Backstage Magazine Digital Issue: April 4, 2021

04.08.21

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Our 2021 International Films Issue: l Sophia

Loren

reflects on her storied, legendary career

l Maria

Bakalova

talks transitioning from European cinema to “Borat”

l Spotlighting

“I’m No Longer Here,” “Moffie,” “La Llorona” + more!

6 Pages OF CASTING NOTICES

The Great, Globe-trotting

Barbara Sukowa’s

Life Onscreen

“Don’t dwell on anything that doesn’t work out…

You will see it very differently later on”

Contents

vol. 62, no. 12 | 04.08.21

Cover Story

Speaking Her Language German screen legend Barbara Sukowa has always charted her own path in an industry that, at one time, was set on boxing her in page 12

The Green Room 4 Asian American actors speak out against hate crimes

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

6 Maria Bakalova talks “Borat” and trusting the process

Advice 9 CRAFT

Making your child actor a worldly one

10 #IGOTCAST

Christian James Pinter

10 CAREER DISPATCH Paving the path

Features 3 BACKSTAGE 5 WITH...

Sophia Loren

8 MEET THE MAKER

Fernando Frías de la Parra, “I’m No Longer Here” writer and director

9 THE ESSENTIALISTS

Jack Sidey, producer and co-writer

11 IN THE ROOM WITH Jayro Bustamante

17 FLYING INTERNATIONAL

Your ticket to the 2021 best international feature Oscar nominees

24 ASK AN EXPERT

Brad Lemack on finding an agent you can trust

Casting 18 New York Tristate 20 California 21 National/Regional Barbara Sukowa photographed by Jay Mawson on March 10 in Liverpool, England. Cover designed by Ian Robinson.

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04.08.21 BACKSTAGE

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BACKSTAGE, vol. 62, no. 12 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Backstage 5 With...

Sophia Loren

By Casey Mink

Her name is synonymous with film royalty, yet Sophia Loren feels the way many actors do about auditioning: horrified.

In fact, the Oscar winner has never booked a job through an audition— though, as we know, that hasn’t stopped her from working for more than seven decades. Her latest, “The Life Ahead,” is another notch in her illustrious career, and a special one: The Netflix feature allowed Loren to both act in her native Neapolitan dialect and work with her son, director Edoardo Ponti.

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

What is one screen performance every actor should see and why? Everything Meryl Streep does, you should watch. I am in awe of her—of her versatility, her emotional range, but also how she infuses every role with such authenticity, heart, and soul. And on top of it all, she makes it all look so easy. Bless her.

I never had the opportunity to go to acting school, but when I see Meryl, I feel she’s my teacher!

It was a role I wanted very badly, but the character had to be a great swimmer. That was a problem because I could not swim for the life of me. But when asked by the casting director and producer if I could swim, I replied, “Like a fish.” When it came time to shoot my first swimming scene, I dove in the water, and instead of swimming like a fish, I sank like a rock. Two PAs had to rescue me. I got lucky. I didn’t drown, and the production was very nice; they didn’t fire me. Instead, they changed the schedule around so I could take swimming lessons. To this day, I am not a very good swimmer.

Do you have an audition horror story you could share with us? Is there any other type? All auditions are horrible. I never got a role I auditioned for. The cameramen would tell me that my face was “unlightable” because my nose was too long and my mouth too large. I never felt I could give the directors what they wanted because the whole process felt so forced and fake. The first big role I got was in “The Gold of Naples” [in 1954], and I didn’t audition for it. I bumped into [director] Vittorio De Sica at the commissary of Cinecittà [Studios], and we hit it off. We were both Neapolitan, we spoke our dialect together, and I made him laugh a lot. At the end of our lunch, he offered me a role in his next film, and the rest is history. I ended up making over 20 films with him, and I never auditioned for him, thank goodness.

How did you first get your SAG-AFTRA card? I believe I got it on that film, “Boy on a Dolphin,” as it was an American production. If not on that film, then it was on “Desire Under the Elms” in 1958 with Anthony Perkins.

What advice would you give your younger self? Believe in yourself. Stop wasting your time trying to be and look like everybody else. What makes you unique is the secret that will help make your dreams come true.

What’s the wildest thing you ever did to get a role? There was a role I was up for in a [1957] film called “Boy on a Dolphin.”

“I was born on the streets of Naples, and that means that I am at my most free when I act in Neapolitan.”

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04.08.21 BACKSTAGE

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

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Industry

Asian American Actors Respond to Anti-Asian Hate Crimes Sandra Oh, Daniel Dae Kim, and others have spoken out

By Diep Tran

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According to Stop AAPI Hate, there were 3,795 incidents of anti-Asian hate crimes that took place between March 2020 and February 2021. Hate crimes against Asians rose 149% in 2020. Meanwhile, those rates fell for many other ethnic groups.

On March 18, actor Daniel Dae Kim testified before the House Judiciary Subcommittee on the Constitution, Civil Rights, and Civil Liberties in a hearing about anti-Asian violence. In his testimony, he advocated in support of the No Hate Bill and the COVID-19 Hate Crimes Act, which have both been introduced in the subcommittee. Both of these bills would

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provide money to organizations that help members of the Asian American and BIPOC community who are living in poverty, and would improve data collection for hate crime reporting.

Said Kim, “What happens right now and over the course of the coming months will send a message for generations to come as to whether we matter, whether the country we call home chooses to erase us or include us, dismiss us or respect us, invisibilize us or see us.”

Asian American performers are also calling the entertainment industry to task for its role in perpetuating stereotypes that dehumanize or erase

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JASON LEUNG/UNSPLASH

ACROSS THE COUNTRY, Asian American actors have reacted to the surge in antiAsian violence around the country with activism.

Last month, Sandra Oh attended a Stop Asian Hate rally in Pittsburgh where she made an impassioned speech, saying, “I will challenge everyone here: If you see something, will you help me?” She continued, “We must understand, as Asian Americans, we just need to reach out our hand to our sisters and brothers and say, ‘Help me,’ and, ‘I am here.’ ” She then encouraged the crowd to chant, “I am proud to be Asian!

I belong here!”

Asian bodies. In a column for the Hollywood Reporter, Ronny Chieng wrote that Hollywood needs to go beyond tokenism when talking about diversity and give Asian Americans more decision-making power.

“What we need is diversity for the sake of authenticity,” he wrote. “We need diversity to more accurately portray society as we know it to be—a multiracial world with three-dimensional characters.”

Some theater artists have expressed the same sentiment, calling out their industry for marginalizing Asian voices.

The Asian American Performers Action Coalition (AAPAC), a group dedicated to advancing BIPOC visibility in theater, said that in the 2018–19 New York City theater season, Asian American actors were cast in only 6.3% of all roles, Asian American playwrights and musical theater writers made up 4.9% of writers produced, and Asian American directors were in charge of only 4.5% of productions.

“In our own industry, we have witnessed this same white supremacist narrative in the form of the exotification, dehumanization, and erasure of Asian men and women on America’s stages,” said AAPAC in a statement. “Words matter.

Representation matters. The perpetuation of hideous and inaccurate stereotypes, only seeing our stories via a white lens, and removing us from the American narrative through exclusion are all directly connected and have their ramifications. They dehumanize us to the point that some believe we are expendable enough to further erase with coldblooded murder.”

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to venture out at night, the daughter leads a constrained life while her father works to provide her with human blood.

The horror-drama from showrunner Andrew Hinderaker has teamed with Candice Alustiza-Lee Casting in New York to search for an ensemble.

Demián Bichir is the only actor currently attached to the pilot, taking on a yet-to-be-announced series regular role. The project is preparing for a late spring start, with production likely beginning in New York this May.

What’s Casting

Production recently started in Hawaii, and shooting will continue through the end of spring.

It’s Reboot Season

“Let the Right One In” Showtime is reviving the vampire craze with its next project, an adaptation of John Ajvide Lindqvist’s 2004 novel and the 2008 Swedish horror film (which itself was adapted into an American film in 2010). The story follows a father who is struggling to provide for his eternally 12-year-old daughter, who was turned into a vampire a decade earlier. Only able

Three familiar titles are getting a new life on TV

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!

JASON LEUNG/UNSPLASH

MARGAUX QUAYLE CANNON

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.

“I Know What You Did Last Summer” Amazon is dipping a toe into the reboot pool for its next series.

Based on the 1997 teen horror film of the same name (and the 1973 Lois Duncan novel) comes the streamer’s “I Know What You Did Last Summer.”

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The show will follow four friends who are responsible for a fatal accident on their graduation night. A year later, after having drifted apart, the group is forced together once again and must face what they did when they are stalked by a killer who knows their secret.

Barden/Schnee is casting the project, which has already added Sebastian Amoruso, Brooke Bloom, Cassie Beck, Bill Heck, Ezekiel Goodman, Madison Iseman, Fiona Rene, Ashley Moore, and Brianne Tju.

FILM

‘I Love Lucy’ Biopic Completes Casting

Get cast!

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

By Casey Mink

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“Fantasy Island” Fox has announced a reboot of the classic 1977 series “Fantasy Island,” about a resort that offers guests a chance to live out their greatest desires for a high fee.

The revived series will once again feature a core cast that welcomes a guest to the island each episode—a place where the new arrivals are strangers to themselves. When they’re faced with the flaws in the desires that brought them to the island, they’re tasked with finding a way to navigate their way through their magical-realist environs. Clint Alexander at Fox Entertainment Casting will be adding actors to the show, which will be co-written and produced by Liz Craft and Sarah Fain. No names have yet been announced. Shooting will begin in Puerto Rico in late April.

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

“BEING THE RICARDOS,” AARON SORkin’s forthcoming feature about “I Love Lucy” stars and real-life couple Lucille Ball and Desi Arnaz, has rounded out its cast. Joining previously announced stars Nicole Kidman and Javier Bardem will be Alia Shawkat and Jake Lacy as the show-within-the-film’s writing partners Madelyn Pugh and Bob Carroll Jr., as well as Tony Hale as the sitcom’s executive producer and head writer, Jess Oppenheimer.

Sorkin is both penning the script and directing the feature for Amazon Studios, which has begun principal photography.

04.08.21 BACKSTAGE

Maria Bakalova

Backstage Live

Trusting the Process

“Borat” breakout—and Oscar nominee—Maria Bakalova talks shop

By Jenna Fanelli

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.

THE YEAR’S “BREAKOUT star” title undeniably goes to Bulgarian actor Maria Bakalova. Her role as Tutar Sagdiyev in Amazon Studios’ hit 2020 comedy “Borat Subsequent Moviefilm” has earned her Oscar, SAG Award, and Golden Globe nods—plus a Critics’ Choice win for best supporting actress, which she admits she is still in disbelief about. Next, she’ll take part in Judd Apatow’s upcoming comedy ensemble piece “The Bubble” alongside stars including Leslie Mann, Karen Gillan, Pedro Pascal, Fred Armisen, David Duchovny, and KeeganMichael Key. In the lead-up to the 2021 Academy Awards, Bakalova jumped on Instagram Live with Backstage to break down her performance in “Borat” and to offer advice to her fellow actors.

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Her theater training was useful while shooting the film.

“My training has always been as a theater actress; in high school, then university, it’s always been theater. And that helped me [in ‘Borat’], because on the stage, you don’t have a second take. Even if you make a mistake, you have to just keep going, because the audience is there, and they’re seeing it. You might change it, you might make it better on the next date, but you have one shot. And [that’s the] same as ‘Borat.’ We don’t have, like: ‘We are gonna have a second take. We’re gonna make this clear. We’re gonna make this work better.’ [It’s] either now or never. You have to catch the moment, [and] you have to go with the flow and be interested in your instincts; because the more I think about it, the more I realize that somehow, our inner voices know better than our brains what is right. We should listen to ourselves.”

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She’s still learning to “trust the process.”

“I have this problem [of trying] to see what is going to happen in the future—how [a film is] going to look at the end, which is not my business. There are some people [behind the camera] that that’s their profession.

So, enjoy the ride. And trust the process; these people know what they’re doing. That’s

THEATER

Is ‘Game of Thrones’ Heading to the Stage?

