

WHEN NEWS BROKE LAST SUMMER THAT former New York City mayor Rudy Giuliani was ambushed mid-interview by a man wearing “a pink bikini, with lace, underneath a translucent mesh top” at the Mark Hotel, you can guess which culprit immediately came to mind.

“This person comes in yelling and screaming, and I thought this must be a scam or a shakedown, so I reported it to the police. He then ran away,” Giuliani told Page Six on July 8, 2020. “I only later realized it must have been Sacha Baron Cohen.”

And really, who else? Considering that additional sources claimed to see Baron Cohen sprinting from the Upper East Side hotel wearing only a bathrobe and that he’d been spotted crashing a right-wing Three Percenters event just two weeks prior disguised as a racist country singer, it was apparent that the Golden Globe winner was up to something. Some speculated that it was a new season of Showtime’s Emmynominated “Who Is America?” But the cabler denied such claims, and our minds collectively moved on to last year’s various other distractions.

Cut to October, and it became clear that Baron Cohen had gone back to inhabiting his most beloved character: Borat Sagdiyev.

The iconic (and “very nice!”) Kazakh journalist made his grand, if unexpected, return with Amazon Studios’ “Borat Subsequent Moviefilm” 14 years after the first movie debuted—and just in time for the 2020 presidential election. While other Baron Cohen sketch and mockumentary personas have gotten the feature-length treatment— including idiot British “chav” Ali G (2002’s “Ali G Indahouse”), Austria’s gayest fashion journalist, Brüno Gehard (2009’s “Brüno”), and the fictional Republic of Wadiya’s tyrannical Admiral General Aladeen (2012’s “The Dictator”)—Borat has become a part of the cultural canon like no other. Even held up to the likes of Michael Scott and Ron Burgundy, you’d be hard-pressed to find a better-known and more oft-quoted comedic character from the last 20 years. Now, coming out of retirement for a sequel, Borat is up to refreshing new antics.

“This was a movie that I had to do,” says Baron Cohen, speaking to Backstage recently via video call. “I felt that democracy was in danger, that Trump was an existential threat to a political system that I believed in. I’m not saying I could do much—I’m an actor, comedian, and writer; I’m not a politician. But I thought, I have to be able to look at myself in the mirror on Nov. 4 and say I did what I could do.”

From dressing in a Ku Klux Klan hood and robes while attending the Conservative Political Action Conference this past February to visiting an anti-abortion women’s clinic, Baron Cohen uses his Borat persona to underline the grossly illogical justifications to which certain members of the religious right stoop. He spends the BACKSTAGE 01.26.21

95-minute film catching supporters of Trump’s America revealing their darkest impulses and most egregious moral contradictions. And here we sit today, with a new president and the Democratic party in a position of power it hasn’t held since 2009.

So, sure, Baron Cohen is admittedly only an actor, but with “Borat Subsequent Moviefilm” standing as the second-most-watched SVOD feature of 2020 (behind “Hamilton”), there’s certainly a chance that he changed some minds with his work.

Despite all of this, Baron Cohen admits to feeling that the art form for which he’s best known—one that encompasses largerthan-life characters, real-world disguises and prosthetics, and politically minded gotcha moments—isn’t taken as seriously as more conventional modes of performance.

He’s had to convince industry peers that his turns as Borat, Brüno, and the rest are as much “real” acting as his work in, say, Oscar-winning dramas like Martin Scorsese’s “Hugo,” Tim Burton’s “Sweeney Todd,” and Tom Hooper’s “Les Misérables.”

“I used to have directors say, ‘Oh, it’s good to see you play a real person,’ ” he recalls of working on such narrative projects. “You want me to play a real person? I’m playing Borat—he is a real person. The hundreds of people who met him don’t consider him anything else.”

Take his 2018 interview with former Vice President Dick Cheney. While disguised as an anti-terrorism expert named Erran Morad on “Who Is America?” he persuaded the politician to sign a so-called “waterboard kit” for the cameras—but not before Cheney grilled him on Erran’s nonexistent military experience. Baron Cohen recalls how the

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20-minute interrogation put into practice the same methods of character building and backstory development that any actor employs for their work.

“When you’re talking about backstory and where my character comes from and my history—with those characters, when you’re living in the real world, your backstory has got to be incredibly thorough,” he explains.

“When you’ve got the ex–vice president of America, who has been intrinsically involved in every military event and excursion and war, you’ve got to know what you’re talking about, and you’ve got to know how to convince a man. You’re wearing a silicone head, and you’re scared that your ear’s going to start falling off or your eyebrow’s going to start peeling. You’ve got to be convincing.

“I remember at the time,” he adds of “Who Is America?” and its awards prospects, “SAG said, ‘Unfortunately, this doesn’t qualify in any of our categories.’ I was like, ‘What does that mean? Is it not an act? Is it not categorized as acting?’ ” His work this year, however, helped to publicly establish Baron Cohen as the capital A actor he’s always been, and there are doubtlessly awards ballots awaiting his name.

While the first “Borat” nabbed an Oscar nomination for best adapted screenplay, “Subsequent Moviefilm” is shaping up to be a major contender across leading acting categories (and supporting categories for Maria Bakalova, who plays Borat’s daughter).

That’s also true of Baron Cohen’s supporting work in Aaron Sorkin’s historical drama “The Trial of the Chicago 7,” in which he co-stars as real-world activist and Youth International Party co-founder Abbie Hoffman. In an ensemble that includes Eddie Redmayne, Mark Rylance, Yahya AbdulMateen II, and Jeremy Strong, among others, Baron Cohen stands out thanks to the sheer physicality he brings to playing Hoffman.

Gangly, impassioned, and unafraid, he fills a room—whether he’s taking on Frank Langella’s bigoted Judge Julius Hoffman or delivering a standup comedy–adjacent political routine to an auditorium full of college students.

“He did that because of his ultimate aim: to convince people. He was doing everything because he was an activist,” Baron Cohen says of Hoffman’s time in the spotlight.

“From what I read about him, he grew his hair long so that he could appeal to the hippies and he could bring them with him. He used comedy to spread his message. That was something that I could really relate to.”

Hearing Baron Cohen excitedly speak to the “acting” of it all—the meticulous technique that brings his characters to life—it soon becomes apparent that no matter the format or genre they fall into, the processes are largely the same. It begins with the words—not just the words to memorize on the page, but the literal syntax of what’s said, how it’s said, the voice in which it’s said, and what it reveals about the character at hand. backstage.com

I used to have directors say, ‘Oh, it’s good to see you play a real person.’ You want me to play a real person?

I’m playing Borat— he is a real person.

The hundreds of people who met him don’t consider him anything else.

“What do they indicate about that character’s psyche?” Baron Cohen asks, explaining that he becomes “rather obsessed with this” as it’s “the first thing to work out what drives the character.” The steps of development go on from there. Hoffman, in particular, required substantial amounts of research that other characters typically haven’t; but Baron Cohen says that after doing that homework, he’s then “prepared to throw it away and just concentrate on the actor in front of you and try to get the reality of that.”

“Whether it’s Abbie Hoffman or Thénardier in ‘Les Misérables’ or the Station Inspector in ‘Hugo’ or Brüno or Borat, for me, it’s the same thing. It’s: What are the words?

What’s the costume? What’s the backstory?

What’s the accent? What’s the physicality?

What is he feeling moment to moment? How do I keep it alive and real with the person in front of me, whether they are a QAnon conspiracy theorist I’m living with in a house or Eddie Redmayne? How do I make it feel real?”

“Borat Subsequent Moviefilm” did indeed find Baron Cohen, as the fictional journalist, living with two far-right conspiracy theorists for five days in pandemic-induced lockdown.

It’s a portion of the film he cites as the most challenging: “I basically had a panic attack, because I realized I’ve got a five-day scene ahead of me; they can’t realize that I’m an English guy from Northwest London.” Still, he wouldn’t necessarily describe what he does in terms of Lee Strasberg’s famed Method acting in the way one thinks of Marlon Brando or Daniel Day-Lewis’ work. He’s more of a Walter Matthau or Peter Sellers.

“I’m not saying I’m Daniel Day-Lewis; he’s got his own method. But I had to go to sleep wearing the mustache and wearing Borat’s pajamas,” he details. Nor does he relate his acting experience to the emotional recall of Konstantin Stanislavsky’s acting technique.

“Those actors use experiences they’ve had in their childhood and during their life; I am not doing that,” he says. “I’m trying to use the moments that are in front of me. I am not as Borat or as Abbie Hoffman going, ‘Oh, I remember when I was 14 years old, I felt something like this.’ ” Instead, he’s just trying to have “some chemical reaction with the other actor in the room or the other real person.” By its nature, he’s putting on a performance that doesn’t need to be as close to the actor’s natural and authentic self. But the technicalities are all still as rich and demanding, culled in part from his time studying with legendary clown teacher Philippe Gaulier. Under his tutelage, Baron Cohen learned an 18th-century form of melodrama that traditionally disdained the rich and was performed for less fortunate laypeople. That was paired with Bouffon, an early medieval form of satire put on by various dispossessed groups. He also trained with movement instructor Monika Pagneux from the famed École Internationale de Théâtre Jacques Lecoq to learn the ins and outs of utilizing his 6-foot-3-inch frame.

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“They’re really obscure, specific types of acting,” Baron Cohen admits. But they’re ones that fed his creative spirit and sharpened his skill set while also adhering to the politics he’s long valued—dating all the way back to his time studying history at Cambridge University, where he wrote his thesis on the civil rights movement’s “BlackJewish alliance.” It’s an ethos that is still, of course, seen in his body of work today.

As far as the advice he would give to himself in those formative years—and the words of wisdom he’d share with others wanting to try their hand at a career in the arts—he wraps our call with a reflection.

“When I left university, I was quite

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arrogant. The life of an actor, no matter how good you are, no matter how much talent you have, is so dependent on luck. So when the opportunity comes, you’ve got to be great,” he says. “It’s tough; it never gets easier.

‘Borat’ the movie was the hardest thing I’ve ever had to do in my life. ‘Chicago 7’ had its own incredibly hard challenges. It’s never easy to do really, really good stuff. Some people find it incredibly easy; I find it so hard. It’s why I work very rarely. I think actors are really brave, because you’re inherently living a life that’s deeply unstable.

Peaks are followed by troughs. You need luck, you need talent, and you need to work your ass off.” backstage.com

Don’t miss these late-arriving contenders for SAG’s film prizes

By Backstage Staff

Michelle Pfeiffer and Lucas Hedges in “French Exit” when her husband’s death and a tightening wallet force her to leave socialite society behind, she moves to Paris with her son Malcolm (Lucas Hedges) to begin a new, downsized life.

Pfeiffer’s performance is, to say the least, a return to form for the three-time Oscar nominee; it’s so flawless and fun that we’re left feeling like the actor we know and love never really left the screen. It’s the kind of turn that serves a delicious three-course meal of acting in one bite.

Matching her mark for mark is an ensemble of delightful oddballs. Veteran character actor Valerie Mahaffey is a particular standout as the charmingly coy Madame Reynard. She does the job of a quintessential scenestealer: being just left-of-center enough to captivate while playing off of Pfeiffer and bringing out her darkly comedic best.

And Hedges, as he’s proven again and again, is a marvel at watching and listening to those around him. As the docile but

“FRENCH EXIT”: SONY PICTURES; “CHERRY”: APPLE TV+; “THE LITTLE THINGS” : NICOLA GOODE/WARNER BROS. ENTERTAINMENT, INC.

WHILE 2020–21 MAY NOT BE REMEMBERED AS A GREAT TIME FOR the film industry, this past year has anything but skimped on awards-worthy film performances. That’s especially true of the titles below, each arriving later in the season yet no less deserving of the Screen Actors Guild Awards’ top prize for outstanding performance by a cast in a motion picture. For your consideration: the heartbreaking and inspiring acting in the following films. Don’t miss them!

“CHERRY” Tom Holland, who’s been acting on stage and screen now for half of his 24 years, has long been showing us that there’s nothing he can’t do, from “Billy Elliot: The Musical” to “The Impossible” to “Onward.”

But what the young “SpiderMan” star delivers in Apple TV+’s “Cherry” (directed by “Avengers” masterminds the Russo brothers) is the kind of showcase that could, for the first time, notch him major awards gold. Playing a student-turned-lover-turnedsoldier-turned-junkie-turnedthief, Holland stars as a PTSD-addled army vet feeding a heroin addiction by robbing banks. There’s a lot the actor must calibrate emotionally, psychologically, and even morally. By not missing a beat, he proves that he’s more than ready for prestige drama.

Holding his hand through it all is Emily, played by Ciara Bravo, an official Backstage star to watch in 2021. From her very first frame, the raw nerve of her performance demonstrates the loss of innocence that the opioid epidemic continues to incite across the U.S. And as the drug-dealing enabler keeping the young couple hooked, Jack Reynor takes the sleaze he honed to perfection in “Midsommar” and dials it up

backstage.com

to 11, playing a guy with neither a moral compass nor a pair of brain cells to rub together.

Casting directors Deborah Aquila, Sophie Holland, and Tricia Wood pieced together a young Hollywood cast with surprising heft that’s certainly one of the year’s strongest.

