Backstage Magazine Digital Edition: May 27, 2021

05.27.21

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Listen Up:

Getting Booked:

Crew Edition

Industry pros weigh in on what they look for when hiring film + TV crew collaborators

Want to become an editor?

From training options to career networking, we’ve got what you need to know

5 experts talk breaking into sound design, editing, and mixing

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Hard-core training for Musical Theater performers who want to realize their potential as great actors.

Earn a college degree while working all day, every day on your craft.

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Contents

vol. 62, no. 15 | 05.27.21

EDITOR’S LETTER

Getting Work

Dear Reader,

2 ONE SPECIFIC SKILL WON’T CUT IT

RECENTLY, I WAS ASKED TO DESCRIBE BACKSTAGE. “Well, we started as a trade publication for New York City theater actors in 1960, but since then, we’ve expanded into so much more,” I said.

Welcome to one part of that so much more! Sixty-one years later, Backstage isn’t just for actors anymore. We’ve been working diligently to expand both our job market and our editorial reach to serve anyone interested in playing a part in the creative process—whether that’s in front of the camera or behind it, for a branded or a music video, a feature film or a scripted series.

This year, we’re launching Backstage profiles for creative freelancers in the crew, pre-production, production, and post-production spaces. This curated issue has been created specially to mark this momentous addition to the Backstage mission of making creative work accessible to anyone who wants to pursue it. Inside, you’ll find advice on how to get hired in these areas, where to study to expand your skills, and how to build your network, plus exclusive interviews with awardwinning video editors and sound mixers.

So if you’re looking for ways to develop your career in the creative industry, start here. Backstage’s guides and advice articles will help you work behind the scenes on projects led by tomorrow’s industry titans. I can’t wait to see where we go from here!

Why adding “multihyphenate” to your résumé will seriously boost your hiring potential

3 HOW AND WHY YOU NEED TO BUILD

YOUR NETWORK It’s not always what you know—sometimes, it’s who you know

4 IN THE NICK OF TIME

How last-minute jobs can make your career, and where to find them

6 WHAT INDUSTRY PROS LOOK FOR WHEN

THEY’RE HIRING How to go from wanting to work behind the scenes to actually doing it

Editing 8 MAKING THE CUT

How to get work as an editor right out of the gate

10 5 EDITOR TRAINING PROGRAMS TO CONSIDER

From granular skills to industry history, these schools prepare students for professional careers

12 SPOTLIGHT ON: KEN ELUTO, FILM EDITOR

Best,

From “Oz” to “30 Rock,” Eluto has helped create some of the most memorable TV moments of the last 20 years

Briana Rodriguez

Sound

Editor-in-Chief

14 LISTEN UP

Sound pros share their best advice for breaking into—and staying in—the industry

16 STAY THE COURSE

Five sound design training options for your future film career

18 SPOTLIGHT ON: CHRISTOPHER BOYES,

SOUND DESIGNER AND MIXER The Oscar winner on what you need to know to work in sound

Casting 20 New York Tristate 21 California 22 National/Regional Images by Macrovector/Fatmawati Achmad Zaenuri/ shutterstock.com. Cover designed by Ian Robinson.

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Why adding “multihyphenate” to your résumé will seriously boost your hiring potential

There are X jobs a year for a local director, Y jobs a year for a director of photography, and Z jobs a year for an editor. If you’re an expert in all of those fields, you’ll have many more opportunities for work.

By Jourden Aldredge WHEN I FIRST STARTED OUT IN THE WORLD OF FILM AND VIDEO production, I was a fresh-faced kid just out of film school who didn’t know a thing about how the industry actually worked.

Luckily, I had a mentor who sat me down before my first job interview and explained some of the facts.

The main lesson I took away from our discussion was that what I learned in school didn’t mean squat. The whole notion of learning a specific skill set and focusing on only that was the wrong way to go. The industry is changing rapidly as we move into a new era of multihyphenate filmmakers who produce, shoot, edit, and everything in between.

Sure, I got some work as “just an editor,” but it didn’t take long for me to realize that I needed to take a more varied approach.

As my skill set grew, so, too, did my opportunities and the overall quality of my work, thanks to a more comprehensive understanding of each and every project.

Whether you’re just starting out in your career or are considering adding new skills to your résumé, here are some reasons why being a jack-of-all-trades will up your hiring potential.

More opportunities With the rise of new media, clients are no longer looking for a team of people who each contribute a single skill.

Instead, they’re often in the market for an individual who can wear multiple hats for a fraction of the cost and time. There’s an entire world of content creation out there for multihyphenates, which

More money From there, you can either start taking on multiple projects at once, or, better yet, projects in which you wear several hats.

And unless the job description is already calling for it, adding extra responsibilities often means adding more time and more pay.

A client I’d worked with once as a shooter reached out to hire me again and asked if I had any recommendations for an editor. When I saw that the budget offered an even better deal than the fee I’d make solely as a shooter, I sent him my video-editing reel. I ended up getting both jobs, which made for a very nice paycheck.

means there’s a tremendous amount of work to go around.

Even within the traditional world of video production, you’re much more likely to find opportunities. It’s simple math:

Gear autonomy The person performing the most jobs generally is

Clients and retainers If you can prove that your services are necessary and cost-effective, the goal should always be to turn any filmmaker you work with on a one-off project into a full-time client. Building a client base is even more advantageous when you start negotiating retainers, which means you can count on work year-round.

Your own work Being employed and making money is nice, but chances are that you got into this industry to create your own work. Acquainting yourself with multiple skill sets is indispensable when it comes to developing your own projects.