By Casey Mink

what I told myself, and I’m still repeating it to myself, and I’m still in the process of learning how to do it. It’s easy to say, but it’s kinda hard to do it. Don’t think about the result.”

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

WINTER IS COMING TO BROADWAY— maybe. “Game of Thrones” mastermind George R.R. Martin is said to be developing a live stage version of the book-turned-series for Broadway, London’s West End, and Australia, which is expected to launch in 2023.

The play, from producers Simon Painter and Tim Lawson, will feature a story by Martin, who’s working in tandem with playwright Duncan MacMillan and director Dominic Cooke. Depicting a legendary event in Westeros history, the production will resurrect fan-favorite characters including Ned Stark and Jaime Lannister, among others.

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JOSEPH SINCLAIR

After years of performing in dramas overseas, “Borat” was Bakalova’s first comedy project. “[In Bulgaria], all of my parts [have] been really dramatic, starting from teenage pregnancy, or a teenager with mental illness, or a teenager having a transgressive relationship with her father, or a teenager who is losing her sister in the woods and she has

to find her, or a teenager committing a suicide while she’s pregnant after her boyfriend is breaking up with her. So it’s been a kinda tough road—and now, happy. Having this funny journey [in a comedy has] been different. It’s been challenging.”

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Recent guests include: Hugh Grant, John Boyega, Nicole Byer, Aidy Bryant, & Maya Rudolph

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

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Fernando Frías de la Parra, “I’m No Longer Here” writer + director

By Jose Solís

Yesica Silva and Daniel Garcia in “I’m No Longer Here”

BACKSTAGE 04.08.21

What interests him is adding context and meaning, so the people who watch his films won’t be quick to judge the decisions made by his characters. “Systematic oppression has led to sacrificing the well-being of people,” he says. Instead, he believes it’s important to show how social issues are a “consequence of the interventionism that has affected our countries, leading generations to [become] lost.”

Frías directed every episode of the first season of HBO’s “Los Espookys,” a series that tonally couldn’t be further from “I’m No Longer Here” (now streaming on Netflix). But at their cores, both share the director’s generosity when it comes to the details that make up someone’s identity.

In “Los Espookys,” it’s the horror genre, and in “I’m No Longer Here,” it’s cumbia; both have

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been perceived as less than by the establishments of their respective mediums.

Rather than calling it a subculture, Frías refers to the Mexican cumbia movement as “counterculture.” According to him, “It’s meant to create meaning as a response to how people are living.” Classism in Mexico and Latin America has led to an erasure of local culture. “The aspirational model of upper-class people in Mexico leads them to tend to look down at what is Mexican,” explains Frías. Tropical music like cumbia is seen as entertainment for poor people.

When the film was released in Mexico, some in the upper class criticized its depiction of Monterrey. “ ‘It’s not our Monterrey,’ they said. That shows an inability to really see yourself, to see who you

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COURTESY NETFLIX

ULISES, THE PROTAGONIST of Fernando Frías de la Parra’s “I’m No Longer Here,” might as well be an invisible man. He’s forced to flee his hometown of Monterrey, Mexico, and cross the border to seek survival in New York City. But even there, he’s invisible, an undocumented immigrant who doesn’t speak English and is forced to squat on private property.

The young man’s only escape is through music and dancing.

In Monterrey, he was part of Los Terkos, a gang obsessed with cumbia music as a way of finding meaning in a society filled with poverty, corruption, and alienation. Frías captures lives on the periphery without deferring to sentimentality.

“It’s common to exoticize and romanticize, to only see the violent aspects of people in gangs,” he comments.

really are,” says the filmmaker.

“That’s the inheritance of colonialism: thinking what others have is much better. It’s a disease of collective self-esteem.”

Although nearly all of the cast had never acted before, each member of the ensemble, led

by Daniel Garcia, delivers a sensitive performance. “You need to see your characters with love, affection, and respect,” Frías says.

The filmmaker came to New York City from Mexico City with a scholarship to study film at Columbia University.

Although his overall conditions were vastly different from Ulises’, like his main character, he found himself feeling different. “We come here to find something better, and when you arrive, you might feel that’s not the case,” he admits.

In school, he was surrounded by people accustomed to a different way of storytelling: mechanical, guided by structure rather than by emotion. “I need to connect to passion more than to the coldness of calculated design,” he explains. Though he doesn’t judge those who find comfort in other modes of storytelling, “I become my characters and let them live within me; that’s how I like to write and make my films,” he adds.

Throughout the film, Ulises and his friends try to keep in touch despite geographical and technological barriers. It’s like they’re all putting messages in bottles, waiting to be found. The film’s warm critical reception suggests Frías’ message is arriving on receptive shores.

“People all over the world have opened the bottle, read the message, and sent it back hoping others will find it, too,” he says.

“Perhaps they will each be sending their own bottles.”

CHILD ACTORS: NDAB CREATIVITY/SHUTTERSTOCK.COM; “MOFFIE”: COURTESY IFC FILMS

Meet the Maker

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Spotlighting the people and projects you need to know

Craft

Making Your Child Actor a Worldly One

THE ESSENTIALISTS

JACK SIDEY

producer + co-writer “Moffie,” an IFC Films release hitting theaters April 9, represents a lot of firsts for BAFTA nominee JACK SIDEY as both his feature film screenwriting and producing debut. That it’s a queer-tinged war drama set in 1980s South Africa didn’t exactly make the feat an easy one for the former production coordinator.

By Denise Simon

ASK ANY YOUNG ACTOR what their dream is, and the answer is simple: They want to be in movies. There’s nothing like the magic of filmmaking: traveling around the world to new places, exploring deep, occasionally strange characters, and maybe even getting to meet Steven Spielberg. But how do they get started? In such a fast-paced industry, it can be hard for young actors to find ways to stand out and let their talent shine. Here are four tips to help your child actor land film roles.

Train.

Child actors often wait a long time before landing their dream roles—or any roles at all.

Especially when they’re aging out of the child category, it’s important that they stay sharp in their training to further hone their skills as they age. Acting classes are especially helpful for students who want to work in film. Not only do they provide forums for exposure to other talented performers, but in a tight-knit industry, the people they meet in acting class can become lifelong friends and help them along on their journeys. During the pandemic, virtual classes can be a great way to keep their skills sharp while avoiding isolation.

Watch movies.

We rarely appreciate just how unique filmmaking is as a medium. Nothing allows us to capture subtext in subtle ways like a camera does. Watching movies is a great way for your child to get acquainted with different camera angles and

COURTESY NETFLIX

CHILD ACTORS: NDAB CREATIVITY/SHUTTERSTOCK.COM; “MOFFIE”: COURTESY IFC FILMS

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lighting choices, and to experience great performances that may inspire their work. It is also a great way for them to find examples of the types that they’re well-suited to play.

Make a reel.

Now that your young actor is trained and ready to land those roles, the first thing they need is a demo reel. If they have professionally shot scenes from previous projects, great! If not, they can always film their own with a professional camera and good lighting, or consult a reel-making company, which will often write an original scene and provide the equipment for a professionally shot reel. The important thing is that the reel is up to date. Make sure it showcases who they are now, and they’ll find it much easier to land roles that play to their strengths and demonstrate their range.

Build a résumé.

Remember, getting roles in film isn’t something that happens overnight. It’s important to be patient and start slow.

Indie film is a good place to start, since these projects allow actors some creative freedom and give them a good chance of landing larger roles. Working as a background actor on a larger project is also a valuable experience, since it gives kids the chance to see how a real film set operates and to appreciate the dedication and professionalism required to work.

Getting cast in a film isn’t much different from getting cast in any other medium. It requires time, patience, and

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Want to produce?

Start coordinating.

“Whatever scale of movie you’re working on, you’re always used to the reality that everything is going to go wrong and you’re going to have to rethink every plan that you thought you’d made.

By Casey Mink So, I guess, in that sense, yes, [my experience as a production coordinator did prepare me for this film]. But when the pressure is on you as a producer, rather than being part of a collective as a coordinator, it’s different in that way.”

Reading great screenplays leads to writing them.

“The best way to learn writing is not to read books on writing, but to read great screenplays.

Spending all that time at Working Title, I got a chance to read all of these fantastic writers for years and years. And then, being on the production side, you also

effort, but the experience actors get from working in film can’t be matched. As long as they stick with it, there’s no limit to what a young actor can learn from

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get to see the difference between a screenplay and what you need to do practically—what you actually need to consider in order to make the thing possible. We were making a South African war drama on a very small budget.

You’re constantly thinking, OK, how can we get enough bang for our buck here?”

auditioning for films. Hopefully, they’ll achieve their dreams.

Simon is an acting coach and Backstage Expert.

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Paving the Path

By Lewis Tan

The following Career Dispatch essay was written by Lewis Tan, who stars in Warner Bros.

Pictures’ “Mortal Kombat,” in theaters and on HBO Max April 23.

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Christian James Pinter

By Jalen Michael Networking is just part of the business, which is why CHRISTIAN JAMES PINTER uses Backstage to help him make meaningful connections.

The right impression can create new opportunities. “[In a recent project,] I played a psycho villain.

Initially, my character was written as a side character, but after seeing my audition tape, the director noticed there was a lot more potential…and had some of my scenes rewritten to highlight a more challenging side of the character.”

Reach for the stars.

“I apply for leads, supporting, and commercial and voiceover roles for the most part. Typically, I look for roles that are within my realistic reach, meaning they fit my type [and] brand, and I am able to transport and lodge myself for the duration of the shoot.”

Stay connected through Backstage.

“I have made connections with production companies in the Cleveland, Pittsburgh, and Atlanta areas.

Usually, I make these connections by applying for and booking gigs through Backstage with these companies and networking with them!”

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; PINTER: ROGER HOOVER PHOTOGRAPHY

I AM A SECOND-GENERATION filmmaker. My father, Philip Tan, who is Chinese, started his career as a fight choreographer and stuntman on Tim Burton’s “Batman” for Warner Bros. Pictures after winning the national championship in martial arts. He went on to collaborate with many legendary directors, including Steven Spielberg and Christopher Nolan, among others. When I was in my teens, I shared my desire to become an actor with my father. He sat me down and gave me the cold, hard truth: As an Asian actor, I would be part of a group that represented less than 1% of working actors at the time. It has now increased to a massive 2%.

For years, I trained in martial arts and theater, performing works by classic American playwrights that I would never get the chance to play onscreen.

In my free time, I competed in martial arts, learning choreography, stunts, and other physical skills. Flash-forward a few years, and I’ve gotten a few small roles in television and film under my belt, along with an array of different martial arts skills and a few short films I wrote, directed, and edited.

But I remember starting to feel the effects of the Hollywood climate at the time.

I remember going into rooms full of Asian actors that looked completely different—from body size to age to experience level—all competing for the same role because, well, Asian is Asian, right? I also remember reading for a role that was clearly written for a white actor, but because of whatever

#IGOTCAST.

RAQUEL APARICIO

Career Dispatch

diversity clause was slowly creeping into effect, I was now there, too.

I took a guest role on a television series after losing out on the lead role yet again. I knew I’d lost the role because of my race. I knew people couldn’t see me in a leading role because that was just too uncommon, and it would take all the stars aligning for that moment to occur. Little did I know, I was aligning them myself.

After reluctantly taking the part and giving it my all, this small role gained critical acclaim—and the attention of a showrunner, who offered me a series regular part based on what he’d seen.

Still, the leading hero roles in major Hollywood studio films continued to elude me—until now. I read for one of the biggest Hollywood blockbusters of the year, put in months of work and callbacks to get to the contract level, and moments before I boarded a flight to Japan, I got the call that I’d lost the job. I decided after some meditation in the forest of Hakone, Japan, that I would not only recover from this, but I would accomplish even more than I had planned before.

Three weeks later, I booked the lead role in Warner Bros.

Pictures’ reboot of the beloved franchise “Mortal Kombat.”

Completing the circle of how my father started, and using all the skills I’ve learned along the way in drama and in martial arts, I’m hoping this will pave a new path for Asian American actors, who are rarely seen as heroes or leads.