“FRENCH EXIT” Imagine “Schitt’s Creek” as written by Edward Albee, and you’re nearing the tonal balance struck by director Azazel Jacobs’ Sony Pictures Classics venture “French Exit,” adapted by Patrick deWitt from his 2018 novel of the same name. Michelle Pfeiffer stars as Frances Price, an aging Manhattanite whose acerbic reputation precedes her. But

perceptive Malcolm, he knows what’s in his mother’s heart behind her cool facade—and helps audiences to see it, too.

“THE LITTLE THINGS” The title of this John Lee Hancock thriller from Warner Bros. refers to the details a detective can find in a crime scene. It becomes a mantra of sorts for Denzel Washington’s Joe “Deke” Deacon, a deputy sheriff who left his SoCal precinct for a position up north under unusual circumstances.

But when he’s pulled back to Los Angeles while on the line of duty, Deke gets ensnared in a serial killer investigation alongside the precinct’s new wunderkind, Rami Malek’s Sergeant Jim Baxter. The two butt heads, which, as any discerning filmgoer of the last 40 years knows, means that two-time Oscar winner Washington is right in his sweet spot. He reminds us yet again that there are few other actors whose natural, compelling choices can both propel a

Ensembles in Film

Television

Last But Not Least

Denzel Washington and Jared Leto in “The Little Things”

Tom Holland in “Cherry”

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story forward and anchor it emotionally. Plus, is there anything more intimidating than watching him lean in close, stare his scene partner dead in the eye, and whisper something only they can hear?

Malek is all nerves and territorial brawn, a man who’s both put off by and reluctantly reliant on his predecessor’s involvement in the case.

Watching him in thought is a lesson in making the smallest facial tic convey vast meaning.

And Jared Leto, as their lead suspect, has a blast sinking his teeth into the creepy and manipulative Albert Sparma, who keeps you guessing through the film’s final, unexpected moments.

“THE MAURITANIAN” Whenever a Hollywood retelling of actual events shows its characters’ reallife counterparts, usually at the film’s conclusion, it can prove quite a shock to the system. Kevin Macdonald’s STX Entertainment thriller “The Mauritanian” is a perfect example: As the credits roll over footage of Guantanamo

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Bay captive Mohamedou Ould Slahi, you’re struck by this story’s relevance and reminded how systemic injustice impacts individuals.

You’re also struck, retrospectively, by Tahar Rahim’s prowess as an actor. From his shy demeanor to his precise vocal inflections (Slahi speaks multiple languages, and it’s clear Rahim does, too), the star’s ability to both dramatize and recreate is impeccable.

Throughout his character’s unconscionable 14-year captivity in Cuba (he was never once charged with a crime), Rahim slowly but surely fills in his portrait of Slahi. He endears us to him and avoids sentimentality, particularly opposite Jodie Foster’s tough-as-nails Nancy Hollander. Foster, who makes the relentless pursuit of justice her criminal defense lawyer’s driving motivation, is better than ever.

Also supporting “The Mauritanian” are Shailene Woodley as Hollander’s fellow attorney Teri Duncan, Benedict Cumberbatch as incredulous military prosecutor Stuart Couch, and Zachary Levi as

disingenuous federal agent Neil Buckland. Each delivers fully lived-in performances as characters who are aware of their places in the American legal system and how their every move ripples outward to affect those at its mercy.

“NEWS OF THE WORLD” Paul Greengrass’s Universal Pictures feature “News of the World” will sweep you up in its epic depiction of the wild American Southwest and tug on your heartstrings thanks to its tapestry of unforgettable performances from some of today’s most magnetic stars.

Tom Hanks proves once again why he’s one of Hollywood’s most reliable leading men: The emotional arcs he creates are the backbones of his films, yet he listens and responds beautifully to all his co-stars. As Civil War vet Captain Jefferson Kyle Kidd, who travels from town to town reading newspaper stories aloud, he’s alternately charming and wary, with subtle hints of grief. There’s also fear there, considering the perils of his cross-country journey; and

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“SOUND OF METAL”: AMAZON STUDIOS

Television Ensembles in Film

Tom Hanks and Helena Zengel in “News of the World”

“OUR FRIEND” Bringing to the screen Matthew Teague’s 2015 Esquire essay “The Friend,” which details his wife’s struggle with cancer and their family friend’s invaluable support, must have been a daunting task. Screenwriter Brad Ingelsby and director Gabriela Cowperthwaite certainly had their work cut out for them with such sensitive and personal material. How should they walk the line

“NEWS OF THE WORLD”: BRUCE W. TALAMON/UNIVERSAL PICTURES; “THE PROM”: MELINDA SUE GORDON/NETFLIX

the stakes are raised by the arrival of Helena Zengel’s young Johanna, a fiercely stoic orphan who was adopted by the Kiowa tribe.

Zengel’s rising star status is confirmed in the way she stares down Hanks and the film’s supporting stars: a loathsome Thomas Francis Murphy, a welcoming Ray McKinnon and Mare Winningham, a no-nonsense Elizabeth Marvel, a bone-chilling Michael Angelo Covino, and more. “News of the World” features gorgeous cinematography and music, but it’s the actors who keep us on the edge of our seats. It’s an awards contender through and through, one of those movies that reminds us why we love movies in the first place.

“SOUND OF METAL”: AMAZON STUDIOS

Television Riz Ahmed in “Sound of Metal” “THE PROM” “One thing you’ve taught me is how much people enjoy a show,” sings Emma Nolan, the big-hearted lesbian teen (played by newcomer Jo Ellen Pellman) at the center of “The Prom.” That the lyric comes at the end of the film, after we’ve spent two hours being wowed by some of today’s greatest living entertainers, renders

it one of this movie musical’s cheekier winks at the very biz it (lovingly) lampoons.

Ryan Murphy has turned this 2018 Broadway hit into a Netflix smash, and it’s no wonder he saw literal stars in his eyes when he did. In fact, he started with the shiniest one: Meryl Streep, who, as Broadway veteran Dee Dee Allen, gives one of the most convincing performances of her career as a diva actor. It’s Dee Dee who leads a group of musical theater misfits from the Great White Way to Emma’s homophobic Indiana town, where they don’t exactly blend in.

There’s also real Broadway hoofer James Corden as the show-stopping Barry Glickman; Nicole Kidman (and Nicole Kidman’s legs) as a chorus girl doling out advice about “zazz”; Tony nominees Andrew Rannells and Ariana DeBose showing off all three of their triple threats; and Kerry Washington, who, it turns out, has a lovely singing voice to go with her acting chops.

Thank goodness that, until live theater returns, we can attend “The Prom” anytime.

Andrew Rannells, Kerry Washington, Meryl Streep, Jo Ellen Pellman, and James Corden in “The Prom”

“SOUND OF METAL” A gifted verbal communicator, Emmy-winning actor and Swet Shop Boys rapper Riz Ahmed told Backstage earlier this year

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Ensembles in Film

“NEWS OF THE WORLD”: BRUCE W. TALAMON/UNIVERSAL PICTURES; “THE PROM”: MELINDA SUE GORDON/NETFLIX

between grief and humor, for example? But the real challenge was for the Gravitas Ventures film’s cast, charged with infusing grand concepts of love and death into their depiction of an ordinary, real-life family.

Casey Affleck as Matthew, Dakota Johnson as Nicole, and Jason Segel as the titular friend, Dane, more than rise to the occasion. Although they’re stars in their own right, there’s an easy authenticity to their performances—a sense that if the cameras stopped rolling, these people would continue going about their day rather than revert to their actorly selves. The film’s chronology is shuffled, so information about these three and their evolving relationships with each other unfolds over time. But from the film’s first scene, in which Matthew and a bedridden Nicole discuss how to tell their kids (Isabella Kai and Violet McGraw) about her diagnosis while Dane entertains them just outside, we instinctively feel their years of history together. Thanks to this ensemble’s tightknit vibe, “Our Friend” is one of this year’s most affecting stories of heartbreak and hope.

that the biggest challenge of doing Amazon Studios’ “Sound of Metal” was working without the “crutches” of the spoken word, which “took me out of my comfort zone [and] put me off balance, but also opened me up.” As Ruben, a heavy metal drummer and recovering addict who discovers he’s losing his hearing, the multihyphenate capably overcomes those performance challenges. Underscored by the film’s brilliant sound design, Ahmed paints a devastating portrait of dependency in all its forms, as visceral as it is tragic.

And it’s not his efforts alone that make Darius Marder’s film so impactful. Paul Raci will take your breath away as Joe, the counselor who runs the deaf community rehabilitation center where Ruben finds himself forced to stay. And as his girlfriend and bandmate Lou, British talent Olivia Cooke embodies a woman who, while supportive, is scared and unknowing as Ruben enters a new chapter in their lives. Fleshed out by casting directors Lisa Lobel and Susan Shopmaker, much of the rest of Ruben’s world is inhabited by real-life deaf and hard-ofhearing performers, including Lauren Ridloff and Chelsea Lee, who nonverbally provide some of the film’s most lively and affecting scenes.

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Your guide to 2020’s best TV movie and limited series performances

By Backstage Staff IT BECOMES MORE AND MORE TRUE EVERY YEAR: LIMITED SERIES and films made for television are such a thriving element in the growing entertainment landscape that any roundup of the medium’s acting contenders doubles as a list of today’s most talented stars. For your Screen Actors Guild Awards consideration: the unmissable TV performances below.

wave. Instead, impressively, Byrne reminds “Mrs. America” viewers that behind those iconic aviators is a human being who hurts and fails just like us.

Outstanding Performance by a Female Actor in a Television Movie or Miniseries

MICHAELA COEL, “I May Destroy You” The range that writer-directorstar Coel taps into to deliver the semi-autobiographical story of her sexual assault on this follow-up to her series “Chewing Gum” is nothing short of heroic. Her Arabella is equal parts frightened and frightening in the complex aftermath of her assault.

Watching Coel detangle her character’s pain from the power it has unearthed within her makes for some of the year’s best TV.

UZO ADUBA, “Mrs. America” At this point in awards history, it’s a fact: If Aduba can be nominated, she will be—and for good reason. Whether in a character-driven role like on “Orange Is the New Black” or as real-life Congresswoman Shirley Chisholm, the first Black woman to run for president, on Dahvi Waller’s stunning limited drama, Aduba always acts with equal parts head and heart.

ROSE BYRNE, “Mrs. America” It’s damn near impossible to portray a real-life cultural icon, especially one who’s still active today. It’s a testament to Byrne’s grace as an actor that she never skims the surface of caricature when stepping into the bell-bottoms of Gloria Steinem, the most recognizable figure of feminism’s second

MICHELLE DOCKERY, “Defending Jacob” How well can we really know

SHIRA HAAS, “Unorthodox” Calling Haas’ part in this critically acclaimed, Emmywinning drama a leading role hardly feels sufficient. In practically every frame, the breakout star ably carries this story of an ultra-Orthodox

Michaela Coel on “I May Destroy You”

“MRS. AMERICA”: SABRINA LANTOS/FX; “I MAY DESTROY YOU”: NATALIE SEERY/HBO

CATE BLANCHETT, “Mrs. America” One of this TV season’s greatest treats was watching Blanchett scheme. Actors should study her take on Phyllis Schlafly—as long as they remember that no one could ever replicate her distinct subtleties. Her

multilayered work as the conservative queen of the 1970s, a woman seeking power and finding her voice as she advocates for policies that would prevent her fellow American housewives from doing the same, is elevated by her restraint.

DAISY EDGAR-JONES, “Normal People” It’s not often an actor gives a breakout performance that leaves as lasting an impression as Edgar-Jones’ on “Normal People.” There are no fancy set pieces nor an ensemble cast for her to hide behind as Marianne, half of the series’ intricately connected central couple.

Edgar-Jones pulls a beloved literary character off the page and embodies her so wholly, it’s as if she was born to play her.

Uzo Aduba on “Mrs. America”

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“HOLLYWOOD”: SAEED ADYANI/NETFLIX ; “DEVS”: RAYMOND LIU/FX

Television Individuals in Film

Without Limit

our loved ones? That’s only one of the earth-shaking questions Dockery’s Laurie finds herself forced to grapple with on Mark Bomback and Morten Tyldum’s dark, meditative eight-part thriller. When Laurie’s son, Jacob (Jaeden Martell), is credibly accused of murder, her foundation—her very identity, it seems—begins to crumble, a process Dockery illustrates with deft precision.

student and museum docent, she turns curiosity into a driving force so compelling it’s practically tangible; watching her sort out the mysteries of the Elsewhere Society—and her feelings for Segel’s Peter—remains one of the season’s highlights.

SONOYA MIZUNO, “Devs” You’re never quite sure what’s going to happen next on FX’s “Devs,” a story about a tech giant running a super-secret, time-and-space-bending experiment, but you can be sure that Mizuno will offer a reliable proxy for the audience as the plot unfolds. Her Lily shuffles through grief, anger, confusion, frustration, and awe while discovering, along with the viewer, the dark and dangerous depths of the unknown.