My father was one of those kids. I was, too. And if you are one of them, I say this: Keep going. The night is darkest before the dawn, and the sunrise—no matter how beaten up you are when you are watching it—is beautiful.

culture +

Spotlighting the people and projects you need to know

In the Room With

Jayro Bustamante

How the Guatemalan director took on casting duties for his horror-tinged interpretation of a folk tale

By Elyse Roth

What did your casting process look like? Throughout my career, I have been casting “real people” rather than film actors, since there are very few in Guatemala. After [casting], I proceed to [do] a long training period with them as a school of actors. It was in that group of actors that I had formed throughout our work that I chose those who would embody the characters in this film.

This was with the exception of Margarita Kenéfic and Julio Diaz, great theater actors with whom I worked for the first time, and ones who also trained to work in film.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; PINTER: ROGER HOOVER PHOTOGRAPHY

SINCE A FILM DIRECTOR HAS ENOUGH TO DO ALREADY WHEN bringing a movie to life, casting in the U.S. is typically delegated to a casting director. But Guatemala’s “La Llorona” director Jayro Bustamante likes to take on casting duties himself. The critically acclaimed, Golden Globe–nominated and Oscar-shortlisted “La Llorona” is a horror interpretation of the titular Venezuelan folk tale.

In Bustamante’s story, a brutal former Guatemalan dictator now lives with his wife, daughter, and granddaughter. When their household staff of indigenous women quits, the housekeeper hires a village woman, Alma, as a maid. While trapped in their house due to unrest in the country, her presence wreaks havoc on the family. The cast features mostly first-time and amateur actors in a story that combines reality, sociopolitical commentary, and fantasy. The process presented singular challenges that Bustamante was more than game to take on.

Why did you want to make “La Llorona”? Since I decided to dedicate myself to the cinema, I was committed to making films that had social impact and significance. Talking

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kinds—journalistic, artistic, documentary, police, army—on the facts of the war. That was not a problem. Additionally, folklore is not something new for any of our actors, so it was a natural process.

about the recent history of my country and the wounds left by the war, which is unknown to almost everyone, was necessary. I was aware that Guatemalans do not want to

address the issue of genocide, because it is a painful topic and because they want to deny the suffering of the native populace. Putting those two subjects together, it seemed to me that “La Llorona” could be the perfect metaphor to talk about my country and to touch on a subject that everyone avoids.

What kind of research went into the filmmaking and casting process? We are lucky in the country to have a lot of documentation of all

Want more?

Read the full interview at backstage.com/magazine

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Where do you typically search for the people who appear in your films? When we undertake a talent search, we try to do it at a national level. The number of people who have theatrical gifts and who want to participate is impressive. In Guatemala, the only agency representing actors that exists is mine, which is part of my production house; and we represent the actors that we have found, so we have to look all over the country for those who can become not only actors, but icons.

What advice do you have for aspiring actors? I think that in the case of a country like mine, where actors are sought among people who do not necessarily have great careers already underway, the best thing to do during the casting process is to be as honest as possible, to show themselves so that we can identify the talent they have within.

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Speaking Her Language

German screen legend Barbara Sukowa has always charted her own path in an industry that, at one time, was set on boxing her in

By Benjamin Lindsay - Photographed by Jay Mawson

FOR THE BETTER PART OF 50 YEARS AND more than 60 screen credits, Barbara Sukowa has been one of German cinema’s most transfixing stars. She cut her teeth on the Berlin stage playing famed Shakespearean women like Helena in “A Midsummer Night’s Dream,” Rosalind in “As You Like It,” and Desdemona in “Othello.” But it was in collaborations with filmmakers Rainer Werner Fassbinder (1980’s organized crime miniseries “Berlin Alexanderplatz” and 1981’s “Lola”) and Margarethe von Trotta (with whom she’s worked seven times, beginning with 1981’s “Marianne & Juliane”) that she established herself as a fearless performer with formidable grit. The fact that she was strikingly beautiful became secondary to the strongwilled women she embodied onscreen, and she cemented herself as a true-blue European screen legend. Since moving to Brooklyn in 1991, she’s also built a résumé of Englishlanguage credits, from “M. Butterfly” in 1993 to the 2015 Syfy series “12 Monkeys.”

Sukowa is the recipient of many German film awards, plus accolades for best actress at the Cannes Film Festival, the Venice International Film Festival, and the Montreal World Film Festival, and is a three-time winner of the prestigious Bavarian Film Award.

She again enters the awards race this year with “Deux” (released in the United States

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as “Two of Us”). From co-writer and director Filippo Meneghetti, the French feature follows an elderly lesbian couple, Nina (Sukowa) and Madeleine (Martine Chevallier), whose plans to spend their golden years together in Rome are halted when Madeleine’s health takes a tragic turn. The feature was nominated for best foreign language film at the Golden Globe Awards; was shortlisted as France’s official selection for best international feature at the Academy Awards; and, at the country’s native Lumières, took home prizes for best first film and best actress for both Sukowa and Chevallier.

Speaking with Backstage over video call from Liverpool, England, fresh off a mandated quarantine prior to filming Mary Harron’s “Dali Land” with Ben Kingsley, Sukowa discusses the significance of showcasing two women in love at her 71 years of age; shares how she creates a performance, whether in German, French, or English; and explains why, since her early days onscreen, she has been turning down everything from femmes fatales to SS officers in order to chart her own path in the performing arts.

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How did you come to play Nina in “Deux,” and what made you want to sign on?

I read the script, and I thought it was very well-written, and I thought I had not seen two gay older women onscreen. I thought that was interesting, because I have seen sort of attractive, young, beautiful actresses in these lesbian relations, but I had never seen older women. And then I heard that it was a young director, and I thought, That’s interesting: a male, young view on two gay older women. And so I agreed to meet [Meneghetti], and when I met him, I felt he was very, very invested and very passionate about the project and had really tried to get a deep understanding of these two women.

Were you familiar, as colleagues, with Martine Chevallier before starring with her in this film, or did you meet for this project?

No, we met for this project. But we’re the same age, and I also started out in the theater and love the theater, and so we had points of communication, definitely.

To speak more to those points of communication, the central relationship between Nina and Madeleine is so important. How did you go about building that chemistry and trust with each other?

Oy, I think that’s just acting! We knew we wouldn’t have rehearsals, so Filippo invited us to a dinner; he did a dinner in Paris at which Martine and I met, and we knew, in

order to establish this relationship, we just had to be very open with each other. And we sort of started talking about our lives during this dinner—about our love lives, of course, mainly—which is not something you usually do with a stranger. But I remember I did a film years ago [“M. Butterfly”] where Jeremy Irons and I were a couple, and we also had, the next day, to be in bed and talk to each other. So it happened—the same thing; although we didn’t know each other, we had to open up during this dinner about a lot of things that you normally don’t do with a stranger just to get a feel for each other.

The interesting thing is—which I only realized during the shooting—is that you know something about Martine’s character, Madeleine. You don’t know much about Nina.

You don’t know: Was she always gay? How had she changed in her life? She was a tour guide, but was it really her learned profession?

Did she always live in Berlin, or she lived in Rome? You know very little about her.

I’m glad you mentioned that. You get some little pieces about her, but did you flesh out a backstory that we don’t see? How do you typically build a character?

I do imagine things for myself, but I don’t tell them on set. It depends. When I play a historical character—Hannah Arendt [in 2012’s “Hannah Arendt”] or Rosa Luxemburg [in 1986’s “Rosa Luxemburg”]—I do a lot of research on the character and try to find out

what this person really was. Anything I can find out: private letters, what other people have said about this person.

In a fictional character, that’s not the case, so a lot happens when I am on set and I see my partner. The relation and even the character of my character sort of unfolds in the connection with my acting partner, so my acting partner is always extremely important to me. That’s why I’m not good at auditioning—things that you have to do alone, you know? I really need the eyes of the other person; it’s my greatest joy to work with a great actor.

Looking ahead, you’re filming “Dali Land,” and you’ve otherwise stayed working for years and years. How do you find ways to keep it fresh and to challenge yourself as an actor?

It’s funny, I haven’t done as many movies as people think. I had three children, and when I moved from Germany to America, I didn’t work for long stretches, because in America, I had this accent. Now, there are many more people that have accents, but at the time, that was a real challenge to have this accent; and I didn’t want to play just Nazis. It was difficult to continue a career in Germany while living in New York, and so I didn’t do as many films as people think. When I did something, I chose something that I found interesting enough to leave my three kids for. It had to have a meaning for myself. So that helps.

I instinctively knew that all beauty, sexy things—that’s a time frame that you have, you know? That’s a short time. And if you don’t develop character roles, it’s hard to transition.

And, yeah, I think every situation, every film, is just so different. You play with different actors, you have [a] different crew, a different director; and if you are attentive and open and observant, it’s always a new, fresh thing.

You moved to Brooklyn in 1991. Did you actually find yourself turning down Nazi roles?

Yeah, I do remember when I was in America before, in the ’80s, I think when “Lola” came out here, there was a question for me to stay in America. I came here to promote the BACKSTAGE 04.08.21

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movie, and then a couple of times, there were some SS roles, or they wanted to make miniseries about the SS. I thought, If I stay here, I’m probably gonna always play these kinds of roles. And so I went back.

“Lola” was your big break. In terms of pigeonholing, did you receive a lot of femme fatale offers after that? How did you push back against those expectations?

All the time. [Laughs] But I turned down most of it. I instinctively knew that all beauty, sexy things—that’s a time frame that you have, you know? That’s a short time. And if you don’t develop character roles, it’s hard to transition.

I think it’s probably even psychologically hard, as a woman. So I very early on played roles that were older than I, or that were not the “attractive” roles, per se. That was a good choice, I think. I also was very lucky that I met Margarethe von Trotta, and that I did—in America, they call it “Marianne & Juliane,” that film. And then “Rosa Luxemburg.” I had a director who was interested in women that were more than—that were not defined by their beauty or their sexiness, that were defined by their mind or their strength.

What’s the wildest thing you’ve ever done for a role?

Well, I’ll tell you something: When I did it, I wasn’t even aware that this was quite extreme. It was in “Berlin Alexanderplatz,” the [1980 Rainer Werner] Fassbinder series.

I was supposed to be dead, a decomposing body. So they put makeup on me for hours and hours and hours to decompose me. Then I was put in a suitcase, then worms were put on me—real worms. Then they closed the suitcase, I was put in a ditch, and they put earth on the suitcase. That was all real. And then [there] was the inspector who was supposed to discover me, and they took the earth off and they opened the suitcase, and there I was with the worms crawling on me. I just did it. I was so young and it was my first big role, and I thought, Well, I guess that’s what it is to be a film actor.

audience. You sometimes have to leave room for your audience to feel. You don’t have to put out every feeling that you have right into their face.

You’ve always seemed comfortable leaning into the silences as a performer. Is that confidence something that simply comes with experience?

I think it took time. I think in the beginning, I talked when I was insecure about what I was feeling. I was talking more quickly to get it over with. [Laughs] I figured out sometimes, it was good for me to say lines loud, even if they’re not meant to be loud, because you have to make a decision. I’ve often realized, with young actors, especially lately, that they have this very kind of mumbling, quiet [way of performing], because then it can be anything and you don’t have to make a decision. So they speak very low, almost, you know, not giving anything away. I think you can get to that again, but it’s good, at one point, to at least ask yourself if there’s a decision required. If you speak slower and louder, you have to make a decision: what you’re saying and what you feel.

Is language ever a barrier for you?

It is a challenge, definitely. French is more difficult than English now because I’ve been living in the United States for a long time.

It was even [difficult] reading scripts. In the beginning, I couldn’t even say whether it was a good script or not. In German, I know right away if that character speaks right or if that’s truthful, whereas in English, in the beginning, I really just didn’t know. I was

fluent in English, but there’s more to language than just the language itself. It’s the character.

And I just didn’t know people from different areas in the United States, or different classes.

In Germany, I would know: Oh, this is a working-class woman who talks like this. In English, I couldn’t say that. Now, I’ve gotten much better.

What advice would you give to international actors who want to begin acting in the U.S.?

Immerse yourself. In America, I watched a show like “Judge Judy” where they were real people—more than just watching actors. I went to a diction coach in America to learn American diction, but I felt that’s not a language; it’s vowels and consonants. You have to kind of get the attitude. I think you have to immerse yourself somehow in the culture, try to be there.

What advice would you give to early career actors? What is something you wish you’d known when you were starting out?

It was such a different time. Things were so different. I would say: Look more at life than at movies; observe yourself and your situations and fellow human beings in real life.

And be aware that [acting is] a longer-term thing, and when something bad happens or you don’t get something, it’s not over.

It’s really a long run, and there are many chances. You might lose some, but don’t dwell on anything that doesn’t work out the way you want. You will see it very differently later on.

When it comes to these characters that you’re tackling, how would you describe your process? Do you have any pillars or tricks that you rely on from project to project?

For me, one thing is really important: that I know my lines. It makes me free. I can concentrate on other things—especially, of course, if I act in English or in French. In German, it’s a little different, because it’s my mother tongue. It also depends on how close a character is to myself, or how far a person is away from me. In the end, it’s always I who is doing it. There are the words of Lady Macbeth in the content in the play, but in the end, I put it together, and you can read any line in so many different ways. And people see it in different ways. I’ve also learned that you don’t have to play everything. I think that’s something that I also like in “Deux”—that there is room for an BACKSTAGE 04.08.21

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Mads Mikkelsen in “Another Round”

suspects in the murder of a teenage girl. Set against the backdrop of an oppressive society, the film paints a fairy tale–esque love story while also commenting on the pressures of achievement and the very real-world plague of high school bullying.

“Collective”

A historic first nomination for Romania, this nonfiction Magnolia Pictures film has also received an Oscar nod in the best documentary feature category. In a searing condemnation of the recent corruption within the country’s health-care industry, director Alexander Nanau (“Toto and His Sisters”) follows a team of investigators at a Romanian newspaper as they seek to uncover mass health-care fraud that empowered moguls and politicians while innocent citizens were left to die.

“The Man Who Sold His Skin”

Flying International

Your ticket to the 2021 best international feature Oscar nominees

“ANOTHER ROUND”: SAMUEL GOLDWYN FILMS

By Brandon Kirby DENMARK, BOSNIA AND HERZEGOVINA, HONG KONG, AND, FOR the first time ever, Tunisia and Romania will be represented at this year’s Oscars in what has become one of the awards’ buzziest categories: best international feature film. Known prior to 2020 as best foreign language film, the prize merits attention—especially considering that last year’s winner, “Parasite,” also won for directing, writing, and best picture. The increasingly international membership of the Academy of Motion Picture Arts and Sciences has nominated a strong crop of 2021 contenders, with several also boasting nods in additional categories. Here’s your refresher on the five titles contending for best international film this year. Tune in to the Oscars on April 25 to find out who wins!

“Another Round”

This critical hit re-teams writerdirector Thomas Vinterberg (2012’s “The Hunt”) with star Mads Mikkelsen for a drunken romp-turned-tragicomedy. It follows four friends, all teachers,

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as they dare each other to maintain a constant level of alcohol in their system in order to live better lives. A film festival staple that was also nominated for a 2021 Golden Globe Award, the Samuel Goldwyn Films release has been

hailed by critics as deeply human and bittersweet, with some even saying that it’s the best performance of Mikkelsen’s career.

“Another Round” may be the favorite to take home Oscar gold, if Vinterberg’s corresponding nomination in the best director race is anything to go by.

“Better Days”

From Hong Kong and distributed stateside by Well Go USA Entertainment, this romantic crime drama from filmmaker Kwok Cheung Tsang (“Soulmate”) follows a bullied high school girl and a small-time criminal whose lives become unexpectedly intertwined when they are named as prime

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Marking a first-ever nomination in the international feature category for Tunisia, this Samuel Goldwyn Films release from director Kaouther Ben Hania tells the story of a Syrian refugee, Sam (newcomer Yahya Mahayni), who gains entry to Europe by agreeing to become the canvas for a controversial contemporary artist. As such, Sam’s journey to what he thought was freedom turns out to be anything but. The critical darling’s provocative premise brings a mix of drama, satire, and dark humor to the screen.

“Quo Vadis, Aida?”

From Bosnia and Herzegovina, the latest from Jasmila Žbanić (“Grbavica: The Land of My Dreams” and “On the Path”) centers on Aida, a translator for the U.N. whose family is among the thousands of citizens looking for shelter in a U.N. camp during the Bosnian War. As an insider to the negotiations, Aida has crucial information that will decide whether her family lives or dies, along with countless others. Writer-director Žbanić was herself a teenager in Sarajevo during the time in which the film is set, and she brings the violence of that era to all her work—this latest from U.S. distributor Super LTD being no exception.

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

Submit a Notice |

New York Tristate Feature Films ‘The Good Nurse’

• Casting “The Good Nurse,” a Netflix

feature film starring Jessica Chastain and Eddie Redmayne.

• Company: Netflix. Staff: Citrola

Casting.

• Shoot starts Apr. 12 in Stamford, CT. • Seeking—Real Doctors/Nurses/

Paramedic/EMT: all genders, 18+, all ethnicities, SAG & Non Union individuals with medical experience. Nursing, doctor, EMT, physician assistant, CRNA, etc.

Please note in your submission what your experience is. If you’ve already submitted and made a profile you do not need to submit again. Hospital Patients: all genders, 18+, all ethnicities, SAG AFTRA members to portray patients in the hospital. If you’ve already submitted and made a profile you do not need to submit again. Differently Abled Individuals, Background: 18+, all ethnicities, differently abled SAG and Non Union individuals. I.e amputees, individuals in wheelchairs, etc. 300lbs+ Individual, Featured Patient: 18+, all ethnicities, 300+ lbs to portray a featured patient with diabetes being taken care of in an ICU. Can be SAG or Non Union. Bald or Willing to Shave Head, Featured Patient: female, 18+, all ethnicities, with a bald head or willing to shave their head bald for a featured role as a cancer patient. SAG or Non Union. Babies, 3-10 Months Old: all genders, 0-1, all ethnicities, SAG or non union babies 3-10 months old. Twins would be great, but open to pairing two babies who look similar.Note in your submission if twins or single child.

• Seeking submissions from NY and CT. • Send submissions to citrolacasting@

gmail.com.

• Those applying for Medical

Background, note your medical experience.

• Pays $178/8 hrs. SAG-AFTRA Project.

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

BACKSTAGE 04.08.21

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.

Short Films

Casting picks of the week

‘The Exterminator’

• Casting “The Exterminator,” a dark

comedy about a young exterminator who begins to unravel as he trains his replacement.

BY LISA HAMIL

• Staff: Allamaprabhu Pattanashetty,

film

writer-dir.; Joseph Walsh, prod.; crew is made up of recent NYU film grads.

‘The Good Nurse’ Heal yourself on this Netflix film in NYC starring Jessica Chastain

• Shoots in late April.

• Seeking—Claire: female, 50+, all eth-

nicities, one of the tenants whose apartment the main characters have to exterminate. She only appears in a couple of quick scenes, but the role is crucial to the development of the overall story. The scene itself is comedic in nature, and applicants should be comfortable with provocative, dry humor.

tv

‘The Marvelous Mrs. Maisel’ Tickle your funny bone in this NYC Amazon series

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

• No pay. Travel costs covered.

musical

‘Songs For A New World’ Make a strong choice in this NC Equity production

Student Films

stage

“Brilliant Mind’ Show of your genius in this Equity New Media production in Mill Valley, CA

‘Clowns Are in This One’

• Casting “Clowns Are in This One,” a

student short film about the romance that forms between two clowns in the dangerous, competitive world of street clowning.

film

• Company: New York University. Staff:

Jake Wichansky, student.

‘The Lonely Drummer’ Keep the beat in Boston, MA

• Rehearses over Zoom; shoots Apr.

22-25 in NYC and New Jersey.

• Seeking—Ronald: male, 30-60, the

boss of his own crew of clowns. He is a strong leader who does not accept insubordination, as he knows how competitive this business is. He is ruthless and will do anything to protect his business.

middle school life: telling her crush that she likes him. When Maya is rejected she learns that changing for someone is never worth it and returns to her literal and figurative roots by wetting her hair and restoring it to its natural state. Will: male, 10-16, White / European Descent, a nerdy, cute, and well-meaning middle schooler who is oblivious to Maya’s huge crush on him. When Maya reveals that she likes him, Will reveals that he doesn’t see her as a girl.

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

• No pay, but credit, meals, and footage

provided.

‘What You Don’t See’

• Casting “What You Don’t See,” a short

PSA that exposes the not-so-glamorous life of a male influencer.

• Company: NYU. Staff: Lily Grigsby-

Brown, dir.-cinematographer-AD-AC.

• Shoots in NYC. • Seeking—Drew: male, 18-35, all ethnic-

ities, male influencer. Can be an influencer for anything.

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

• Lunch will be provided. Copy for reel

provided upon completion of project.

Scripted TV & Video ‘Power: Book III,’ Church Band With Experience

• Seeking SAG/NU to portray band mem-

ironing her natural type 4 hair for the first time. She continually hints to Will that she likes him, but he doesn’t pick up on her advances until she flat out says it in true middle school fashion: “I like like you.” When Will reveals he doesn’t feel the same way, Maya’s resilience enables her to triumphantly overcome rejection and return to her roots.

• Seeking submissions from NY and NJ. • Send submissions to jsw491@nyu.edu.

• No pay.

‘Crush(ed)’

• Casting “Crush(ed),” a charmingly awk-

ward coming-of-age story about transformation, identity, and the woes of having an unreciprocated middle school crush. Synopsis: After the last day of 7th grade, Maya and her childhood best friend Will continue their long-standing tradition of rating their classmate’s yearbook pictures, but this time Maya has an ulterior motive: getting Will to like her. Maya attempts to diminish her biggest insecurity by flat-

• Company: NYU. Staff: Amanda Gordon,

dir.-prod.; Ziyne Abdo, prod.

• Shoots Apr. 24 and 25 in New York

Metropolitan area.

• Seeking—Maya: female, 10-16, Black /

African Descent, a shy, awkward, and vulnerable 13-year-old girl. She tries to diminish her most prominent insecurity by straightening her natural hair and takes the biggest leap of faith in her

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ber for 1990s church scene with experience (guitar, keyboard, bass, and/or drums) for “Power Book 3: Raising Kanan,” on STARZ. • Company: Grant Wilfley Casting. Staff:

Katherine Hurt, casting assoc.

• COVID test and fitting TBD (before work

dates); shoots Apr. 21 in the NYC area.

• Seeking—Band Member with

Experience (Guitar, Keyboard, Bass, and/or Drums): 18+, Black / African Descent, for a 1990s church scene.

Note which instrument you have experience with, and detail the level of experience. No visible tattoos. Everyone must be comfortable receiving a 1990s style hair cut if needed. No braids, weaves, wigs for women. Men must be comfortable being clean shaven for work date.

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

com.

backstage.com

New York Tristate casting

• For consideration, email a cover letter

with the following: name; SAG or NonUnion; phone number; your availability for work Apr. 21; general avail for COVID test and fitting prior to work; whether you’ve worked on “Power Book 3” before; all sizes (men - height, weight, suit, shirt, pants, and shoe. Women: height, weight, bust-waist-hips, dress/ pant and shoe); 2-3 recent photos showing your current look and hair (No editing, filters, sunglasses, hats, masks, etc. Casting needs to clearly see your face and hair. Selfies and candid photos are great. No professional headshots); if you are ok getting a 1990s hair cut if needed; note which instrument you have experience with, and detail the level of experience; men are you okay being clean shaven; if you have visible tattoos; confirmation you are 18+; confirmation you are local to NYC area; and what ID you bring for your I9 (note if you have a visa or restricted ID of any kind!) to casting@gwcnyc.com with the subject line “Backstage, Church Band.”