EVE LINDLEY, “Dispatches From Elsewhere” On Jason Segel’s enigmatic and whimsical meta-tale of ordinary people seeking out the extraordinary, Lindley stakes her claim as a star to watch. As Simone, a trans art

Holland Taylor on “Hollywood”

WINONA RYDER, “The Plot Against America” David Simon and Ed Burns’ adaptation of this story of an alternate 1940s America with a Nazi Germany–sympathizing government feels a little too timely for comfort. Underlining that discomfort is Ryder as Evelyn Finkel, a woman torn between her no-longer-safe

Sonoya Mizuno on “Devs”

Jewish family and her husband (John Turturro), a prop of the rising fascist movement. The complex story is tethered to her increasingly anguished performance.

OCTAVIA SPENCER, “Self Made: Inspired by the Life of Madam C.J. Walker” How did a hair-care pioneer become America’s first Black female millionaire? Rooting for Spencer’s Madam C.J. Walker every step of the way, we’re reminded that history’s groundbreakers were usually ordinary people clinging to a dream with hope and grit. Based on the biography written by Walker’s greatgreat-granddaughter A’Lelia Bundles, this limited series is a fabulous showcase for Spencer, who is finally getting the lead roles she’s long deserved.

Television

MARIELLE HELLER, “The Queen’s Gambit” However much praise has been heaped on Heller for her work on Scott Frank and Allan Scott’s miniseries is not enough. She’s always had a knack for directing poignant characters, but her Alma, adoptive mother to Anya Taylor-Joy’s Beth, is proof that she’s as capable of bringing them to life in front of the camera as she is behind it.

On a show that leads with its head, it’s Alma who provides the heart.

NICOLE KIDMAN, “The Undoing” Kidman deserves every acting award on record for her follow-up collaboration with “Big Little Lies” creator David E. Kelley, including (if there were such a thing) best performance by a pair of eyeballs in a leading role. The heavy lifting her pupils alone do in this story of paranoia and perception speaks to the laserlike focus this star has on her characters’ reactions.

Individuals in Film

Jewish woman fleeing Brooklyn for a secular life in Berlin. Her Esty Shapiro is facing high stakes, and the pressure is visible on this actor’s subtly expressive face.

YVONNE STRAHOVSKI, “Stateless” Inspired by the real-life story of an Australian citizen unlawfully detained in one of the country’s immigration centers, “Stateless” finds Strahovski bringing pure, unfiltered emotion to the camera lens, especially in scenes in which her detainee Sofie’s paranoia is reaching a boiling point. But you can always count on this actor to deliver drama with just the right amount of restraint—no small task, given this story’s extremes.

“HOLLYWOOD”: SAEED ADYANI/NETFLIX ; “DEVS”: RAYMOND LIU/FX

“MRS. AMERICA”: SABRINA LANTOS/FX; “I MAY DESTROY YOU”: NATALIE SEERY/HBO

HOLLAND TAYLOR, “Hollywood” In this alternate history of post-WWII Hollywood, some studio bigwigs are—gasp!— women. Watching Taylor as Ellen Kincaid, an executive with an eye for talent, you’re reminded how frustratingly rare the phenomenon still is.

You also root for the Emmynominated Taylor and revel in her stateliness and ability to deliver a line like it’s born out of her.

ANYA TAYLOR-JOY, “The Queen’s Gambit” As much a character study in addiction as a chess prodigy’s

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Television

Outstanding Performance by a Male Actor in a Television Movie or Miniseries

John Boyega in “Small Axe: Red, White and Blue” coming-of-age tale (and a gorgeously wrought period drama to boot), this Netflix hit owes a heaping sum of its success to leading lady and rising star Taylor-Joy. Her skill at rendering Beth Harmon’s growth displays physicalized acting at its finest, and every moment she levels those enormous eyes at her chess adversaries, or up at the ceiling, becomes iconic.

the art of revealing the layers of a woman trying to hold herself and her family together. On “Little Fires Everywhere,” she deepens that excavation as a husband, kids, friends, coworkers, and a mysterious new neighbor orbit around her Elena Richardson. She’s so good at portraying someone who’s gradually unraveling, you might feel a little bad for enjoying it.

REESE WITHERSPOON, “Little Fires Everywhere” Witherspoon has perfected

Hugh Grant on “The Undoing”

CHRIS EVANS, “Defending Jacob” So much remains unsaid between Andy Barber and his family members, who

KERRY WASHINGTON, “Little Fires Everywhere” What a spectacular return to TV drama this is for

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JEFF DANIELS, “The Comey Rule” Writer-director Billy Ray’s retelling of the 2016 presidential election may have provided Daniels with his most fascinating material yet; these days, the truth is stranger than fiction. As James Comey, he projects poise, confidence, and even calm. Yet the poker-faced actor lets us peek behind the curtain, his eyes revealing just how well Comey knows that Donald Trump’s efforts to slander his opponents are—to say the least—very, very bad.

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backstage.com

“SMALL AXE: RED, WHITE AND BLUE”: AMAZON STUDIOS; “THE UNDOING”: HBO

TESSA THOMPSON, “Sylvie’s Love” If there’s one takeaway from Eugene Ashe’s period drama, let it be that Hollywood needs more stories of Black love like this one. As a 1957 Harlem record store clerk, Thompson floats across the screen like a dream. But the leading lady plays sorrow with as much flair as she does buoyancy; as we all know, every great love story is also a tragedy.

Washington, one of those stars who can straddle the line between juicy melodrama and multilayered subtlety.

Her work as Mia Warren, a newcomer to the story’s picture-perfect suburban neighborhood, makes this adaptation of the best-selling novel all pleasure, no guilt.

BRYAN CRANSTON, “Your Honor” As this Showtime miniseries ratchets up the stakes in its tale of a prominent judge covering up his son’s hit-and-run, Cranston reminds us that this kind of material is his forte.

Without ever overplaying his character Michael’s emotions, he suggests rising tension and desperation in scene after scene. How far would you go to protect those you love? Cranston has us asking that question and believing wholeheartedly in Michael’s answer.

“FARGO”: ELIZABETH MORRIS/FX

Individuals in Film

JOHN BOYEGA, “Small Axe: Red, White and Blue” Steve McQueen’s anthology of films, collectively titled after the Bob Marley lyric, “If you are the big tree, we are the small axe,” spotlights and honors West Indian culture in 1960s and ’70s London. As reallife British cop Leroy Logan, MBE, a founding member of the U.K.’s Black Police Association, the understated yet extraordinary Boyega both draws inspiration from real-life events and invents a detailed character study that’s all his own.

DYLAN MCDERMOTT, “Hollywood” Actors are usually allowed to have quite a bit of fun in Ryan Murphy productions, but McDermott seems to be taking that license to the next level with his portrayal of Ernie West. As a slick pimp who runs his business out of a gas station and revels in taking customers “to dreamland,” McDermott chews scenery to alarmingly entertaining effect.

Chris Rock on “Fargo” are entangled in a murder investigation and steadily realizing that their quaint suburban life will never be the same again. This series’ restraint allows Evans, a master at plumbing endless depths of subtext, to both generate empathy and keep us guessing. His final moment is one of wordless stillness, but it’s somehow utterly devastating.

“FARGO”: ELIZABETH MORRIS/FX

“SMALL AXE: RED, WHITE AND BLUE”: AMAZON STUDIOS; “THE UNDOING”: HBO

BRENDAN GLEESON, “The Comey Rule” Gleeson’s scheming Presidentelect Trump is terrifying. This is the arrogant, conniving, power-hungry version of the man, not the bumbling fool or puppet. So convincing is the legendary actor’s physical performance, from his gait to his facial expressions to that growl in his voice, that this rendition, for better or worse, may become what you think of when Trump comes to mind.

HUGH GRANT, “The Undoing” It’s impossible to discuss Grant on “The Undoing” without spoiling the ending; this is a murder mystery, after all.

Centering Grant as husband, father, and sociopathic cheater-liar-murderer Jonathan Fraser is more than just a clever bit of casting, given our collective fondness for his charmingly romantic roles. Grant capably walks the line between sympathetic

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and bone-chilling, causing us to second-guess ourselves right up to the series’ final heart-pounding moment.

ETHAN HAWKE, “The Good Lord Bird” What makes Hawke a star is also what makes this Showtime miniseries he co-created with Mark Richard great: He can combine weighty historical drama with epic, rollicking entertainment. The actor’s irreverent take on the intensely religious and violent abolitionist John Brown, whose spark helped ignite the American Civil War, must be seen to be believed. And believe you absolutely will.

PAUL MESCAL, “Normal People” Heartfelt, devastating, and so vulnerable you almost can’t bear to witness it: Mescal on this miniseries adaptation of Sally Rooney’s hit novel checks many boxes of what makes a great performance.

Opposite Daisy Edgar-Jones, with whom he generates the kind of turbulent chemistry it seems like it would take years to develop, he stakes his claim as a star to watch.

HUGH JACKMAN, “Bad Education” To call Mike Makowsky and Cory Finley’s HBO film “Bad Education” Jackman’s best-ever onscreen work would verge on sacrilege, given his bona fides as an entertainer of all stripes. But it’s justified: His performance as Frank Tassone, the reallife superintendent of a Long Island school district, is so deliciously dastardly that you can’t help but want him to get away with embezzlement.

LESLIE ODOM JR., “Hamilton” One of the highlights of 2020 echoed the fervor of Broadway in 2015: With the arrival on Disney+ of the filmed “Hamilton,” homebound fans of Lin-Manuel Miranda’s game-changing musical get to relive the full stage production (or see it for the first time), led by the impossibly talented original cast. To anyone who missed Odom’s daring, nuanced, heart-wrenching turn as Aaron Burr, the wouldbe villain of the Founding Fathers: Don’t wait for it.

JUDE LAW, “The Third Day” Felix Barrett, the mind behind Punchdrunk’s live hit “Sleep No More,” set out to make an equally immersive TV

SHAUN PARKES, “Small Axe: Mangrove” Lesser-known stories of fights for social justice deserve no less attention than the

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JEREMY POPE, “Hollywood” As one of the aspiring storytellers of this miniseries’ titular town, Pope has us rooting for him to make it big from his first moments as Archie Coleman. Modern audiences know his path to screenwriting success will be an uphill climb; how wonderful that Pope’s Archie is full of enough earnest determination to pull it off.

Television

movements found in history textbooks. In fact, they deserve more. “Mangrove” stars the stunning Parkes as Frank Crichlow, the owner of the Mangrove restaurant, which was targeted by racist policemen in 1970 London.

The film is effective thanks to Parkes and his castmates, who turn what could have been mere symbols into flesh-andblood people to whom we can, and must, relate.

Individuals in Film

experience with HBO folkhorror thriller “The Third Day.” Pulling us down its psychological rabbit hole is Law as Sam, a man drawn to a mysterious British island and its unnerving local customs.

Often rendered in trippy closeup, Law’s wide-eyed, haunted stare reveals almost as much as it hides.

CHRIS ROCK, “Fargo” If this story weren’t true, you would never believe it. Noah Hawley’s ever-expanding “Fargo” universe takes us to 1950 Kansas City, Missouri, on Season 4, where Rock’s Loy Cannon leads a Black crime syndicate clashing with a rival mafia. The comedian earns his dramatic acting bona fides here, convincingly rendering Loy as a ruthless figure before developing the character throughout the story’s kaleidoscopic action, introducing subtle hints of humanity.

MARK RUFFALO, “I Know This Much Is True” Playing opposite yourself as twins might sound like a dream acting job. But it comes with risks: You have to pull off the illusion seamlessly, making the audience forget they’re seeing one performer, and you can’t ever verge on gimmickry. The Emmywinning Ruffalo avoids such issues with astonishing precision in this adaptation of Wally Lamb’s novel, imbuing both brothers with distinct interiorities as well as magnetic physicalities.

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

Submit a Notice |

New York Tristate Plays George Street Playhouse 2021 Season, Equity Video Submissions

• Casting Equity actors for the George

Street Playhouse 2021 Season. Season includes “Fully Committed,” (Becky Mode, playwright; David Saint, dir.

Rehearsals begin Feb. 9 on zoom; inperson rehearsals begin Feb. 16; wraps Mar. 3; streams Mar. 22-Apr.11), “Tiny Beautiful Things,” (Cheryl Strayed, based on the best-selling book by; Nia Vardalos, adapted for the stage by; David Saint, dir.. Rehearsals begin Mar. 9 on zoom; in-person rehearsals begin Mar. 16; wraps Apr. 1; streams Apr. 26-May 16), and “It’s Only A Play” (Terrence McNally, playwright.

In-person rehearsals run Apr. 20-May 16); streams June 1-20.).

• Company: George Street Playhouse.

Staff: David Saint, artistic dir.; Pat McCorkle, McCorkle Casting, casting dir.

• Season runs in New Brunswick, NJ. • Seeking—Equity Actors: 18+.

• Seeking submissions from NJ. • For consideration, email submissions

with the video link and separate attachements of your headshot and resume to epa.submission@mccorklecasting.com with the subject line “Full Actor Name/George Street 2021 EPA Submission.” Submissions deadline is Jan. 26.

• Pays $717/wk. Equity LORT Non-Rep

Agreement.

‘Surely Goodness and Mercy’ • Seeking Equity video submissions for

“Surely Goodness and Mercy.”

Synopsis: This story follows an odd, but bright little boy named Tino who befriends Bernadette, the lunch lady at his school. Through quick conversations, a few moments of grace, and the help of their sassy friend Deja, both Tino and Bernadette learn about the strength hiding within themselves and what it means to truly care for another.

• Company: Passage Theatre Company.

Staff: Chisa Hutchinson, playwright;

BACKSTAGE 01.26.21

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.

Marcus D. Harvey (viewing auditions), dir.; C. Ryanne Domingues (viewing auditions), artistic dir.

Casting picks of the week

• Online, Zoom Rehearsals and

Recording run from Mar. 8-12. In-Person rehearsals and recording on Mar. 13 only. Opening night video followed by “live” Zoom talkback with actors on Mar. 19. Video available to view online from Mar. 19-23.

BY LISA HAMIL

stage

• Seeking—Tino: male, 12, Black / African

‘Surely Goodness and Mercy’ Discover your inner strength in this NJ Equity production

Descent, Tian oddball who gets picked on a lot at school. He’s brilliant but diffident, so accustomed to being beat down or “put in his place” that he doesn’t know how to engage people if it’s not awkwardly. Teacher: 30-49, all ethnicities, probably African American, any gender (but probably Female); Voiceover. More important for her to seem right than be right. Doubled with the role of Alneesa. Alneesa: female, 30-39, Black / African Descent, Tino’s aunt. Real wry sense of humor that often borders on cruelty. She’s justifiably resentful over having to take care of a kid that she didn’t ask for. Doubled with the role of Teacher. Principal: male, 40-69, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, POC, Any gender; Voiceover.

Probably started this job as an idealist, but is now just trying to get through the day without throwing a kid out the window. Doubled with the role of Preacher.

Preacher: male, 40-69, Black / African Descent, Voiceover. Sincere, urgent, full of fire. Doubled with the role of Principal. Deja: female, 12, Black / African Descent, Latino / Hispanic, Black, Black Puerto Rican-American, African-American or Latinx, Afro-Latinx, a bitof a bulldozer and a little rough around the edges-- like even her love can be abrasive-- but she’s rideor-die loyal. Bernadette: female, 50-75, Black / African Descent, No-nonsense. No edit button either. Done with these kids.

Except for Tino. He’s alright.

tv

’Tumwater’ Strike a pose in NYC for this new series directed by Ben Stiller

film

‘Max And Sadie’ Reunite with old friends In Oakland, CA in this road-trip dramedy

national commercials

Miracle-Gro Gardening Branded Content Plant your garden for this commercial casting nationwide

short film

‘Rideshare’ Call an Uber in Los Angeles, CA for this short drama

deadline is midnight ET Jan. 29.

Notification of a callback appointment will be sent by Feb. 5. Online callbacks will be held Feb. 11 and 13.

• Note: The roles of Principal/Preacher

‘Willow’

• Casting Equity actors for “Willow,” a

zoom reading. Synopsis: Young Jewish man from Brooklyn refuses to become a lawyer or doctor and seeks a life of adventure on an off shore oil rig in Alaska. On his way to Prudhoe Bay, he meets and falls in love with Superhero Willow. Together they partner to make the world a better place.

• Staff: Del Fidanque, playwright-dir.

• Rehearses May 19 from 1-3:30 p.m. EST

and May 21 from 1-3:30 p.m. EST over zoom; reading runs May 25 from 1-3 p.m. EST (call is for 12:30 p.m. EST) over zoom.

• Seeking—Ben: male, 20-29, already

cast; (Benjamin, Benjie) 20’s; NY Jewish male, innocent, strives to do wellin the world. Billy Ray/Nick, (Nicky): male, 20-29, 20’s; Billy Ray: would be confederate soldier, anti-semitic, sexist. Nick: Step Brother to Willow; kind, and humane. Willow: female, 20-29, any ethnicity female, 20’s, Superhero.

Shirley: female, 40-59, (Aunt Shirley); any ethnicity; 40’s-50’s; Shirley is a nononsense middle-aged woman determined to bring her nephew Junk Food in Alaska. Bernice: female, 50-59, already cast 50’s: Bernice is a doting Jewish Mother from Brooklyn. Stage Directions Reader/The Voice: female, 18+, a woman, any ethnicity; requires a deep rich voice for reading Stage Directions; the Voice is the spiritual presence of Julian of Norwich, 14th Century Mystic; first female writer to be published.

• Seeking submissions from NY. • For consideration, submit photo and

resume with a link to website or two video clips (one dramatic, one comedic) to subm@optimum.ne. Sides will be sent to actors that fit the roles.

Submissions deadline is Mar. 31, 2021.

• Pays $100 stipend. Equity Staged

Reading Code.

and Alneesa/Teacher will be doubled.

• Equity’s contracts prohibit discrimina-

• Seeking submissions from NJ. • For consideration, record a 2-minute

contemporary, dramatic monologue and either attach it to your email or send it as a link. Also attach your headshot and resume to the email, and place “Surely Goodness Audition” in the subject line.

Actors may email submissions to casting@passagetheatre.org (strongly preferred) or mail to Passage Theatre Company, c/o Ryanne Domingues, P.O. Box 967, Trenton, NJ 8605. Submissions

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

Short Films

and transportation. Equity SPT 3 Contract.

• Company: NYU. Staff: Will Knowland,

• Pays $364/wk. plus health, pension,

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‘Decaying Americana,’ NYU Short

• Casting “Decaying Americana,” a series

of short films, following two characters, that will highlight the current disillusionment with the concept of the American Dream. filmmaker.

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S:10.25”

Pictured: American Airlines team members surviving and co-surviving cancer with SU2C ambassador, Tim McGraw

Join American Airlines and Stand Up To Cancer in our mission to help make everyone diagnosed with cancer a long-term survivor. Donate $25 or more and you’ll receive 10 American Airlines AAdvantage® Miles for every dollar you give.

Visit StandUpToCancer.org/AmericanAirlines to learn more.

Stand Up To Cancer is a division of the Entertainment Industry Foundation, a 501(c)(3)charitable organization.

American Airlines, the Flight Symbol logo and the Tail Design are marks of American Airlines, Inc. ©2019 American Airlines, Inc. All rights reserved.

casting California • Shoots TBD in NYC. Note: Looking for

someone with a flexible schedule on the weekends. All shooting will follow COVID-19 guidelines and masks will be worn at all times.

• Seeking—Issah: male, 18-37, voice over

heavy; the role explores a man who is unsatisfied with his life and the way the world around him is treating him; he becomes very depressed, but he tries to find beauty and meaning in the things around him. Amelia: female, 18-35, a college student re-evaluating her decision to pursue art; she does not believe her life will make as big of an impact as she once thought it would and looks elsewhere for simpler ways to make meaning.

• Seeking submissions from NY. • Send submissions to kwm255@nyu.

edu.

• For consideration, state your availabil-

ity in your submission.

• No pay.

‘Say It Somehow’

• Casting “Say it Somehow,” a short film

from Adam Guettel’s “The Light in the Piazza.” Note: Production will be filmed in upstate New York February-March, broadcast online.

• Company: Anomalie Productions LLC. • Zoom meetings and coachings;

rehearses and films in person at the end of February/beginning of March for five days in Buffalo, NY. • Seeking—Fabrizio: male, 18-35, visually

reads 18-25, lyric tenor to A4, strong dancer (ballet/modern), Italian (Tuscan) dialect.

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

• For consideration, submit dance foot-

age and short song in the style of the show.

• Pays $50/hour for zoom rehearsal fees

(incl. accent coaching session), $1,500 flat rate for five days of in-person rehearsal into filming. Housing and transportation to and from filming location covered.

Scripted TV & Video ‘Tumwater’

• Casting talent to create “busts” (wax

figures; photo shoots, etc) for an upcoming TV series “Tumwater,” to be directed by Ben Stiller.

• Production will be in New York, NY,

dates TBD.

• Seeking—Ambrose Eagan: male,

65-75, White / European Descent, to portray: “Ambrose Eagan,” a historic CEO from early 1900’s. 75 y/o (in 1940).

Early 1900’s. Period faces encouraged.

Short & mousy but vain, clearly trying & failing to mimic his father’s majesty.

Kind of a Bob Dylan look, but not cool.

If selected, talent will have “busts” (wax figures) created from photos of you.

Baird Eagan: male, 50-60, White / European Descent, to portray: “Baird Eagan”: Historic CEO from mid 1900’s.

57 y/o (in 1959). Mid 1900’s period faces encouraged. Tall, strong, barrel-

BACKSTAGE 01.26.21

chested, authoritative. Like Fred Gwynne from My Cousin Vinny. If selected, talent will have “busts” (wax figures) created from photos of you.

Gerhardt Eagan: male, 50-60, White / European Descent, To portray: “Gerhardt Eagan”: Historic CEO from mid-late 1900’s, upscale types. 56 y/o (in 1976). Late 1900’s period faces encouraged. Big, hefty, grandiose.

Orson Welles type. If selected, talent will have “busts” (wax figures) created from photos of you. Pip Eagan: male, 45-55, White / European Descent, To portray: “Pip Eagan”: Historic CEO from late 1900’s. 50 y/o (in 1987). Bar & Grille Owner Type. Late 1900’s (1987-1999) period faces encouraged. Muscular but weathered & craggy. A Mickey Rourke vibe. If selected, talent will have “busts” (wax figures) created from photos of you. Leonora Eagan: 40-50, White / European Descent, to portray: “Leonora Eagan”: Historic CEO from (1999-2003). 44 y/o (in 1999). Clothing store owner type. Daughter of Pip. Approachable but authoritative. Amy Klobuchar type. If selected, talent will have “busts” (wax figures) created from photos of you.

• Staff: Emre Okten, dir.

• Shoots Jan. 28-30 at XR Stage in

• Apply on Backstage.com.

• For consideration, include headshot

• Seeking—The Collector: female, 20-30,

• Pays $125-250 per production day.

Pacoima, CA.

a scrappy scavenger; an outcast. She lives her solitary life on the road, searching for rare artifacts.

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

com.

• Pays $200/day.

‘Rideshare’

• Casting “Rideshare,” a short that all

takes place within a car. Synopsis: What begins as a typical Uber ride soon devolves into arguments and violence as either the passenger or the driver isn’t who he says he is.

• Company: L.F. Warrington Pictures.

Staff: Luke Warrington, writer-dir.-prod.

• Shoots early/mid-February in the

Valley, Los Angeles, CA.

• Seeking—Earl: male, 18-25, Black /

• Seeking people of all ages, genders,

African Descent, an Uber driver, or so he pretends to be when he picks up a specific passenger; over the course of the trip, Earl proceeds to pester his passenger in small ways, trying to get under his skin, as he knows there’s a violent surprise waiting for his passenger at their destination; Earl is always cool, calm, and collected. Chase: male, 18-23, White / European Descent, a frat bro with anger issues which begin to pop up as his Uber driver continues to needle him with uncomfortable questions.

Travis: male, 18-22, White / European Descent, a young hothead, looking to exact revenge on someone who wronged him; though he stays out of sight for most of the film, he is the most important element in the revenge plot.

• Company: Sophia Hiller Studio. Staff:

gmail.com.

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

gmail.com.

• Pay provided.

Commercial & Fit Modeling Shoot for Legging Company and sizes to model for Beauty of Leggings’ website.

Sophia Hiller, prod.-editor.

• TBD. • Seeking—Model: all genders, 18-35, all

• Seeking submissions from CA. • Send submissions to lucaswarrington@ • Pays $150/day. One day of shooting.

Meals provided.

ethnicities.

• Seeking submissions from NY. • Send submissions to sophia.hiller@nyu.

edu.

• Pays $30 flat rate.

Southern California

Student Films ‘927D’ (Working Title)

• Casting “927D,” a UCLA MFA student

production. Logline: Set in a small town, the Sheriff responds to an overdose call and must then make a death notification to the last person he’d ever want to see, his ex-wife.

• Company: UCLA (MFA Production).

Staff: Jorge Parra Jr., writer-dir.

Short Films ‘The Artifact’

• Casting a no-dialogue short film on an

LED wall stage, with the purpose of demonstrating the technology in a narrative setting. Short film spans two locations: a forest with a plane crash and a cyberpunk city street. The character searches in the forest for an ancient artifact (an acoustic guitar), returning to the cyberpunk city after recovering the item and playing a short tune against the city scape.

• Shoots Mar. 12-14 in the Los Angeles

area.

• Seeking—Sheriff John Carrillo: male,

40-55, all ethnicities, a tough, hardworking professional. His job has exposed him to some of the most horrific circumstances imaginable and it has taken a toll on him. He doesn’t budge and has almost no reaction when faced with death and loss, until now.

Sarah: female, 40-55, all ethnicities, John’s ex-wife. She runs her own ranch, confidently carries a shotgun, and is far from being a pushover. Her strong character clashes greatly with John’s.

However, nothing can prepare her for the news she’s about to receive.

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and video reel in your submission.

Meals provided.

‘Colette’

• Casting “Colette,” a UCLA short film.