• Pay provided.

‘Power: Book III,’ Church Goers

• Seeking SAG/NU to portray 1990s

church goers for “Power Book 3: Raising Kanan,” on STARZ.

• Company: Grant Wilfley Casting. Staff:

Katherine Hurt, casting assoc.

• COVID test and fitting TBD (before

work dates); shoots Apr. 21 in the NYC area. This scene will be matching for a scene in upcoming episode, so you may be needed back for 2nd day of work at TBD date in April/early May. • Seeking—Church Goers: 18+, Black /

African Descent, nonunion for a 1990s scene. This scene will be matching for a scene in upcoming episode, so you may be needed back for 2nd day of work at TBD date in April/early May.No visible tattoos. Everyone must be comfortable receiving a 1990s style hair cut if needed. No braids, weaves, wigs for women. Men must be comfortable being clean shaven for work date.

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

com.

• For consideration, submit a cover let-

ter with your name; SAG or nonunion; phone number; your availability for work Apr. 21; your general avail for COVID test and fitting prior to work; if you’ve worked on “Power Book 3” before; all sizes (men - height, weight, suit, shirt, pants, and shoe. Women: height, weight, bust-waist-hips, dress/ pant and shoe); 2-3 recent photos showing your current look and hair (No editing, filters, sunglasses, hats, masks, etc. Casting needs to clearly see your face and hair. Selfies and candid photos are great. No professional headshots); if you are okay getting a 1990s hair cut if needed; men, if you are are okay being clean shaven; if you have visible tattoos; confirmation that you are 18+; confirmation that you are local to NYC area; and what ID you bring for your I9 (note if you have a visa or restricted ID of any kind!) to casting@ gwcnyc.com with the subject line “Backstage, Church Goers.”

• Pay provided.

backstage.com

‘Power: Book III,’ Doctors & Nurses

sional headshots); if you are ok getting a 1990s hair cut if needed?; Men if you are okay with being clean shaven; do you have visible tattoos?; confirmation that you are 18+; confirmation that you are local to NYC area; and what ID you will bring for your I9 (note if you have a visa or restricted ID of any kind!) with “Backstage, Police Officer” in the subject line.

• Seeking SAG/NU to portray 1990s doc-

tors and nurses at hospital for “Power Book 3: Raising Kanan,” on STARZ.

• Company: Grant Wilfley Casting. Staff:

Katherine Hurt, casting assoc.

• COVID test and fitting TBD (before

work dates); shoots Apr. 13-15 and 20 in the NYC area.

• Seeking—Doctors & Nurses at Hospital:

• Pay provided.

18-65, all ethnicities, SAG/nonunion; no visible tattoos. Everyone must be comfortable receiving a 1990s style hair cut if needed. No braids, weaves, wigs for women. Men must be comfortable being clean shaven for work date.

‘The Gilded Age’

• Casting “The Gilded Age,” Season 1 of

the HBO series from the creator of Downton Abbey.

• Company: Grant Wilfley Casting. Staff:

Belle GWC, casting dir.

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

• Shoots May 22-June 15 in Troy, NY; cos-

com.

tume fittings will start from Apr. 20 and go through May.

• For consideration, submit a cover letter

with your name; SAG or Non-Union; phone number; your availability for work Apr. 13, 14, 15 and 20; general availability for COVID test and fitting prior to work; if you’ve worked on “Power Book 3” before; all sizes (men height, weight, suit, shirt, pants, and shoe. Women: height, weight, bustwaist-hips, dress/pant and shoe); 2-3 recent photos showing your current look and hair. (No editing, filters, sunglasses, hats, masks, etc. Casting needs to clearly see your face and hair. Selfies and candid photos are great. No professional headshots); if you are okay getting a 1990s hair cut if needed; men, if you are okay being clean shaven; if you have visible tattoos; confirmation you are 18+; confirmation you are local to NYC area; and what ID you will bring for your I9? (note if you have a visa or restricted ID of any kind!) to casting@ gwcnyc.com with “Backstage, Doctors/ Nurses” in the subject line.

• Seeking—Men And Women 18-75 To

Portray 1880’s Working Class And Upper Class People: all genders, 18+, White / European Descent, there will be one required covid test before your day of work, as well as one covid test the day before a required fitting; you will be compensated for this; seeking Troy, Albany, Schenectady Area locals only for this; scenes are set in the 1880s; men and women must have no visible tattoos (especially on neck and hands); men must have natural hair colors and ok getting period haircut and have your facial hair styled/altered to be period appropriate; men and women must have no wool allergies; men ideally 5’8”6’2”, 46” chest measurement and below, and 38” waist measurement and below due to limited 1880’s costume stock; men ideally 1.5-2 inches of hair length all around; no buzzed sides/ back; women must have natural hair colors only (no highlights, ombre or balayage); looking for women with longer hair lengths preferably at least four-six inches below the shoulders (please note current length of hair.); women must be okay wearing a corset, bustle and multiple layers as appropriate to the 1880s; women ideally 5’3 5’8”, 32” waist and below due to limited 1880’s costume stock. Nonunion Men And Women 18+ To Portray Caucasian Teenagers: 18-25, White / European Descent, specifically men 18+ that are 5’8” or below; 32”waist or below; women 18+ that are 5’6” or below, 26”waist or below. Nonunion Men And Women To Portray 1880’s African American Pedestrians: all genders, 18+, Black / African Descent.

• Pay provided.

‘Power: Book III,’ Police Officer

• Seeking featured SAG/NU to portray

police officers for “Power Book 3: Raising Kanan,” on STARZ.

• Company: Grant Wilfley Casting. Staff:

Katherine Hurt, casting assoc.

• COVID test and fitting TBD (before

work dates); shoots Apr. 13-15 in the NYC area.

• Seeking—Police Officer, Featured

SAG/Nonunion: male, 25-45, White / European Descent, no visible tattoos.

Everyone must be comfortable receiving a 1990s style hair cut if needed. No braids, weaves, wigs for women. Men must be comfortable being clean shaven for work date.

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

com.

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

• If interested/available, email gilded-

com.

age@gwcnyc.com, change the subject line to read “Backstage/Troy/Albany/ Schenectady Locals” and include in the body of the email the following information: name; whether you are a member of SAG-AFTRA or nonunion; phone number; confirm that you are local to the Troy/Albany/Schenectady area; several candid full-body photos, photos from the back that shows your hair length. Men: Are you okay getting an 1880s haircut if needed? Men: Are you okay being clean shaven on the shoot date or having your facial hair altered?

• For consideration, submit the follow-

ing: your name; SAG or nonunion; phone number; availability for work Apr. 13-15 and Apr. 20; your general availability for COVID test and fitting prior to work; if you’ve worked on “Power Book 3” before, all sizes (men - height, weight, suit, shirt, pants, and shoe); 2-3 recent photos showing your current look and hair (no editing, filters, sunglasses, hats, masks, etc. Casting needs to clearly see your face and hair. Selfies and candid photos are great. No profes-

19

(If so which one, or both?) Women: Are you okay with wearing a corset or bustle? Women: Current hair length below the shoulders. Men and Women: Do you have any tattoos? (this includes, hands, feet, ankles, back of neck, behind the ear). Men and Women: Confirm your hair is not dyed or colored in any way (if it is, elaborate.) All wardrobe sizes (Men: height, weight, jacket, neck, sleeve, waist, inseam, shoe. Women: height, weight, dress, bust, waist, hip, shoe.)

Current photos without makeup, include several current photos that depict what you currently look like (especially in terms of hair length and color. No filters, sunglasses, or hats at all!!!) Which forms of IDs you will be bringing for your I9 if booked (if you have a VISA or Employment Authorization Card, let us know!) If submitting for a musician role, please include your musical experience and/or if submitting as a group. Confirm you have general open/flexible availability from Apr. 22-June 15, 2021. Confirm you have availability for a fitting between Apr. 20-May. • Pays $178/8hrs (SAG-AFTRA); and

$165/10 hrs. (nonunion rate).

‘The Marvelous Mrs. Maisel’ • Casting 1960s look-a-likes in the

Amazon series “The Marvelous Mrs. Maisel.”

• Company: Grant Wilfley Casting. Staff:

Jackie, casting dir.

• COVID tests Apr. 8-9; tentative shoot

dates April 12-15 in NYC.

• Seeking—1960s Sidney Poitier look-a-

like: male, 18+, Black / African Descent, must be okay working around atmospheric smoke. No wool allergies.

Interior work. Men must be okay getting a 1960s haircut if needed and being clean shaven on the shoot date. Women’’s hair requirements are as follows: No fashion colors. No wigs.

No weaves. No braids. No undercuts. No ombré or unnatural looking highlights.

No roots if hair is colored. Hair must be above the shoulders; it cannot touch the shoulders. If hair touches shoulders, it will need to be cut by our hair dept. Short hair is ok. Any texture is ok.

Gray hair on more mature women is great. No tattoos for women. Men cannot have any visible tattoos that won’’t be covered in a suit. Note this will be a scene of 150+ BG in the scene. We require covid tests even if you have been vaccinated. We also require testing be done at our studio. 1960s Jimmy Stewart look-a-like: male, 18+, White / European Descent, must be okay working around atmospheric smoke. No wool allergies. Interior work. Men must be okay getting a 1960s haircut if needed and being clean shaven on the shoot date. Women’’s hair requirements are as follows: No fashion colors.

No wigs. No weaves. No braids. No undercuts. No ombré or unnatural looking highlights. No roots if hair is colored. Hair must be above the shoulders, it cannot touch the shoulders. If hair touches shoulders, it will need to be cut by our hair dept. Short hair is ok. Any texture is ok. Gray hair on more mature women is great. No tattoos for women.

Men cannot have any visible tattoos

04.08.21 BACKSTAGE

casting California that won’’t be covered in a suit. Note this will be a scene of 150+ BG in the scene. We require covid tests even if you have been vaccinated. We also require testing be done at our studio.

1960s Jerry Lewis look-a-like: male, 18+, White / European Descent, must be okay working around atmospheric smoke. No wool allergies. Interior work. Men must be okay getting a 1960s haircut if needed and being clean shaven on the shoot date. Women’’s hair requirements are as follows: No fashion colors. No wigs. No weaves. No braids. No undercuts. No ombré or unnatural looking highlights. No roots if hair is colored. Hair must be above the shoulders; it cannot touch the shoulders. If hair touches shoulders, it will need to be cut by our hair dept. Short hair is ok. Any texture is ok. Gray hair on more mature women is great. No tattoos for women. Men cannot have any visible tattoos that won’’t be covered in a suit. Note this will be a scene of 150+ BG in the scene. We require covid tests even if you have been vaccinated. We also require testing be done at our studio. 1960s Princess Grace look-a-like: female, 18+, White / European Descent, must be okay working around atmospheric smoke. No wool allergies.

Interior work. Men must be okay getting a 1960s haircut if needed and being clean shaven on the shoot date.

Women’s hair requirements are as follows: No fashion colors. No wigs. No weaves. No braids. No undercuts. No ombré or unnatural looking highlights.

No roots if hair is colored. Hair must be above the shoulders, it cannot touch the shoulders. If hair touches shoulders, it will need to be cut by our hair dept. Short hair is ok. Any texture is ok.

Gray hair on more mature women is great. No tattoos for women. Men cannot have any visible tattoos that won’’t be covered in a suit. Note this will be a scene of 150+ BG in the scene. We require covid tests even if you have been vaccinated. We also require testing be done at our studio.

(Need to see current hair style and length. One photo should be full body) to tmmm@gwcnyc.com with the subject line “Backstage 405 Look-a-likes.”

• Company: BURN Media. Staff: Max May,

rates apply to SAG members $60 COVID test stipend.

com.