Logline: When a Catholic teen discovers she is pregnant, fears of harsh social scrutiny from her family and friends force her to weigh her options alone.

• Company: UCLA MFA Student Film.

Staff: Sierra Falconer, writer-dir.

• Shoots Feb. 26-28 in Los Angeles, CA

(do not apply if you are not available for these dates).

• Seeking—Colette: female, 15-22,

15-yrs-old, naive, shy and just starting to feel comfortable challenging boundaries and rebelling against her hyper conservative mother in small ways. Will not consider minors for this role. Must be 18+ but look young. Beth: female, 35-50, 40s, tight-faced, always on edge about something. Hypercatholic-conservative widowed single Mother of one increasingly rebellious daughter. Nick: male, 18-25, 15-ys-old.

Boyfriend of Colette. Blissfully ignorant to her situation. This is an off screen role. Can be done remotely. To keep cast small, actor will not be on set during production. Minors will not be considered for this role. Pastor/ Sermon: male, 18+, Seeking a voice actor who can do a commanding catholic priest voice. Professional audio recording equipment is a plus.

This is a WFH role.

• Seeking submissions from CA. • Send submissions to Sierra.falconer@

gmail.com.

• For consideration, include a cover let-

ter confirming your availably for Feb. 26-28. There will be an on set safety producer and strict COVID-19 safety precautions in place to keep everyone safe for the duration of the shoot.

Actors must live alone (or with a partner/roommate that does not work outside the house), or be willing to pod in a safety bubble with the crew. Note your living situation and if you feel comfortable living in a pod for the duration of the shoot.

• Colette and Beth: flat rate stipend of

$100; Nick: flat rate stipend of $50; Pastor/Sermon: flat rate stipend of $50.

‘Fade’

• Casting “Fade,” a story about a lovesick

man who mourns the passing of his girlfriend by visiting her ghost every year on their anniversary and finally must decide if letting go and moving on is something he’s capable of doing.

• Production states: “Note: Student film

will be shot in person at an airbnb. Must be willing to travel. Shoot will take place from April 2-4. 3 day shoot max but may wrap in 1.5-2 days. Night shoot, outside.

• COVID guidelines will be implemented

with a safety office. Actors must be/ willing to quarantine or living alone before shoot.”

• Company: UCLA TFT Program. Staff:

Paul Luna, UCLA graduate cinematographer.

• Shoots April 2-4 at an airbnb in L.A.

backstage.com

National/Regional casting

• Seeking—Josh: male, 25-35, Asian,

Black / African Descent, Latino / Hispanic, a lovesick man cannot get over the sudden loss of his girlfriend AJ. He’s stuck in the past and letting himself go (physically and mentally). He visits AJ’s ghost every year on their anniversary but this time she tries to convince him to move on and live his life. He has to make the most difficult choice of his life, but it will lead to him actually living again. AJ: female, 25-35, Asian, Black / African Descent, Latino / Hispanic, a strong willed funny woman. She’s light hearted and playful. Always cracking jokes because she’s so smart and sharp.

Despite her life being cut short, she keeps her sense of humor. Her current goal is to finally get the love of her life, Josh to let her go and once again become the man she fell in love with.

‘HBday’

• Casting “HBday,” a student film.

Synopsis: Evelyn reenters Brian’s life with honest intentions to reconnect, but inadvertently ends up unearthing the past. Life is marked by ambivalence and uncertainty. This film attempts to explore the denial of pain and the turbid relationship between the past and the present that distills itself in the afterlife of a broken relationship.

• Company: Dodge College. Staff:

Phoebe Trowbridge, head prod.

• Rehearses during the first two weeks

of Feb. and a week before shooting; shoots Feb. 19-21 and 26-28 in the L.A. county area.

• Seeking—Evelyn: female, 18-25, all

• Unpaid. Copy, credit, and meals

ethnicities, consumed by guilt. She is someone who, despite doing their best, is constantly making things worse for herself and others. She is confronted with a reality she hasn’t come to terms with yet. Ignorance and naivety are no longer valid excuses.

‘Faith of Our Fathers’

chapman.edu.

• Auditions will be held in .

• Send submissions to pluna0625@g.

ucla.edu.

provided.

• Casting “Faith of Our Fathers,” a look at

the biblical story of Abraham sacrificing Isaac from the perspective of Isaac.

After the binding and near sacrifice of himself by his father, Isaac struggles to renew his trust in the father he loves and reaffirm his faith in the God he believes in.

• Company: Loyola Marymount

University. Staff: Seth Bakke, film/TV prod. student.

• Shoots weekend of Mar. 19-21 in the LA

region (more specifically somewhere in LA’s mountainous state parks).

• Seeking—Isaac: male, 12-25, the son of

Abraham, and as a boy has heard the talk of his father being the start of a line of great nations and generations. His father has taught him the faith he now holds so dear, and is learning to grow in his relationship with God on his own.

Although Isaac might come off as timid, the boy is strong - in heart, in soul, in strength. Abraham: male, 30-65, the father of faith for good reason. He is unwavering in his trust and belief in God, and is willing to do whatever it takes to please Him, even if it means sacrificing his son. It doesn’t mean that it won’t be the hardest thing he’s ever done in his life. After all, Isaac was the son God gave to Abraham that was sure to be the start of descendants as numerous as the stars. Losing Isaac would be losing everything to Abraham, but for God, it would be a loss he would willingly accept. The Angel: female, 18+, the angel has been sent by God to tell Abraham that he does not need to sacrifice his son. She feels the weight of the situation and is sympathetic towards Abraham, but even more so, Isaac. After the sacrifice she desperately wants to help him, and steer him towards the love of his father on earth and Father in heaven. She does so with a mother-like gentleness and an other-worldly holy presence.

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

• Auditions will be held virtually over

Zoom, dates TBA.

• Pays $20 stipend.

backstage.com

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

• For consideration, make sure your reel

is accessible on your Backstage account. Applicants without reels will not be reviewed.

• Pays $250/day, meals provided with

transportation reimbursed. Production states: “Set will be following all COVID19 precaution protocols as determined

by Dodge College of Film and Media Arts which permits a COVID compliance officer on set, multiple production zones, and COVID testing provided for all cast and crew before shoots.”

‘Red Velvet’

• Casting “Red Velvet,” a Chapman

University graduate thesis film by Danielle Gibson about the duality of being Afro-Latina.

• Company: Chapman University Dodge

College. Staff: Danielle Gibson, writer-dir.

Music Videos

• Shoots any weekends from January-

‘Dr. Norm’

male, 16-55, a model or actor who can pull off a “Hollywood” look, for cinematic photos. Female Model (Free Photos): female, 14-45, a model or actor who can pull off a “Hollywood” look, for cinematic photos.

• Casting a music video shoot for an

acclaimed jazz musician.

• Company: Independent. Staff: Ben

Kadie, dir.; Reef Oldberg, prod.

• Shoots Feb. 8 in L.A. Exaction location

is TBD; will be Covid-compliant.

• Seeking—Sir Richard Leighton: male,

50+, White / European Descent, this serious method actor has been playing the same character for the past 30 years: a fun-loving smooth jazz Saxophonist named David Oz. When his job is threatened, Sir Richard questions his own identity and reason for living outside of the famous role.

Alex from Corporate: all genders, 30-50, all ethnicities, a callous corporate shark intent on selling smooth jazz records for as much profit as possible. Alex clashes with Sir Richard and considers firing the actor all together.

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

• For consideration, submit headshot and

reel.

• For more info, visit www.web.benkadie.

com.

• Submit a video of you reading the

sides. Callbacks will be live over Zoom.

• Travel, lodging and meals included.

The producer plans to apply for a SAGAFTRA New Media Agreement.

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

• Note: If you have specific shoots you’ve

wanted someone to take of you, feel free to say so. I’d love to shoot the sort of photos you may have been looking for.

• No pay, will receive photos as

compensation.

Northern California Feature Films dramedy about two misanthropic best friends who drive from the Bay Area to LA for a party for a college classmate.

• Casting a music video following a man

performing on a small karaoke stage.

He’s performing for himself, and the rest of the world disappears. He has an out of body experience.

• Company: Boogie Bot Films. Staff:

Thomas Gavin Murray, DP; Spooky Mansion, artist.

• Shoots early February, most likely the 6

in L.A. Note: In studio and Covid precautions taken.

• Seeking—Kirk: male, 34-68, White /

European Descent, Kirk, in a suit, gets into a groove. Begins to feel the music, it energizes him and he lifts off his feet.

• Video submissions encouraged.

redvelvetfilmproduction@gmail.com.

edu.

Spooky Mansion ‘The Fight’

• Seeking—Aviva Ardor: female, 20-27,

• Seeking submissions from CA. • Send submissions to

• Seeking submissions from CA. • Send submissions to dsheahan@usc.

‘Max And Sadie’

• Tentative shoot Feb. 19-21 and Feb.

Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, 20s, Female, Afro Latina/ Racially ambiguous. The main character who is confident but frustrated at being put in boxes. She ultimately finds that her self worth must be self sustained. Must be comfortable with /willing to learn a bit of blues dancing. There is a brief intimacy scene, nudity is negotiable to be what you are most comfortable with.

• Seeking—Male Model (Free Photos):

• Pays $150/day flat.

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

26-28 in Los Angeles, CA.

April in Sacramento, CA.

gmail.com.

Looking for someone acrobatic, who can dance. Backflips encouraged.

• Pays $300/day.

Print & Digital Modeling USC Film School Test Photos (Sacramento Area Shoot) • Seeking models for cinematic style

photoshoots. Photographer states: “I’m a USC film school grad student, and during coronavirus we’re conducting classes virtually so I’m up in Sacramento. For my main assignment this semester I’m supposed to hold multiple photoshoots with emphasis on Visual Structure, Light, Color, Tone, and Rythm, so I’m seeking models/actors to shoot with. The photos will be shown at USC and on my website.”

• Company: USC. Staff: Daniel Sheahan,

USC MFA candidate.

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• Casting “Max And Sadie,” a road-trip

• Company: Cesar Abella. Staff: Cesar

Abella, writer-dir.; Daniel Abella, prod.; Gabriel Lage, DP; Karen Ver Trinidad, editor; Craig Vincent, sound mixer; Jason Mai, asst. dir.-camera operator; Brianna Andrews, script supervisor; Camille Wilson, post-production supervisor; Alexander Flores de la O, colorist; Vivian Tam, post-production asst.; Kiren Wilson, production asst.; Edgar Doumeric, post-production sound; Rachel Saldivar, post-production sound.

• Rehearsals will take over Zoom accord-

ing to actress’ availability; shoots socially-distant Feb. 20-21 in Oakland, CA. • Seeking—Liz: female, 30-40, White /

European Descent, a college classmate of the leads, who is droll, wry, sophisticated, and a bit snotty; very into New Age mysticism and literature.

• Seeking submissions from CA. • Send submissions to cesar.abella@

excelsiorfilms.org.

• Include a headshot and reel in your

submission.

• Pays $300 daily for two days.

National/ Regional Plays ‘#SLACabaret’

• Seeking Equity video submissions from

a diverse ensemble of actors, singers, and dancers/movers 18+ for a world

01.26.21 BACKSTAGE

casting National/Regional premiere cabaret style musical. Roles are open to all genders, races, ethnicities, and body types. Actors will be asked to play multiple roles. Actors with disabilities are strongly encouraged to audition.

• Company: Salt Lake Acting Company.

Staff: Martine Kei Green-Rogers, Aaron Swenson, and Amy Wolk, playwrights; Cynthia Fleming, dir.; Cassie StokesWylie, literary mgr.; Latoya Camerson, EDI Dramaturg.

• Rehearsals begin May 31, 2021. If it is

safe to rehearse in person rehearsals will be held Mon.-Fri. 5-10 p.m., Sat. 10 a.m.-6:30 p.m. If it is not safe to do so we will explore virtual options. Performs July 14-Aug. 15, 2021 with shows Weds.Sat. at 7:30 p.m. and Sun. at 1 p.m. and 6 p.m. Live performance options with limited audience numbers are TBD. We hope to film the performance to share with audiences as well. Add’l Perfs: Aug. 3 at 7:30 p.m. and Aug. 14 at 2 p.m.

Note: Covid-19 precautions as mandated by Equity will govern rehearsals and performance.

• Seeking—Equity Actors, Singers, and

Dancers/Movers: all genders, 18+, all ethnicities.

• Seeking submissions from UT. • For consideration, prepare 30-45 sec-

onds of a song that best showcases your voice, tell a story no longer than 30 seconds that has a beginning, a middle, and an end, and prepare 30-45 seconds of dance or movement to music of your choice. All auditions should be YouTube video submissions emailed to cassie@saltlakeactingcompany. Submissions deadline is Feb. 1 by 10 a.m. MST. For questions and to request audition accommodations, contact Salt Lake Acting Company at (801) 363-7522 between 11 a.m. and 5 p.m. MST.

• Salt Lake Acting Company stands in sol-

idarity with Black Lives Matter and those who demand justice and equality for our Black communities. We acknowledge that we must to do better as a theater company and a society to combat the horrific injustices endured by these communities throughout our history.