• Equity’s contracts prohibit discrimina-

European Descent, a middle aged father and sculptor, who in the film lives on as a ghost trapped in the attic above his house; he encounters two the previous occupants of the house in his time above, and with them works through his gradual erasure; shooting involvement of five days, almost entirely in the attic space. Alex: male, 20-29, White / European Descent, an English grad school student/graduate, processing the death of his father by trying to condense the loss into a story; this efforts triggers visions and a psychological spiral throughout the film; shooting involvement of nine days. Kat: 39-50, White / European Descent, a mother and real estate photographer who works to support her two college age children after the death of her husband; shooting involvement of three days. Katie: 20-25, White / European Descent, a college student and musician who works through the family tragedy by creating dissonant music and trying to explain the ghostly behavior from the attic, all while keeping tabs on her mother and brother; shooting involvement of five days. Dave: 25-40, all ethnicities, a lingering spirit of the house’s previous owner, bound to the attic by Al’s presence; Dave relives the painful memory of his son forgetting him, while being one of two companions for Al’s tentative induction into the afterlife; shooting involvement of five days. Frank: male, 50-70, White / European Descent, one of three leftover spirits commiserating through the experience of being forgotten, his historical knowledge and engagement with Al make him the lead’s connection to a past he is now surrounded by; shooting involvement of four days.

Floyd: male, 40-60, White / European Descent, the father of Al, who appears in Al’s last moments as a reminder not to exist as an unjust burden on those you leave behind; shooting involvement of one day. Randall: male, 20-40, all ethnicities, a paranormal investigator allowed by the family to investigate the house for the presence of something supernatural, though quickly reveals himself to be an exploitative dilettante; shooting involvement of two days. Al 1: male, 40-50, all ethnicities, within the film, flashback embodies people differently than they appear in the rest of the film; Al’s only living memories are told through Al (1 ) who plays the same father figure, but personified unique to memory; shooting involvement of one day. Alex 1: male, 22-32, all ethnicities, within the film, flashback embodies people differently than they appear in the rest of the film; Alex’s memories are told through Alex(1), who in these scenes interacts with his otherwise absent father; shooting involvement of one day. Katie 1: female, 20-28, all ethnicities, within the film, flashback embodies people differently than they appear in the rest of the film; this role is portraying Katie in flashback scenes; shooting involvement of one day. Kat 1:

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

• For consideration submit a cover letter

with you name, phone number, confirm your availability for all dates (Apr. 8-9 for tests and Apr. 12-15 for work); all wardrobe sizes (Men: height, weight, jacket, neck, sleeve, waist, inseam, shoe. Women: height, weight, dress, bust, waist, hip, shoe); men, note if you are okay getting a 1960s haircut if needed and if you are okay being clean shaven on the shoot date; women, note the current length of your hair and if it touches your shoulders (if so, indicate if you are okay having it cut by our hair dept.) and note if you have anyhighlights, undercuts, weaves, extensions, braids, bayalage or color in your hair?

Or do you wear a wig?; note what forms of ID can you bring to set to fill out an I9, if you worked on the show before and if so, when and as what; confirmation you are local to the tri-state area; confirmation you are 18+; note if you have any tattoos? (this includes, hands, feet, ankles, back of neck, behind the ear); and attach current, candid photos

BACKSTAGE 04.08.21

• Pays $210/12hrs for nonunion, SAG

Southern California Plays ‘The Garden’

• Seeking Equity video submissions for

La Jolla Playhouse and Baltimore Center Stage’s co-production of “The Garden.”

• Company: La Jolla Playhouse. Staff:

Charlayne Woodard, playwright; Patricia McGregor, dir.; Jacole Kitchen, dir. of arts engagement & in-house casting.

• Baltimore Center Stage rehearsals

begin May 7; runs June 3-10; La Jolla Playhouse rehearsals begin Aug. 31; tech begins Sept. 7; runs Sept. 14-Oct. 10 with a possible extension to Oct. 17.

• Seeking—Claire Rose: female, 60-79,

Black / African Descent, carries the South. Mother to Cassandra who she hasn’t spoken to in three years.

Absolutely the ideal woman in public.

Easy with everyone except her daughter.

• Seeking submissions from CA. • For consideration, submit a video audi-

tion of two contrasting contemporary monologues. Full video should not exceed five minutes. Submit videos to https://formspring- xpeow.formstack. com/forms/online_epa_thegarden.

Submissions deadline is Apr. 12, 5 p.m.

PT. For questions or issues formatting with formstack email auditions@ljp.org.

• Note: The role of Cassandra has already

been cast. No roles will be understudied.

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 $1,008/wk. Equity LORT B Non-

Rep Contract.

Feature Films ‘Always Present’

• Casting “Always Present,” a feature

length surreal drama about a father who experiences an afterlife confined to an attic, watching his family move on from their loss and his son grapple with condensing this tragedy into a novel that ends up consuming him and the film itself.

coord.

• Shoots May and June weekends in Los

Angeles, CA.

• Seeking—Al: male, 40-55, White /

20

female, 40-51, all ethnicities, within the film, flashback embodies people differently than they appear in the rest of the film; this role is portraying Kat in flashback scenes; shooting involvement of one day. Edd: male, 30-50, all ethnicities, a hired bereavement counselor, who helps a company avoid litigation when addressing Alex and the rest of the family in the wake of their loss; he holds a highly corporate and faux personal attitude; shooting involvement of one day. P.A.: all genders, 18-27, a P.A. with a travelling paranormal investigation show, who talks with Alex about the inner workings of the show before taking the conversation more philosophical; shooting involvement of one day.

Cathy: female, 25-60, all ethnicities, the lead producer of a paranormal investigation show who helps coordinate the operation of the show within the family’s grieving household; shooting involvement of two days. Tony: male, 22-38, all ethnicities, the camera operator and assistant to the traveling paranormal investigation show; shooting involvement of two days.

• Seeking submissions from CA. • Send submissions to mrmay@usc.edu.

• Meals provided.

Northern California Plays ‘Brilliant Mind’

• Seeking video submissions from Equity

members for “Brilliant Mind,” a new media piece viewed digitally, which combines pre-recorded filmed scenes, live streamed monologues, voiceover and interactive 3D rooms built on gaming software.

• Storykrapht (SK), a company that spe-

cializes in new media and interactive digital media, will be independently creating the pre-recorded scenes of “Brilliant Mind” and building the interactive 3D rooms for the production, which will both then be licensed to MTC for use during our live- streamed performance.

• For the live-streamed performances,

MTC will be engaging the actor to perform on our stage. No live audience will be present. The pre-recorded and interactive digital material that MTC is licensing from Storykrapht, including the actor interacting with pre-recorded cast members, will be incorporated into each live-streamed performance.

• Company: Marin Theatre Company.

Staff: Denmo Ibrahim, creator-writer; Nakissa Etemad, assoc. artistic dir.-prod.

• Rehearses and tech integration runs

Apr. 26-30; tech rehearsals and invited runs will be held May 4-9; runs May 11-June 6 (6 days/week with 8 performances a week; Tues.-Sun. at 7 p.m. and Sat. and Sun. at 2 p.m.). All rehearsals and live performance will be done at backstage.com

National/Regional casting

Marin Theatre Company, 397 Miller Ave., Mill Valley, CA 94941.

• Seeking—Samir: male, 50-69, Arab-

American; a charmer, a philosopher, the father we wish we had, the father we really had, a retired intellectual, a born activist, a loner, the life of the party, an Egyptian-Lebanese-PalestinianAmerican, a broken dream, home.

Actors who identify as Middle Eastern North African, especially those who are Arabic speakers, are particularly encouraged to submit. (The actor playing Samir won’t be asked to film prerecorded scenes).

• Seeking submissions from CA. • For consideration, submit one video for

each of three sides, in an mp4 format (Sides available for download at: https://drive.google.com/drive/ folders/1piF6X- EGgAopGFjRy2eBiZyN9OcxEHD? usp=sharing). Start each video with your name, then announce the side number before performing each side. Name your videos: “Last name, First Name - Samir Side 1” etc.

Submit attachments or links to audition videos, in addition to headshot and resume and email to casting@marintheatre.org. Submissions deadline is Apr. 8.

Rosetta” submit one dramatic monologue and either a song of your own selection of early rock, blues, gospel, or swinging spiritual, or the provided selection of “Tall Skinny Papa” (see Google form). Total length should not exceed two minutes.

• For “Primating” submit a video audition

contemporary comedic monologue & one minute to the “Marie & Rosetta” instructions. It is highly preferred that actors submit materials via https:// docs.google.com/ forms/d/e/1FAIpQLSdgdYqy3TD6DtcCF GH6BUn4W7s2jNOSRXzM OYWJmXgcYLP1rQ/viewform?usp=sf. If that is not possible, actors may email their materials to casting@therep.org.

Contract.

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 $739/wk. Equity LORT D Non-Rep

Contract.

National/ Regional Plays Arkansas Repertory Theatre 2021 Season • Casting six Equity actors for two out-

door productions this summer, “Marie & Rosetta” (George Brant, writer; Steve H. Broadnax III, dir. Digital rehearsal begins June 22; in person rehearsal begins June 29; runs July 13-Aug. 1) and “Primating” (Jennifer Vanderbes, writer; Ari Edelson, dir. Digital rehearsals begin July 13; in-person rehearsals begin July 20; runs Aug. 29-Sept. 9).

• Company: Arkansas Repertory Theatre.

Staff: Will Trice, exec. artistic dir.; Zachery Ingersoll, interim company mgr.

• Both productions will perform out-

doors, with a mix of indoor, outdoor, and digital rehearsals.

• Seeking—Equity Actors: all genders,

18+, all ethnicities. backstage.com

• Pays $506/wk. Equity NEAT Contract.

Trinity Repertory Company New Play Readings

• Equity’s contracts prohibit discrimina-

Company visit www.marintheatre.org.

• 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.

• For consideration for both, add one

on Apr. 9, times TBD.

• For more info on Marin Theatre

• Equity’s contracts prohibit discrimina-

with one to two contemporary monologues (approx. 1-2 minutes total).

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.

• Note: Any callbacks will be held digitally

Stage Artistic Director, Robert Walsh, you are welcome to submit an updated photo and resume pdf and identify the roles/shows for which you would like to be considered. You do not need to resubmit an audition video. Due to housing challenges exacerbated by the pandemic, local actors are particularly encouraged to audition.

• Seeking submissions from AR. • For considerations for “Marie &

• Seeking video submissions from

Equity actors (all genders, races and ethnicities) for parts in Trinity Repertory Company’s streaming series of commissioned new plays in various forms including “Wrap Our Injured Flesh Around You” by James Ijames in April and readings of the winners of the high school short play contest in May.

• Pays $647/wk. Equity LOA ref. LORT D

• Company: Trinity Repertory Company.

Staff: Curt Columbus, artistic dir.

• These are two day (reh/perf) readings

Gloucester Stage Company 2021 Season

of sections of commissioned plays by Trinity Repertory Company in mid April and mid May (Apr. 13 and May 11). There will be a rehearsal the day before or the day of each reading. Rehearsal and performance will all be virtual.

• Casting Equity actors for roles in the

Gloucester Stage Company 2021 Season. Season includes “Tiny Beautiful Things” (Cheryl Strayed, book; Nia Vardalos, stage adaptation; Rebecca Bradshaw, dir. Rehearsals begin May 21; runs June 11-27); “Baskerville: A Sherlock Holmes Mystery” (Ken Ludwig, writer; Jim O’Connor, dir. Rehearsals begin June 8; runs July 2-25); “Seared” (Teresa Rebeck,writer; Victoria Gruenberg, dir.

Rehearsals begin July 13; runs Aug. 6-22); “Reparations” (James Sheldon, writer; Myriam Cyr, dir. Rehearsals begin Aug. 10; runs Sept. 3-19); and “Think of Me Tuesday” (Ken Riaf, writer; Robert Walsh, dir. Rehearsals begin Sept. 10; runs Oct. 1-17 with an option to extend).

• Seeking—Will: female, 18-29, Black /

African Descent. Sharon: female, 30-39, Black / African Descent.

Desmond: male, 30-39, Black / African Descent. Cooper also Cecily: female, 40-49, Black / African Descent. Jordan also Lafayette: male, 40-59, Black / African Descent.

• Seeking submissions from RI. • For consideration, submit a video no

longer than four minutes (preferably two short monologues) to auditions@ trinityrep.com. Submissions deadline is Apr. 9.

• 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.

• Company: Gloucester Stage Company.

Staff: Robert Walsh, artistic dir.

• Season rehearses and performs in

Gloucester, MA.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MA. • For consideration, submit a prepared

video of a 90-second, contemporary monologue and a headshot and resume to auditions@gloucesterstage.com.

Actors are welcome to submit via platforms such as Vimeo, YouTube or any other vehicle that is accessible. Be sure to include passcodes that may be necessary to access your video.

Submissions deadline is Apr. 15.

• Pays $800/wk. Equity LORT Non-Rep

Contract.

Musicals ‘Songs for a New World’

• Note: Performers of all ethnic and racial

backgrounds are encouraged to submit. For all roles listed as ‘cast,’ actors will be considered for possible replacements. No understudies will be cast. If you submitted a video in 2020, or have previously auditioned for Gloucester

• Seeking video submissions from Equity

members for “Songs for a New World.”

• Company: North Carolina Theatre.

Staff: Jason Robert Brown, music & lyrics; Eric Woodall, prod. artistic dir.-dir.; Lauren Juengel, prod. mgr.; Edward G.

21

Robinson, music dir.; Jose Rondon, Jr., choreo.; Eric Woodall, CSA, casting dir.

• Rehearsals begin July 12, 2021 in-per-

son inside of Kennedy Rehearsal Space at Duke Energy Center For the Performing Arts, pending Equity final approval.; runs July 27-Aug. 1 in-person inside Raleigh Memorial Auditorium in Duke Energy Center For the Performing Arts, pending Equity final approval.

Note: Complying with all COVID guidelines, restrictions and regulations from the State of North Carolina and Actors’ Equity Association.

• Seeking—Man 1: male, 20-39, Black /

African Descent, male-identifying; vocal range: D-High C. Audition material for MAN 1 is located via link. Man 2: male, 30-49, all ethnicities, male-identifying; vocal range: Low F-High A flat.

Audition material for Man 2 is located via link. Woman 1: female, 20-39, all ethnicities, female-identifying; vocal range: Low G-High F. Audition material for Woman 1 is located via link. Woman 2: female, 30-49, all ethnicities, femaleidentifying; vocal range: Low F-High F. Audition material for Woman 2 is located via link. Male Standby: male, 20-39, Black / African Descent, maleidentifying to understudy Man 1 and Man 2; vocal range: Low F-High C. Use audition material for Man 1, which is located via link. Female Standby: female, 20-39, all ethnicities, femaleidentifying to understudy Woman 1 and Woman 2; vocal range: Low F-High F. Use audition material for Woman 1, which is located via link.

• Seeking submissions from NC. • For consideration, submit a prepared

video of you singing one of the provided musical clips provided at https:// www.dropbox.com/sh/lmtumlyhxj7w9l0/ AADSLeteaLHsot0csTIAGxt5a?dl=0.

Slate your name on the video. Submit the downloadable link to auditions@ NCTheatre.com with “AEA Submission Your Last Name” in the subject line.

Submissions deadline is Apr. 14.

• 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 $824/wk. Equity LOA ref. COST

Contract.

‘The Music Man’

• Seeking Equity stage managers for

Portland Center Stage’s a digital reading of sections from Meredith Wilson’s “The Music Man,” featuring a few songs and scenes between Harold Hill and Marian Paroo.

• Company: Portland Center Stage. Staff:

Marissa Wolf, artistic dir.-prod. dir.; Chip Miller, assoc. artistic dir.; Eric Little, music dir.

• Virtual rehearsals will be held May 3-5

(10 a.m.-3 p.m. PDT); on-site rehearsals will be held May 6 (10 a.m.-3 p.m.) and May 7 (time TBD); performs on-site May 7-8 (call time 7 p.m.; performance at 7:30 p.m. PDT) in Portland, OR. This

04.08.21 BACKSTAGE

casting National/Regional reading will be filmed in person at Portland Center Stage and streamed live on our platform There will be no inperson audience. If you submit, you must be able to film in person in Portland, OR. • Seeking—Marian Paroo: female, 18+,

the town librarian and part- time piano teacher. Harold Hill (Cast): male, 18+, a confidence man who pretends to be a traveling salesman.

• Seeking submissions from OR. • Audition Materials can be found in

Dropbox at https://www.dropbox.com/ sh/aqh0bs7dag1o7o2/AAANW0GtzYjW 0ZZfS86Lb44Ea?dl=0.

• For consideration, email all video sub-

missions through either Dropbox or Google Drive folder that has granted access to casting@pcs.org. When you send in your video, attach a PDF of your headshot and resume. Submissions deadline is Apr. 11.

• 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 $1008 ($168/day). Equity LORT

Non-Rep Contract.

Feature Films ‘The Desecrated Ones’

• Casting “The Desecrated Ones,” a psy-

chological thriller/horror feature film.

• Staff: Jamie Bernadette,

writer-dir.-actress.

• Shoots in June in St. Simons Island, GA. • Seeking—Jimmy: male, 40-65, White /

European Descent, quirky, charactery, redneck type, with natural aging in the face. Small frame. Neutral accent.

From a small town. He is comedic without trying to be. He has a kind heart, but he does not always show it. At heart, he is a softie. He tells it like it is and his girlfriend pushes him around.

Strong supporting role. Role shoots about 6 days and works as a local in St. Simons Island, GA. Note: Include IMDB link in cover letter of your submission.

About 7 shoot days, give or take, starting in 2nd or 3rd week of June. Dates are locked and project is funded. Don’t submit if you have a conflict in the schedule.vMay fly and house talent for this role, but priority given for local talent. $500 flat for the project. Cheryl: female, 40-65, White / European Descent, dirty blond hair, thin, aging naturally, rough. She has been an alcoholic in the past and has recovered.

She smokes constantly and has a bad mouth. Must be willing to smoke. She is rough around the edges, tells it like it is, and is bitter and hateful. She pushes her boyfriend, Jimmy, around. She is a waitress and poor and unhappy about it. Note: Include IMDB link in cover letter of your submission. Shoots about 9 shoot days, give or take, starting in 2nd or 3rd week in June. Dates are locked

BACKSTAGE 04.08.21

and project is funded. Don’t submit if you have a conflict in the schedule. Must work as a local in St. Simons Island, Georgia. May fly and house talent for this role, but priority given for local talent. $500 flat for the project.

Richard: male, 40-55, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, blue-collar worker, tall with a larger frame, would love a beard or we can put a fake one on, abusive, drinks, condescending and mean. Would love longer, brown hair or dirty blond. Must be coordinated because there is a large fight scene. About 2 shoot days, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Don’t submit if you have a conflict in the schedule. Must work as a local in St. Simons Island, Georgia. Include IMDB link in cover letter of your submission.

Copy, credit, and meals provided.Note: This role requires nudity. Sex scene shot in the dark. May show rear nudity in the shot but very darkly lit. Steve: 40-65, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, open to look on this one, but need someone rough around the edges, not clean cut, some lines/wrinkles on the face are great, naturally aging. Must have a drivers license because scene is in the car. Powerful scene with 3 pages of dialogue. One shoot day, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Must work as a local in St. Simons Island, Georgia. Include IMDB link in cover letter of your submission. Copy, credit, and meals provided. Little Sara: female, 5-9, White / European Descent, playing a young Jamie Bernadette. Must look like Jamie: https://www.imdb.com/name/ nm2584117/?ref_=tt_cl_t2 Must have a nice emotional range, being able to show fear, grief, depression, and anger.

Must be able to shoot fast, so someone with some experience would probably be best. Must look the age range and not look like a tween or a teen. This is an incredible opportunity for a young actress. One of her scenes is with horror icon, Camille Keaton. She has about 3-4 short scenes that will be filmed in one day. Child actress’ time will be respected and she will be shot out as fast as possible. These are fantastic scenes that will show the talent of a young actress. Notee: The subject matter is about sexual abuse, though no sexual abuse is ever shown. So parents must be ok with the subject matter. Do not submit if you are not ok with the subject matter. This is very important.

Also must be ok with a violent, bloody scene. One shoot day, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Must work as a local in St. Simons Island, Georgia.

Include IMDB link in cover letter of your submission if you have it. Copy, credit, and meals. Kevin: male, 20-35, Indigenous Peoples, Latino / Hispanic, White / European Descent, for two very powerful scenes. Clean-cut, good looking. Open to hair color and eye color.

Must be able to show anger and be ok with fake blood. One shoot day, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Must work as a local in St. Simons Island, Georgia. Include IMDB link in cover letter of your submission if you have it. Copy, credit, and meals provided.

Little Alex: female, 4-7, White / European Descent, one very powerful scene. Must look like actress Betsy Sligh: https://www.imdb.com/name/ nm6564587/?ref_=tt_cl_t4 Must be able to show shock and scream and cry. Must be ok with blood and violence. It is very important that the child be in the age range of 4-7. Cannot look like a tween. One shoot day, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Child’s time will be respected and child will be shot out priority and done filming as fast as possible. Must work as a local in St. Simons Island, Georgia. Include IMDB link in cover letter of your submission if you have it. Copy, credit, and meals provided. Police Officer: male, 30-70, Black / African Descent, one great scene with veteran actor Brian Krause. One shoot day, starting in 2nd or 3rd week in June. Dates are locked and project is funded. Must work as a local in St. Simons Island, Georgia.

Include IMDB link in cover letter of your submission. Copy, credit, and meals provided. Grandma: female, 70+, White / European Descent, a grandma who can play annoyed and get very angry.

One very powerful scene. One shoot day, starting in 2nd or 3rd week in June.

Dates are locked and project is funded.

Must work as a local in St. Simons Island, Georgia. Include IMDB link in cover letter of your submission. Copy, credit, and meals provided.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, in your cover letter,

include a link to your IMDB profile.

• For more info on the producer visit

www.imdb.com/name/nm2584117/.

• Pay depends on role. Pays $500 flat

rate pay for the strong supporting roles of “Jimmy” and “Cheryl”, which require a 5-10 day time commitment. All other roles with a one or two day time commitment are copy, credit, and meals.

Talent must be local and self-report to St. Simons Island, GA. Open to possibly flying and housing talent for the roles of Jimmy and Cheryl, but local talent will have priority.

ent of a small child; can be of any race or ethnicity; any gender. Drummer: male, 30-45, Black / African Descent; lonely, quiet, kind. Looking for social connections; male, Black; tall, well built; experience with drumming is a plus.

• Seeking submissions from MA. • Send submissions to raquelta@bu.edu.

• Note your availability for early May.

Actors must be able to obtain a negative COVID-19 test result before shooting starts. For any questions contact raquelta@bu.edu.

• No pay.

Multimedia Backstage TikTok

• Casting Backstage users. Note: Are you

our next TikTok star? We’re casting Backstage talent to create videos for Backstage’s TikTok (@backstagecasting). Think outside the box, creativity is encouraged. We are looking for someone to be the face for our Tik Tok page.

• Company: Backstage. Staff: Alysa

Cirelli, social media marketing assoc.

• Remote.

• Seeking—Backstage User: 18+.

• Seeking submissions worldwide.

• Send submissions to alysa.cirelli@back-

stage.com.

• Choose one of the articles below and

describe that piece in a TikTok video.

See attached videos for examples of what we are looking for.

• Piece #1: (www.backstage.com/maga-

zine/article/things-to-include-on-yourvoiceover-resume-72644/) You should record showing exact what you should be putting on your resume, act it out!

• Piece #2: (www.backstage.com/maga-

zine/article/how-to-slate-in-an-audition-72708/) You should include and point to the things you would say in a slate: representation, present location, height, local hire? Union affiliation and character you’re auditioning for. Note: You may want to use voiceover, music, titles, we want to see your creativity!

• In your submission, note the article you

picked, your Tik Tok handle, and your Instagram handle. Note: Will only view submissions with attached video.

• Pays $25 for usage of selected video.

Sam Walton Look Alike

• Casting Sam Walton look-alike.