• Equity’s contracts prohibit discrimina-

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

• Pays $508/wk. Equity SPT 6 Contract.

‘Surely Goodness and Mercy’ • Casting “Surely Goodness and Mercy.”

Synopsis: This story follows an odd, but bright little boy named Tino who befriends Bernadette, the lunch lady at his school. Through quick conversations, a few moments of grace, and the help of their sassy friend Deja, both Tino and Bernadette learn about the strength hiding within themselves and what it means to truly care for another.

• Company: Passage Theatre. Staff:

Ryanne Domingues, artistic dir.; marcus d. harvey, dir.

BACKSTAGE 01.26.21

• All rehearsals and performances will be

• Company: Weathervane Theatre

held online or at Trenton Central High School in Trenton, NJ with proper COVID procedures in place. Online, Zoom Rehearsals and Recording run from Mar. 8-12. In-Person rehearsals and recording on Mar. 13th only.

Opening night video followed by “live” Zoom talkback with actors on Mar. 19.

Video available to view online from Mar. 19-23.

Players, Inc. Staff: Ethan Paulini, Producing artistic dir.; Robert Fowler, assoc. artistic dir.; Marisa Kirby, choreo.-company member.

• Rehearsals begin June 14; runs June

26-Oct. 10 in Whitefield, NH.

• Seeking—Equity Actors: all genders,

18+.

• Seeking submissions from NH. • For consideration, submit unlisted

YouTube or Vimeo link to info@weathervanenh.org. Submissions deadline is Jan. 31 at 5 p.m1. Virtual Callbacks will take place via Zoom Feb. 16-17, 2021.

Submit three brief selections that demonstrate versatility and how you might see yourself fitting into the 2021 season. While a monologue is not required, it is highly recommended.

• Seeking—Tino: male, 10-15, Black /

African Descent, an oddball who gets picked on a lot at school. He’s brilliant but diffident, so accustomed to being beat down or “put in his place” that he doesn’t know how to engage people if it’s not awkwardly. Teacher/Alneesa: female, 30-45, Black / African Descent, Teacher: Voiceover. More important for her to seem right than be right.

Alneesa: Tino’s aunt. Real wry sense of humor that often borders on cruelty.

She’s justifiably resentful over having to take care of a kid that she didn’t ask for.

Deja: female, 10-15, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, a bit of a bulldozer and a little rough around the edges-- like even her love can be abrasive-- but she’s ride-or-die loyal.

Bernadette: female, 56-77, Black / African Descent, no-nonsense. No edit button either. Done with these kids.

Except for Tino. He’s alright. Principal/ Preacher: male, 40-69, Preacher: Voiceover. Sincere, urgent, full of fire.

Principal: Voiceover. Probably started this job as an idealist, but is now just trying to get through the day without throwing a kid out the window.

• Pay TBD (minimum pending - $505/

week in 2019.) Equity LOA ref. LORT Agreement.

Musicals ‘Camelot,’ Equity Video Submissions

• Casting Equity actors for “Camelot.”

• Company: Asolo Theatre Company.

Staff: Alan Jay Lerner, book-lyrics; Frederick Loewe, music; David Lee, book adapted by; Celine Rosenthal, dir.; Steve Orich, musical dir.; Felicia Rudolph CSA, Casting Director and Celine Rosenthal, Associate Artistic Director.

passagetheatre.org.

• For consideration, record a 2-minute

contemporary, dramatic monologue and either attach it to your email or send it as a link. Also attach your headshot and resume to the email. Email submissions to casting@passagetheatre.org with “Surely Goodness Audition” in the subject line.

Submissions deadline is Jan. 29.

Notification of callback will be sent by Feb. 5. Online callbacks will be held Feb. 11 & Feb. 13.

• Pays $364/wk. plus health, pension,

and transportation. Equity SPT 3 Contract.

Weathervane Theatre Season • Casting versatile Equity actors, singers

and dancers for the Weathervane Theatre 2021 Season, the 56th Season of the Weathervane Theatre. This is a ten show Alternating Repertory Schedule. All Equity Actors will perform in three-seven productions. Length of contracts will vary based on package.

We assemble a resident company of actors. Productions include: : “Hello Dolly!” (Ethan Paulini, dir. Marisa Kirby, choreo.), “Buyer And Cellar” (Nathaniel Claridad, dir.), “Kinky Boots” (Kevin Smith Kirkwood, dir.-choreo.), “Amadeus” (Ethan Paulini, dir.), “Disaster!”, “The Addams Family” (Taryn Herman, dir.-choreo.), “Pippin” (Ethan Paulini, dir.-choreo.), “The Mountaintop” (Shinnerrie Jackson, dir.), “Fully Committed,” and “She Loves Me.”

• Seeking submissions nationwide.

• To submit a video audition: All AEA

members may visit https://asolorep. wufoo.com/forms/zzgnop00pg8n9k/ and fill out the online form through Jan. 29, 2021. Auditioners should prepare either two brief excerpts from contrasting songs in the style of the show, or 16 bars of a song in the style of the show and a one minute contemporary monologue. Auditions should total no more than three minutes in length. More information can be found at http:// www.asolorep.org/auditions. Deadline: Jan. 29, 2021 For the safety of all involved, Equity is offering employers the opportunity to solicit submissions via filmed capture in place of holding live Equity Auditions. Subsequent callback auditions will be also be held virtually. Casting Representatives (will view auditions): Felicia Rudolph CSA, Casting Director and Celine Rosenthal, Associate Artistic Director.

• Pays $717/wk. Equity LORT D Non-Rep

Agreement.

‘Million Dollar Quartet,’ Equity Video Submissions

• Casting Equity actors for “Million Dollar

Quartet.”

• Company: Mill Mountain Theatre. Staff:

• Arrival Feb. 22 to Sarasota; rehearsals

Colin Escott and Floyd Mutrux, book; Ginger Poole, prod. artistic dir.; Payton Moledor, asst. artistic dir.; Seth Davis, resident music dir.

• Seeking—Arthur: 18+, 35-45 years old,

Sun. with two shows on Sat. from July 28-Aug. 22, 2021 in Roanoke, VA.

begin Feb. 25; runs Mar. 17-Apr. 4 in Sarasota, FL.

• Seeking submissions from NJ, NY and PA. • Send submissions to casting@

stowaway whom Arthur knights, in hopes that they will spread the word of chivalry and Camelot; these characters can be male-identifying or gender nonconforming; vocal range variable.

any race/ethnicity, non-disabled or disabled) This character is male identifying; an idealistic, compassionate and generous young King; he tends to be unsure of himself, but serves as a huge inspiration to others and strives to lead based on honor and chivalry; vocal range: Eb4-A2. Guenevere: 18+, (30-40 years old, any race/ethnicity, non-disabled or disabled); this character isfemale-identifying; a spirited intelligent young woman and soon to be queen; she loves Arthur and his ideals, but is suddenly thrown with the arrival of Lancelot; role on offer; vocal range: A5-B3. Lancelot: 18+, 25-40 years old, any race/ethnicity, non-disabled or disabled); this character is male identifying; a valiant, confident French Knight who is very used to excelling at everything; vocal range: B4-A2. Sagramore/ Moredred: 18+, 20-30 years old, white, non-disabled) This actor will double as Sagamore, a knight in service of Arthur, and Mordred, the illegitimate son of Arthur, bound todestroy his kingdom; these characters are male-identifying; vocal range: D4-C3. Dinadan: 18+, 40-50 years old, any race/ethnicity, non-disabled or disabled; this character is male identifying; a knight in service of Arthur; vocal range variable. Lionel/ Squire Dap/Tom: 18+, 18-25 years old, any race/ethnicity, non-disabled or disabled; this actor will play Lionel, a knight in service of Arthur, Squire Dap, the squire to Lancelot, and Tom, ayoung

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• Rehearses July 13-27, 2021; runs Wed.-

• Seeking—Carl Perkins: male, 20-29,

singer/lead guitarist; must be able to accompany themselves on guitar extremely well and be familiar with Carl Perkins’ music; should look and sound like Carl Perkins in his 20s; vocal range: D3 – C6. Johnny Cash: male, 20-29, singer/guitarist; must be able to accompany themselves extremely well on guitar and be familiar with Johnny Cash’s music; should look and sound like Johnny Cash in his 20s; vocal range: D3 – G#5. Jerry Lee Lewis: male, 20-29, singer/pianist; must be fun, energetic, and able to accompany themselves extremely well on the piano; should be familiar with Jerry Lee Lewis’ music; should look and sound like Jerry Lee Lewis in his 20s; vocal range: D4 – C6.

Elvis Presley: male, 20-29, singer/ musician; must be able to play basic guitar and look/sound like Elvis in his 20s; vocal range: A3 – C6. Jay Perkins: male, 20-29, bass player/singer, Carl Perkins’ brother; must be an extremely accomplishedbass player comfortable singing with others. W.S. “Fluke” Holland: male, 18+, drummer who plays onstage with the cast; must be an accomplished drummer with a good stage presence. Sam Phillips: male, 30-39, male, 30s; the founder of Sun Records and “Father of Rock ‘n’ Roll”; a charismaticactor with a strong stage presence. Dyanne:: female, 25-29, mid20s; accomplished vocalist, Elvis’ girlfriend; should be comfortable backstage.com

National/Regional casting

singing solos in an alto range and covering all soprano parts in group numbers; seductive and confident; vocal range: A3-D5.

• Seeking submissions from VA. • Prepare and submit video audition as

follows: Perkins/Lewis/Presley/Cash: one minute self-accompanied on piano or guitar and instrumental reel. Dyanne: one-minute song and one-minute monologue. Jay/Fluke: one-minute instrumental demonstration and instrumental reel. Sam: one-minute monologue. Submissions deadline is Feb. 1.

Submit to auditions@millmountain.org or Ginger Poole, Mill Mountain Theatre, 1 Market Square SE, Roanoake, VA 24011.

• Pays $546/wk. (Tier 7.) Equity SPT

Agreement.

Short Films ‘Flower Boy’

• Casting “Flower Boy,” the story of

Cypress, whose mother dies in a car crash before he’s 18. Social services leaves him to his Parisian father he’s never met, when he arrives he finds more than just his family.

• Company: DGA Trainee Short Film.

Staff: Dylan Sprayberry, writer-actor; Khylin Rhambo, actor; Daniel Catton, writer-dir.; Jilani Ghafur, prod.

• Shoots Feb. 5-13 in Paris, France.

• Seeking—Jean: male, 40-55, Black /

African Descent, Ethnically Ambiguous / Multiracial, tall, stout, rough around the edges but is still an artist with a warm heart; Cypress’ estranged father.

He’s trying his hardest to be as caring and respectful of Cypress. Jean is an oil painter getting by selling his paintings to tourists (needs to be able to speak English and French well). Emile: female, 18-25, Ethnically Ambiguous / Multiracial, White / European Descent, beautiful. Cypress’ love interest. She works at the flower shop. Fun. Free spirited. Rebellious. Likes to get in trouble but doesn’t put herself in dangerous situations (needs to speak French and English well). Renee: female, 24-30, all ethnicities, Bastien’s girlfriend. She’s free spirited with all the elegance in the world. She loves to have fun but still remains grounded, caring, and responsible (needs to speak English and French well).

• Seeking submissions from CA and

Île-de-France.

• Send submissions to jmghafur@gmail.

com.

• Pays $100/day with travel and meals

provided. Production will take place in Paris, ideally local hires but LA applicants accepted. Production states: “Highly positioned to be submitted to Cannes. Travel would include round trip flights from LA to Paris. Ideally we’d like actors from Europe to minimize travel expenses however we’re open to LA hires.”

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

backstage.com

‘Home Is Where the Heart Is’

Student Films

• Casting “Home Is Where the Heart Is,”

a student film about an out-of-touch old white man who discovers he has a long-lost black son. Production will be following COVID protocols.

‘Blue Eyes’

• Casting one voiceover role in “Blue

Eyes,” an NYU student short film.

Synopsis: A young man experiencing the loss of his father is now forced to take on his late father’s debt.

• Company: Savannah College of Art and

Design. Staff: Sebastian Haid, dir.; Ashur Woods, prod.; Akhil Deva, DP.

• Company: NYU. Staff: Harshith K.,

• Rehearses over Zoom; shoots Mar. 5-7,

coord.

2021 in Atlanta, GA.

• Works remotely (based on talent avail-

• Seeking—Elliot: male, 18-25, White /

ability) via Zoom.

European Descent, a country boy who is scared to leave his hometown while struggling to find his identity and sexuality.

• Seeking—Aunty Veronica: female, 25+,

remote role. Audio will be recorded as a voicemail. Must have access to a mic for clean audio.

• Seeking submissions from GA. • Send submissions to awoods23@stu-

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Submit reel or previous work.

• No pay.

dent.scad.edu.

• Pays $125/day, $62.50/half-day. Meals,

credit, and final cut of film will be provided.

‘Familial Strangers’

‘Lourdes’

• Casting “Familial Strangers,” a student

film. Synopsis: After learning her 94-year-old estranged great-grandmother suffers from a rare spinal stroke, Dani decides to spend the summer as her live-in nurse. As the two grow closer, Dani learns more about herself, her family, and forgiveness.

Student thesis film with ten people total on set. All crew and cast members will be quarantining before production begins to ensure safety. Casting Mimi: Mimi is a self-sufficient 94-year-old woman who has recently suffered a rare spinal stroke. After always living alone and being independent, she recently lost her ability to walk. During this time, her estranged great-granddaughter moves in to help her navigate her new normal. Mimi must grapple with the loss of her independence and the judgment she feels towards Dani and her mother as she comes to peace with declining health. Looking for 70+ Pittsburgh based actress. Looking to cast by Feb. 15, 2021.

• Casting “Lourdes.” Synopsis: During

the buzzing dinner rush at a lavish restaurant, tensions between a young undocumented kitchen worker, her fellow back-of-house employees, and their avaravious employer are brought to a boiling point by the unannounced arrival of the restaurant investor.

• Company: UT Austin. Staff: Diana Silva,

prod.

• Rehearses TBD date; shoots Feb. 26-28

in Austin, TX.

• Seeking—Lourdes: female, 18-35,

Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, a vibrant, determined undocumented young woman whose patience has grown thin with the mistreatment she endures at her job at a luxurious restaurant. After realizing she can no longer stay quiet about the shortcomings in her paycheck, she decides to take action against the restaurant owner and unjust working conditions in hopes of recuperating their lost pay and stand up for herself and her fellow employees at long last. Daniel: male, 18-35, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, a quick-witted undocumented young man at his restaurant job and is overwhelmed by his well-meaning but hotheaded coworker and friend Lourdes.

He tries to dissuade Lourdes from speaking up out of fear of retribution by the owner.

• Staff: Rachael Weinberg, dir.-prod.;

Ciara Naughton, prod.; Diego A. Medina, prod.

• Shoots Mar. 29-21 in Pittsburgh, PA. • Seeking—Mimi: female, 70-90, White /

European Descent, a self-sufficient 94-year-old woman who has recently suffered a rare spinal stroke; after always living alone and being independent, she recently lost her ability to walk; during this time, her estranged great-granddaughter moves in to help her navigate her new normal; Mimi must grapple with the loss of her independence and the judgment she feels towards Dani and her mother as she comes to peace with declining health.

• Seeking submissions from TX. • Send submissions to diana.silva729@

gmail.com.

• For consideration, include a headshot

and video with your submission. Video reel is encouraged, but not necessary.

• Seeking submissions from PA. • Send submissions to cnaughton@

• Pays $40/day, Covid testing, and meals

included. Transportation refunded (within 100 miles of Austin, Tx).

ithaca.edu.

• For consideration, introduce yourself

‘Masking’

and the role you are auditioning for in a video audition. Context for the sides: Here, Mimi is sharing her memories with Dani. This is a real moment of bonding and connection between the two after what has been a rough couple of days with them both feeling frustrated at the situation. Mimi reflects on the life she had and reminisces on where all the time has gone.

• Casting “Masking,” a student film.

Synopsis: Afia is a high school senior excited about prom, dress shopping, and experiencing her first American dance. Meanwhile, her father, Charles, is equally excited about the culmination of Ramadan and the traditional festivities that he and Afia have enjoyed for many years. Unfortunately, both of these celebrations occur on the same

• Pays $50/day for a three day shoot.

37

night. Charles loves his daughter and is conflicted about letting Afia go to the dance if it means neglecting her Islamic faith. Afia is completely infatuated with the idea of going to the prom with her best friend Kyndal and is not even aware that her father has not blessed her decision to go to the dance. The will of a teenager and the love of a father collide in this story of clashing cultures and their preservation of trust.

• Company: Columbia College Chicago.

Staff: Amaris Hayes, dir.; Ashanti Sharrieff, prod.

• Shoots May 10-22 in Chicago, IL, with

rehearsals in the weeks leading up to shoot.

• Seeking—Afia: female, 15-25, Black /

African Descent, Middle Eastern, a young Muslim woman coming into her own. She wants to go to prom with her best friend, Kyndal, and celebrate the end of her senior year, but she is caught between her family traditions and those of the world she lives in. Charles: male, 40-60, Black / African Descent, Middle Eastern, a loving father whose ultimate fear is losing his daughter who will soon be off to college. He’s a rather traditional, devout Muslim who wishes to see his daughter stick to the ways of how she was raised. Kyndal: female, 15-25, all ethnicities, a fiery teenager. Afia’s best friend, who sometimes gets her into trouble. She is a supportive and understanding young woman who does what she can to make Afia feel comfortable, and most of all, she’s very excited for her prom night.

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

• Meals and copy of final film will be pro-

vided. SAG-AFTRA actors will be offered a union-authorized waiver regarding salary and/or time requirements.

‘Odd One’

• Casting “Odd One,” in which a lone ten-

year-old with presumably dead parents wanders around town until a stranger starts asking questions.

• Company: The University of Tampa.

Staff: Malak Krayem, writer-dir.

• Shoots TBD in the Tampa, FL area.

• Seeking—Jesse: all genders, 10-15, an

entitled ten-year-old whose smart mouth makes you second guess his age when you talk to him, and he just might have just killed his parents; Jesse believes that the world owes him something, and he will ensure that he gets whatever that is; his mannerisms are oddly precocious and he’s a little too independent; flying solo seems to be his norm. Dave: male, 20-39, a 23-year old man who wants to be anywhere but home with girlfriend; he lives in a world where he doesn’t belong, and if he cared, he’d actually do something about it; he’s a college dropout who majored in Entrepreneurship, yet he never came up with his one “thing”; his disheveled appearance screams “I give up,” but he’ll do anything to break out of the routine that is his boring life, even if that means having a conversation with a witty kid. Mom: female, 30-50, mother of Jesse; she scolds Jesse when she finds him after he’d run away from home again; she wears the

01.26.21 BACKSTAGE

casting National/Regional pants in the family. Cashier: all genders, 40-60, sells candy to Jesse; has an unpleasant attitude. Dad: male, 30-50, father of Jesse; sort of a pushover.

Customer: male, 40-65, customer in gas station who’s suspicious of Jesse.

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

gmail.com.

• Contact oddoneshort@gmail.com for

sides, character descriptions, and information to submit.

• May be SAG/AFTRA under student film

agreement. Copy of film/food/credit will be provided..

‘Postal’

• Casting “Postal,” a short student film

about a rural postal worker who grows suspicious that one of the people she delivers mail to is a murderer.

• Company: Princeton University. Staff:

Brooks Eikner, student filmmakerwriter-dir.; Alex Deland, prod.; Adam Hazelton, cinematographer.

• Rehearses and shoots the week of Feb.

14-21 (must be available during the day (8 a.m.-4 p.m.) on some days, at night (5 p.m.-12a.m.) on others).

• Seeking—Dahlia: female, 18-35, Black /

African Descent, a young rural postal worker who listens to a “My Favorite Murder”-esque podcast while she drives her car around delivering the mail. One day, when she finds blood on a letter, she grows suspicious that the person who sent it is a murderer, and she begins to investigate them. Is she on to something, or just too wrapped up in her podcast? Andrea: female, 40-70, White / European Descent, a rural housewife who has been married to an emotionally abusive husband for far too long. She may come across as friendly and a bit shy, but something darker lurks underneath the surface.

• Auditions will be held by appt. Jan. 31 at

Zoom / Skype / Facetime, Princeton, NJ. • Send submissions to jeikner@prince-

ton.edu.

• For consideration, include your avail-

ability in a cover letter. For video submission, record yourself listening/ reacting to a video/podcast of your choosing.

• Pays $75/day, plus travel and meals pro-

vided. Very small crew (masked and distanced) for safety. Must have a driver’s license.

‘Retro Vision’

• Casting “Retro Vision,” a SCAD student

thesis about a mother and her son Charlie who goes visit a sketchy doctor after her boy is diagnosed with myopia in the hopes that he will make her son’s vision return. But the doctor is “useless” and Charlie has to lie to his mother to make her happy.

• Company: SCAD Grad Student Thesis

Film. Staff: Wendy Mu, film prod.

• Shoots Feb. 20 and 21 in or around

Savannah, GA.

• Seeking—Doctor. Li: male, 60-75,

Asian, South Asian / Indian, Southeast Asian / Pacific Islander.

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

BACKSTAGE 01.26.21

• Seeking submissions nationwide.

• Send submissions to wendymu9999@

• Shoots Mar. 6-7 in the Tallahassee, FL

• Transportation and hotel fee will be

male, 35-55, all ethnicities, the incumbent Superintendent Jonstone is an enigma who rarely speaks and seems unconscious of what’s going on around him, as if he’s tapped into a dimension beyond time and space. He’s more of a spirit than a human being.

Note: Video reel is optional. Bill: male, 28-42, White / European Descent, a chameleon who has no real sense of identity. He changes and appropriates personas, always assuming his inclusion in a group, arrogant of his privilege. As a result, Bill struggled with alcoholism until he met the love of his life: Maria. He’s a trust fund baby who wants the respect of a self-made millionaire; he has dreams of capitalizing in politics.Note: Video reel is optional. Maria: female, 25-35, Latino / Hispanic, has an incredibly warm and vivacious aura to the point it can be taken as insincere. Her love for Bill is blurred by the security and complacency he provides her. She’s too smart to be ignorant of his bogusness, curbing any genuine connection or need for him. Maria wants a sincere.Note: Video Reel is optional. Pablo: male, 20-30, Latino / Hispanic, Note: Video reel is optional.

School Board President: female, 65+, all ethnicities. The School Board: all genders, 65+, all ethnicities.

Townsperson/Protestor: 18+, some may have speaking roles or will receive a supporting role.Note: Video reel is optional. Schoolchildren: 7-17, all ethnicities, some will have speaking roles.

area.

gmail.com.

• Seeking—Superintendent Jonstone:

provided. Meal, beverage, snacks will be provided on set. Film copy will be sent when we finish the post-production. COVID-19 test fee and protection will be provided in advanced.

‘Someplace Warm’

• Casting “Someplace Warm.” Synopsis:

In the middle of a pandemic, a young Asian woman reconnects with her college best friends and goes with them on a trip to a lake house, where all resentments, desires and secrets come out in the open.

• Company: DePaul University. Staff:

James Choi, exec. prod.; Jewells Santos and Jake Rotger, prods; Linh Tran, dir.

• Shoots mid-Mar.-early Apr. • Seeking—Amy: female, 24-27, Asian,

25. Amy goes to graduate school for optometry on the West Coast, where it is warm most of the time. Amy was heavy her entire life, but has recently lost 40 pounds and become aware of her own attractiveness. Amy is melancholy. She seems amiable, nice, and easy-going on the outside, but on the inside she is narcissistic and competitive. Her friendship with Kim has been complicated by the fact that Kim is now dating Jay, the boy she was in love with in college, when she was still heavy. Kim: female, 24-27, Asian, 25.

Kim works as a freelance model in Chicago. Kim doesn’t get along with her family, so Amy has always been the one Kim shares with the most. Kim is straightforward and confrontational, and the fact that she is so beautiful makes her too intimidating for most people. But Kim is also loving and supportive and is the most loyal friend you can wish for. She knows Amy the best and loves her for who she is. Kim is in a 1.5 year relationship with Jay, but recently she has been doubting it. Alex: male, 24-28, 26. Alex is Jay’s stepbrother. His family owns the lake house. Alex lives alone and lately has been feeling depressed. He’s desperate for sex and connection. Like Jay, he is oblivious about what people think of him, but Alex is confident and thinks quite highly of himself.

• Seeking submissions from FL. • Send submissions to djf18b@my.fsu.edu.

• Audition sides provided if there isn’t

one attached. Zoom or in-person auditions to be scheduled. Feel free to submit any résumé/reel/past audition video.

• No pay.

Reality TV & Documentary

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

• For consideration submit your head-

Untitled Mental Health Project

shot and resume/reel. Submissions deadline is Feb. 1.

• Casting untitled mental health project.

• Pay provided.

‘The 2nd Inauguration of Superintendent Jonstone’ • Casting “The 2nd Inauguration of

Superintendent Jonstone,” a student short film. Synopsis: A small town holds a school board meeting following reelection of the controversial incumbent. The dystopian school district operates a presumably authoritarian, militaristic rule over the schoolchildren, or at least the few who still go to school.

The townspeople gather to contest the decision, but can even a catastrophe inaugurate true progress?

• Company: FSU Film School. Staff: D.

Feldman, coord.

The Rada Studio is producing a series of short documentary films that examine the mental health needs of American BIPOC. The series POV will be that of individuals who suffer from mental illnesses or their family members. Talent will be asked to define ways in which the treatment community can be more responsive to their needs and the needs of their family.

• Company: Rada Studio. Staff: Joe

Brewster, prod.

• Shoots February remotely.

• Seeking—Person with Mental

Challenge: 18-71, all ethnicities. Family of Person with Mental Challenge: 18-74, mental challenges include developmental disabilities, affective disorders, depression, and anxiety.

38

• Seeking submissions nationwide.

• Send submissions to joe@radastudio.

org.

• For consideration, include a video (1-2

minutes) discussing obstacles that you (or or family members) face obtaining quality mental healthcare.

• No pay.