• Company: Mirror Images. Staff:

Dorothy Findlater, CEO-founder.

• Project begins September in Los

Short Films ‘The Lonely Drummer’

• Casting “The Lonely Drummer,” a mini

short film about a street performer in downtown Boston.

• Seeking—Sam Walton Look Alike /

Body Double Height 5’9 - 5’10: male, 67-75, White / European Descent, the project involves digital recreation around both a 2D and 3D image of Sam Walton.

• Company: Redlist. Staff: Raquel Tadeo,

• Seeking submissions nationwide.

• Send submissions to contact@mirror-

• Shoots May 5, 2021 in Quincy Market,

• In your cover letter state your avail for

dir.; Mallika Walavalkar, prod.

Downtown Boston, MA.

• Seeking—Little Boy: male, 5-10, all eth-

nicities; playful and curious; can be of any race or ethnicity, but must look young. Parent: all genders, 25-40, all ethnicities; down to earth, ordinary par-

22

Angeles, CA.

images.com.

video chat. Look at photos before you submit, as production is specifically looking for a Look Alike and body double.

• Pays $300-$500/day plus travel and

meals.

backstage.com

National/Regional casting

National Commercials Mattel Matchbox Toy Commercial

• Casting a kid-targeted spot for the new

Matchbox Airport Campaign from Mattel. Ad will be showing live-action toy play.

• COVID Testing Requirement: One par-

ent/chaperone allowed on Covid safe set. Both kids and the parent/chaperone must agree to be COVID tested before the shoot date. Back pair of kids and their 1 designated parent/chaperone must also agree to be COVID tested before the shoot date. Talent’s parents must be comfortable wearing PPE on set.

• Company: Damian Bao Casting. Staff:

Damian Bao, casting dir.

• Shoots for one day between Apr.

30-May 2 in NYC. Exterior shoot.

• Seeking—Siblings/Cousins: all gen-

ders, 4-7, all ethnicities, two kids (1 boy and 1 girl) who are siblings, cousins, or kids who are somehow related.

• Seeking submissions from NY, MA, PA,

DC and MD.

• Send submissions to casting@damian-

bao.org.

• Notes: Talent to provide their own

wardrobe. Rate is inclusive of wardrobe.

Talent to come camera ready; hair & makeup will not be provided.

• Callback session with director will be

held Apr. 14.

• Pays Session Fee: $500 + 20% AF.

Option A - Broadcast Usage: $500 + 20% AF. Option B- Digital Internet Usage: $500 + 20% AF. It is very likely that both Option A + B. Total per child is $1,500 x 20% AF. Pre-negotiated Renewals on both digital and broadcast: Client renewal option to extend at a fixed price (15% increase) for additional one year installments and thereafter.

• Usage: Option A - Commercial via any

and all broadcast media, including traditional broadcast television and cable television networks, worldwide, for one year from the date of public asset release. Option B - Commercial over the Internet, including websites, social media, digital media platforms, and OTT platform distribution, including paid media and pre-roll, worldwide, for one year from the date of public asset release.

• Backup Talent Rate: We plan to hold a

backup pair of siblings or cousins for $50 + 20% AF holding fee total for the pair.

Online Commercials & Promos Healthy Hair Product Shoot • Casting women and men with long,

curly hair (red or blonde) for a healthy hair product shoot.

• Staff: E. Kennedy, coord.

backstage.com

seeking a child and their parent (mom) to be cast together for this role, feel free to apply separately for this and the Mom role. Female (Mother of Kid) 28-45 Years Old: female, 28-45, all ethnicities. Male/ Female 18-25 Years Old: all genders, 18-26. Male/ Female 40+ Years Old: all genders, 39-87, all ethnicities.

• Shoots either remotely or at a studio in

L.A., depending on location of talent.

• Seeking—Person with Long, Naturally

Curly Hair: 18-45, Ethnically Ambiguous / Multiracial, White / European Descent, attractive people who have long, naturally curly hair to demonstrate hair products and talk about managing their curly hair.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Pays $125-$150 flat depending on the

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

• Script Lines (submit a video audition for

requirements of the shoot.

this role.).

• Final pay $200/ for 2hr hour shoot and

Household Products Commercial, Real Same Sex Couples

media/video use in perpetuity.

Self Taped Content, Creators

• Casting a real same sex couple to dem-

• Seeking talent/creators who own and

onstrate household products for a big name household brand.

• Dates are TBD but on going shoots are

know how to manipulate camera, lights and sound equipment and have general knowledge about visual/audiovisual/ film to generate high quality self-taped content for prestigious brands.

• Seeking—Real Same Sex Couple: all

ing dir.

• Company: TubeScience. Staff: Anna

Sweeney, casting. flexible.

• Company: READY SET. Staff: A S, cast-

genders, 25-35, all ethnicities.

• Talent works from home.

• Seeking—Professional Creator

• Seeking submissions nationwide.

• Send submissions to casting@tube-

(Woman): female, 18-65, all ethnicities, creators who own and know how to manipulate professional camera, sound and lightning equipment and have a general knowledge of cinematography to generate high quality self taped content. Professional Creator (Man): male, 18-65, all ethnicities, looking for creators who own and know how to manipulate professional camera, sound and lightning equipment and have a general knowledge of cinematography to generate high quality self taped content.

science.com.

• Pays $125 flat per person; nonunion.

McAlister’s Deli Curbside Digital Ad

• Casting a family (mom and two kids) to

star in a digital ad highlighting curbside delivery at McAlister’s Deli.

• Production states: “We are looking for

models from the same family for safety reasons. Do not apply if you are an individual without kids willing to star in the spot with you. A huge plus if you have an SUV to use in the spot. We will compensate for a car wash prior to the shoot.”

• Seeking—Family: 0+.

• Seeking submissions from GA. • Send submissions to colinmurphy@

• Pay TBD. Depending on script, perfor-

focusbrands.com.

mance and technical equipment.

• Submit photos of family and car (if

applicable).

• Pay provided.

Stage Staff & Tech

Paid Social Ad for Backstage: “Reactions” • Casting a paid social ad for Backstage

that will feature multiple actors (individuals) reacting to getting cast with Backstage! Note: We will shoot this project in a studio environment in the greater Seattle area. This will be just under a two-hour gig on location for each talent. Will require reading through multiple lines of script. Talent to provide their own attire. Covid-19 guidelines will be followed during the shoot. Seeking to fill the following roles/ demographics below. Script Lines (submit a video audion for this role).

Gloucester Stage Company 2021 Season, Stage Manager • Seeking submissions for stage manag-

ers for possible future consideration for the Gloucester Stage Company. Note: All stage manager positions are filled at this time.

• Company: Gloucester Stage Company.

Staff: Robert Walsh, artistic dir.

• Season runs in Gloucester, MA. • Seeking—Stage Manager: 18+.

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

• Company: Grow With Bamboo. Staff:

Stavro Victor, content producer remote; Jake Fordyce, content producer on location.

cover letter to auditions@gloucesterstage.com. Submissions deadline is Apr. 15.

• Studio shoot Apr. 20 or 27 in the

• Equity’s contracts prohibit discrimina-

greater Seattle, WA area.

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment oppor-

• Seeking—Kid Up To 11 Years Old - Boy

Or Girl: all genders, 7-12, all ethnicities,

23

Trinity Repertory Company’s streaming series of commissioned new plays in various forms including “Wrap Our Injured Flesh Around You” by James Ijames in April and readings of the winners of the high school short play contest in May. • Company: Trinity Repertory Company.

Staff: Curt Columbus, artistic dir.

• These are two day (reh/perf) readings

of sections of commissioned plays by Trinity Repertory Company in mid April and mid May (Apr. 13 and May 11). There will be a rehearsal the day before or the day of each reading. Rehearsal and performance will all be virtual.

• Seeking—Stage Manager: 18+.

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

cover letter to Laura Smith, production director at lsmith@trinityrep.com.

Submissions deadline is Apr. 9.

• Equity’s contracts prohibit discrimina-

Contract.

a content creator (not as a talent) is linked on your profile as well as your artistic reel. Also detail the equipment you currently have or plan to get for this project.

789 Church St. Ste. 100, Marietta, GA 30060.

• Seeking Equity stage managers for

• Talent will need to see your experience • Make sure that the reel of your work as

• Shoots TBD date at McAlister’s Deli -

New Play Readings, Stage Manager

• Seeking submissions nationwide.

• Send submissions to cast.me@ready-

and know about your equipment.

Murphy, casting.

• Pays $606/wk. Equity NEAT Contract.

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.

set.co.

• Company: Focus Brands. Staff: C.

tunity 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 $800/wk. Equity LORT Non-Rep

‘The Music Man,’ Stage Manager

• Seeking Equity stage managers for

Portland Center Stage’s a digital reading of sections from Meredith Wilson’s “The Music Man,” featuring a few songs and scenes between Harold Hill and Marian Paroo.

• Company: Portland Center Stage. Staff:

Marissa Wolf, artistic dir.-prod. dir.; Chip Miller, assoc. artistic dir.; Eric Little, music dir.

• Virtual rehearsals will be held May 3-5

(10 a.m.-3 p.m. PDT); on-site rehearsals will be held May 6 (10 a.m.-3 p.m.) and May 7 (time TBD); performs on-site May 7-8 (call time 7 p.m.; performance at 7:30 p.m. PDT) in Portland, OR. This reading will be filmed in person at Portland Center Stage and streamed live on our platform There will be no in-person audience. If you submit, you must be able to film in person in Portland, OR. • Seeking—Stage Manager: 18+.

• Seeking submissions from OR. • Send submissions to katien@pcs.org.

• For consideration, submit resume and

cover letter to katien@pcs.org.

Submissions deadline is Apr. 11.

• Pays $1,202/wk. Equity LORT Non-Rep

Contract.

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

04.08.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert Brad Lemack is a talent manager.

How can you tell if an agent is a scammer?

—@shannoncorbettctg

*Submit questions for our Experts on Backstage’s Facebook, Instagram, 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 04.08.21

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; LEMACK: COURTESY BRAD LEMACK

Let’s include managers in this, too. The short answer is to trust your instincts. If a representation offer is met with any feelings of doubt on your part, don’t do it—or, at least, don’t sign on any dotted line until you’ve had time to do your research and weigh your options.

Agents and managers work for their clients; you don’t work for us. That’s an important difference. Together, we form a partnership, a team, to move your career journey forward, always balancing potential and readiness with opportunity and action.

Talent agents are required by law in many states to obtain a license to operate their businesses. A great way to check the legitimacy of an agency is to see if the company is, in fact, licensed. In California, the state has a website to assist you with your research. In New York, call the Department of Consumer and Worker Protection. None of this applies to managers, who aren’t required to have a state license to open and operate their businesses.

Your research should include a search engine hunt using keywords that include the company or agent’s name, followed by the word “complaint.” If no evidence of any complaint is generated, that’s a great sign.

An inquiry to the Better Business Bureau in the city or state where the company is located can also yield helpful results, as can an inquiry to your city or state’s consumer affairs office. Other key resources include the Association of Talent Agents and the state-by-state guide to the licensing of artists’ agents and managers on the North American Performing Arts Managers and Agents website. Both are very helpful in understanding the regulation landscape.

It’s important to remember that no agent or manager should sell you anything. That includes photo sessions, classes, and showcases, as well as asking you to pay upfront for commissions on jobs not yet booked. While we may recommend service providers whose work we like, no legitimate talent rep will ever require you to use a specific photographer or take classes from a specific teacher or school. If any talent rep does, it should raise a big red flag in your assessment of that person and company.

S:10.25”

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The Actor’s Remote Resource

We’re taking you directly to acting and casting industry power players through Instagram takeovers, Q&As, live-streamed seminars, and interactive group classes to ensure you’re hitting all the right marks in and out of the audition room!

Celebrity guests include: Nicole Kidman Jodie Foster Jason Sudeikis Elle Fanning Rachel Brosnahan Alison Brie Aishe Dee Ricky Gervais Anthony Mackie Bradley Whitford Nicholas Pinnock Susan Kelechi Watson and more!

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

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