National Commercials Miracle-Gro Gardening Branded Content

• Seeking beginner and experienced gar-

deners in a branded content shoot for Miracle-Gro Gardening.

• Company: Paladino Casting.

• Shoots at talent’s home for one day

between Feb. 13-19. Talent must be comfortable with having a small crew come to their home for the shoot.

• Seeking—First Time Gardeners: all

genders, 1-80, all ethnicities, All ethnicities & ages. Individuals/families/friends who just started gardening (vegetable/ flower) for the first time or thinking to start gardening. Must be interested in sharing their stories on-camera.

Beginner Gardeners (Started During Quarantine Last Year): all genders, 1-80, all ethnicities, All ethnicities & ages. Individuals/families/friends who started gardening (vegetable/flower) last year during quarantine and are interested in sharing their stories oncamera. Experienced Gardeners (3+ Years): all genders, 1-80, all ethnicities, All ethnicities & ages. Individuals/families/friends who have been gardening (vegetable/flower) for years and created something unique during the quarantine that are interesting in sharing on-camera.

• Seeking submissions nationwide.

• Send submissions to talent@paladino-

casting.com. Remote callbacks Feb. 2 • Pays $3000 for session and usage.

Option to renew: +10% bump up for each additional year. Inclusive of agent fee.

• Usage: Broadcast & online TV - 1 year,

North America only; Social/Digital/ Website - in perpetuity, worldwide paid and unpaid media; Additional social media Asks to be negotiated later if necessary; Conflicts/Exclusivity: None

Local Commercials Steinberg, Workers’ Comp Commercial

• Casting nonspeaking roles for a local

workers’ comp commercial celebrating hardworking Americans across the country.

• Company: Momakes. Staff: Loren

O’Brien, prod.

• Shoots one half-day (four hours) during

the next couple of weeks (late Jan.-early Feb.; date TBD) in Atlanta, GA. • Seeking—Construction Worker: all

backstage.com

National/Regional casting

genders, 31-65, all ethnicities, nonspeaking role. Assembly Line Worker: all genders, 31-65, all ethnicities, nonspeaking role.

• Seeking—Jerry Dandleton: female, 60+,

role. Small crew. Production will comply with COVID restrictions.

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

• For consideration, include a cover let-

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

• Pays $300 buyout for a nonspeaking

Online Commercials & Promos Backstage Branded Social Ad • Casting a paid social ad about

Backstage. This will be a video shoot featuring one user going through the cycle of joining Backstage, applying for auditions, and ultimately filming a selftape audition at home.

• Company: Bamboo. Staff: Jake Fordyce,

content prod.

• Shoots late January or early February

(TBD) in Seattle, WA. Note: Locals only.

• Seeking—Male - Backstage Auditioner:

male, 21-34, all ethnicities, to imitating a “day in the life”; working out, cooking, working from home, and a self tape audition. Personal outfits required for each activity.

• Seeking submissions from WA. • Send submissions to jake@growwith-

bamboo.com.

• Pays $500 for a full day shoot and video

use in perpetuity.

Lake Tahoe Resort Commercial

• Casting a POV resort commercial in

Lake Tahoe. Looking for a real family that can ski or snowboard. Will be filming ski scenes at Heavenly (they are not the client) so familiarity with that resort is a big plus.

• Company: Vive Media. Staff: Will Allen-

all ethnicities, sassy, confident, slightly rebellious, yet kind to her core; completely fluent in all things that are hip and stylish; reminiscent of Baddie Winkle; see https://www.instagram. com/baddiewinkle/.

ter noting your availability and a video with your submission. Be prepared to improvise.

• Pays $400/day (two shoot days), travel

and meals provided.

ShapeWear, Full-Figured Woman (Medium to Extra Large)

• Seeking full figured models to model

medium to extra large shapewear.

Producer states: “We are doing these projects both in studio and remotely, assisted by a director.”

• Company: TubeScience. Staff: Sarah

Furlong, testimonial casting prod.

• Shoots are ongoing for multiple proj-

ects at both in-studio and remote locations.

• Seeking—Full Figured Confident

Women Comfortable in Their Own Skin: female, 18-50, all ethnicities, full figured women who wear a medium to an extra large panty size to model shapewear. This project calls for women who are comfortable in their own skin and able to show their upbeat bubbly personalities.If you are in Los Angeles this could be an in studio shoot. If you are not in Los Angeles, this will be a director assisted remote project.

• Seeking submissions nationwide.

• Send submissions to casting@tube-

science.com.

• For consideration, selected talent must

fill out an airtable and submit a selfie video audition.

• Pays $300 day. Nonunion, all media

buyout.

DuPraw, casting dir.-lead prod.

Teeth Whitening Online Ads

Lake Tahoe. Likely 3-4 shoot days.

ing brand online ads.

• Shoot late February to early March in • Seeking—Real Family: all genders,

12-60, all ethnicities, a real family with multiple kids in their teens (ideally 15-18 y/o). All family members must be able to ski/snowboard competently and be happy in the snow.

• Seeking submissions from CA and NV. • Send submissions to casting@vive-

media.com.

• For consideration, include individual

shots of all family members as well as a couple group shots of everyone together.

Also include everyone’s age, ski/ snowboard experience, familiarity with Heavenly resort, and city of residence.

• Flat rate for the family as a whole, we

are not sure yet how many shoot days we will need so the final rate is not yet set. We are expecting 3-4 days.

‘Retired Cow’ Plant-based Yogurt Ad

• Casting “Retired Cow,” for the lead on

a digital video campaign - comedy ad.

• Staff: Tom Sidi, prod.

• Shoots Feb. 4 and 5 in the Boston, MA

area.

backstage.com

• Seeking real couples for teeth whiten• Company: Narrative Ads. • Works remotely from home.

• Seeking—Couples with White Teeth: all

genders, 25-40, all ethnicities, couples with white teeth to work with a testimonial script for teeth whitening product online ads.

• Seeking submissions nationwide.

• Send submissions to castingteam@nar-

rativeads.com.

• Pays $100 flat.

Audiobooks & Podcasts ‘Maxine Miles’

• Casting “Maxine Miles.” Synopsis: In a

sleepy New England town, Maxine Miles’ humdrum life is shaken up when a fellow teen goes missing. When Maxine starts to sniff around town, she uncovers a dark secret that changes her life forever. A YA audio mystery.

• Company: Atypical Artists. Staff:

Lauren Shippen, writer-dir.-exec. prod.

• Records entirely remotely over ten days

spread out through February and March. Note: Most characters will only be called for one-three days. You must be able to self-engineer.

• Seeking—Maxine Miles: female, 15-25,

female, 15, any ethnicity - spunky and sweet, Max isn’t your typical teen-girl detective; yes, she’s smart; yes, she’s quick on her feet; yes, she’s well-known in her town for sticking her nose where it doesn’t belong; but she’s also deeply hopeful and optimistic about the world; when things go wrong, when darkness starts to creep in, she doesn’t let it blot out her inner sunlight; the only child of “the dullest parents in the world” as she calls them, Max is always looking for adventure; she was the 12 year-old who started a petition for the local library to get a computer, she’s the girl down the street who has started a neighborhood recycling program, she’s the student at the high school who is always in the principal’s office, not because she’s in trouble, but because she wants to make things better; but her pluckiness doesn’t translate to likability - despite her busybody antics, Maxine doesn’t actually have a lot of friends; so when one of the few fellow teenagers who was always kind to her goes missing, Max makes it her mission to get to the bottom of it; non-binary/trans actors comfortable with she/her pronouns are encouraged to audition. Ross Teller: male, 15-25, male, 15, any ethnicity - bookish and cynical, Ross is Maxine’s neighbor; they do not see eye-to-eye. Ross finds Max’s relentless good view of the world exhausting - as the middle child of a family of five who spends all his time reading books well above his age, Ross understands the dark and frustrating aspects of life; but he respects Max’s smarts and is desperately seeking a way to belong in the world, so when Max wants to investigate Riley’s disappearance, he inserts himself in the sleuthing; he may even end up finding hope and purpose along the way; nonbinary/trans actors comfortable with he/ him pronouns are encouraged to audition. Riley Stevens: all genders, 15-25, unspecified ethnicity, outgoing and charming; Riley lives down the street from Max and Ross; one of the most popular kids in school, but doesn’t use that popularity to wield power over other kids; instead of being a bully, Riley is a friend to all; all genders with any pronouns encouraged to audition. Theo Combs: male, 15-25, male, 15, any ethnicity - thoughtful and intelligent, the object of Max’s affection; the Combs’ are family friends of the Miles’, so even though Max and Theo don’t run in the same circles in high school, they’ve spent enough time together for Max to form a debilitating crush on the sensitive, music-inclined Theo; non-binary/trans actors comfortable with he/him pronouns are encouraged to audition.

Jenna Ambrose: female, 15-25, female, 15, any ethnicity - popular and wealthy, an overachiever in every possible way; Max and she don’t get along - having been friends in elementary school, things turned sour the way they often do

39

in middle school; Max will have to get over her differences, however, since Jenna is more tapped into the people of the town and proves more useful than Max would like to admit; non-binary/ trans actors comfortable with she/her pronouns are encouraged to audition.

Alana Honeywell: female, 25-35, any ethnicity; brash and dry-witted, a newcomer to Hastings; after burning out on her high pressured Wall Street job, the chic Ms. Honeywell has come to New Hampshire to take over her great aunt’s inn; ill-equipped for the position and secretive, Ms. Honeywell becomes the object of much speculation in the town; non-binary/trans actors comfortable with she/her pronouns are encouraged to audition. Ransom Archer: male, 25-35, male, 30s, white - an arrogant, entitled daddy’s boy; the Archer family owns half the storefronts in town and Ransom is the heir apparent; with his father fully retired, Ransom is supposed to be taking over operations of the family business, but he can’t seem to stay out of trouble long enough to do so; nonbinary/trans actors comfortable with he/ him pronouns are encouraged to audition. Mr. Beatty: male, 50-70, any ethnicity; reclusive and gruff; the mean old neighbor that every small town has, Mr. Beatty lives between Max and Ross and doesn’t like either of them; however, he may have information that the teens could use; non-binary/trans actors comfortable with he/him pronouns are encouraged to audition.

• Seeking submissions nationwide.

• Apply on Backstage.com • For consideration you must include the

following in your submission cover letter: T​he specs of your personal recording setup including your mic, interface (if used), your DAW, and if you have a pop filter. Submissions without this information will not be considered.

• Though non-union, pays SAG-AFTRA

new media podcast scale and above scale for the two leads.

Stage Staff & Tech ‘Camelot,’ Equity Stage Manager

• Seeking Equity Stage Manager for

“Camelot.”

• Company: Asolo Theatre Company.

Staff: Alan Jay Lerner, book-lyrics; Frederick Loewe, music; David Lee, book adapted by; Celine Rosenthal, dir.; Steve Orich, musical dir.; Felicia Rudolph CSA, casting dir.; Celine Rosenthal, assoc. artistic dir.

• Arrival Feb. 22 to Sarasota; rehearsals

begin Feb. 25; runs Mar. 17-Apr. 4 in Sarasota, FL.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions nationwide.

• For consideration, interested stage

managers may fill out our form and submit their resumes at this link: https:// asolorep.wufoo.com/forms/r1bf6wwd06z3787// Deadline: Jan. 29, 2021.

• Pays $717/wk. Equity LORT D Non-Rep

Agreement.

01.26.21 BACKSTAGE

Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q:

How can you get speaking roles when you’ve only done background work and can only accept union jobs?

—@tanya_cunanan

Our Expert

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

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

BACKSTAGE 01.26.21

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backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; FORCHETTI: COURTESY MELANIE FORCHETTI

Melanie Forchetti is a casting director.

Although it seems impossible, it’s definitely within your reach to get a speaking role—and, in fact, there are many ways to get there.

First off, if you’re booking union gigs as a background actor, you’re at a distinct advantage, since you’ll be able to network with cast and crew. Sure, you’ll spend a lot of time waiting in holding for your moment; but while you’re there, definitely get to know the assistant directors. Make an effort to stand out by being punctual, reliable, and professional, with a sunny disposition. You want to be the one they request when they need someone at the last minute. They hold the keys to giving out small speaking roles should one become available during the shoot, so you’ll want to be at the front of their minds. I can’t tell you how many projects I’ve worked on where background talent landed a speaking role because production loved working with them. Plus, it’s always great to get calls from producers who love the talent we send them. It’s a win-win for you!

Another way to get a speaking role on a union project is to start small. Submit and audition for lower-budget union independent films. The pool of talent submitting will usually be smaller, and you’ll have a better chance of booking a role. Also, if you’re able to work as a local hire in smaller markets, consider submitting for those projects as well. Auditioning for independent films is a great way to get in front of lesser-known casting directors who are always looking for new talent.

Take classes! Make sure you’ve got solid training under your belt so you’re prepared when your opportunity comes. That means making the commitment and pushing yourself with great acting classes. There are plenty available online now, too, so take advantage of any downtime you have to up your game.

Most importantly, be ready when the opportunity comes, whether it’s from production or through casting, because you only get one first impression!

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7/22/13 3:45 PM