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As my skill set grew, so, too, did my opportunities and the overall quality of my work.

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Project-based pay Once you have enough skills to offer holistic film and video solutions, you can begin charging per project. This opens even more doors in terms of how you bill for your services, since you no longer have to break down each role and rate individually.

After we worked together on several projects and built up a level of trust between us, the client I mentioned before continued to hire me.

We moved from hourly and day rates to price-per-project, which was a much higher number. Coordinating with one person saved him time and money, and it helped me because I didn’t have to wait between jobs and could just bounce straight from one role to another.

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Crew: Getting Work

One Specific Skill Won’t Cut It

responsible for calling in cameras and gear. This means that you get to choose the stuff you like working with.

If you’ve reached the point where you own your own equipment, even better. I’d rather work with the camera and gear I own; I know it the best, and it’s the most practical for me. And while you can figure out how to work with gear you’re not as familiar with or didn’t choose, it’s just not quite the same in terms of skill and speed.

It’s not always what you know—sometimes, it’s who you know

By Jourden Aldredge

IN THE WORLD OF FILM AND VIDEO PRODUCTION, THE OLD ADAGE is most definitely true: It’s not what you know; it’s who you know.

You might be the best gaffer in the city, or maybe you have DP chops that would make Roger Deakins jealous. But if you don’t have a solid network, you could find yourself chronically out of work.

It can be hard to start fresh in a new place and try to establish yourself in a competitive industry. It takes a combination of proactiveness, patience, and resolve to find the right communities and make those important connections that are needed to build out your crew network. But once you get started, the rest will come more naturally.

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LIA KOLTYRINA/SHUTTERSTOCK.COM

Networking is crucial to your success.

If you’ve been on a shoot of any size in any role, you’ve already started building your crew network—a loose grouping of personal and professional contacts in the industry. Here’s why they’re so important: Producers hire people they’ve worked with in the past, a recommendation is better than any résumé, and working with friends can make even the most difficult shoots fun.

As you develop your network, you’ll most likely find that the majority of your opportunities come through these connections and friendships.

The friends I made on some of my very first shoots went on to become the DPs and producers I still work with today.

There’s a right—and a wrong—way to network.

Introduce yourself; a first impression can be a make-orbreak moment. It can be nervewracking when you’re first starting out, but remember: The person you’re talking to might be just as nervous as you are.

Also, be sure to choose your timing wisely. When you’re on set, you’re expected to be busy and engaged.

Luckily, there are plenty of

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moments of downtime when it will be more appropriate to make introductions.

Remember names and details; this can go a long way toward building a solid relationship quickly.

One trick is to assign a fun nickname to the person combined with their actual name. Remembering a personal detail that comes up in conversation can also score you major points down the road when you want to reconnect. Recalling that Mal the gaffer was about to become a dad when you worked together gets you an immediate in when you later reach out and ask how the baby is doing.

Don’t limit yourself to only making connections on set, though; there are proactive things you can do to seek out new contacts. Look for opportunities to meet future collaborators and employers on websites and community pages by pairing your location with search terms like “filmmaking,” “film/video/TV production,” “filmmakers,” and “crew.” Seek out specific group pages through Facebook and LinkedIn. Once you start making connections, ask others where they network in order to keep expanding your net.

Stay in touch.

Besides bonding by working hard and creating something together, the best way for you to nurture your budding network is to follow up. You shouldn’t hound people, but it’s perfectly acceptable to check in occasionally via email or text to see how they’re doing and what they’re working on.

Additionally, look for local film and video events in your area. Most major cities will have large film communities, such as the New York Film/ Video Council or FilmLA. I’ve also been part of great groups in Texas like the Dallas Film Commission and the Austin Film Society. From there, you can find smaller, niche groups that appeal to your particular areas of expertise.

And consider volunteering your time. If you work with

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Crew: Getting Work

How + Why You Need To Build Your Network

other creatives in the field, you’re likely going to be asked to help out on passion projects. Giving up your weekends or doing work for below-pay or free can help you in the long run. This is also a great way to build up goodwill so you can call in favors when you need help.

It takes a combination of proactiveness, patience, and resolve to find the right connections.

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Crew: Getting Work

In the Nick of Time

Your network A lot of these gigs will come from your professional connections. But if you’re new to the business and don’t have a robust network, you’ll have to get proactive. Seek out opportunities, and let it be known that you’re looking for work.

How last-minute jobs can make your career, and where to find them

By Jourden Aldredge

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Local film offices If there’s a movie shooting in your area, it’s probably registered with the local film office. It will let you know which productions are headed your way that may need crew members, and many have databases where you can upload your details.

In New York, check out Reel Jobs Listings and Filming Now in NYC; in California, FilmLA, the California Film Commission, and Film SF; in Georgia, the Georgia Film and TV Production Help Wanted Hotline; in Illinois, the Chicago Film Office; and in Texas, the Dallas Film Commission, Austin Film Commission, and Houston Film Commission.

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Social media Landing a last-minute job can be as simple as plugging in your location and relevant keywords on Facebook, such as “Austin film crew jobs” or “last-minute production jobs in New York.” You should also follow local creators, who often post when they’re crewing up. A few good Facebook groups to follow include Freelance Film Crew – Los Angeles, I Need a Production Assistant!, People in TV: Runners, and the Film Industry Network. Check these groups every day, and set up alerts so you get a notification when a new post goes up. Reply to anything that sounds interesting or worthwhile, and get yourself those last-minute jobs.

WHEN YOU’RE FIRST STARTING OUT IN CREW AND PRODUCTION, IT may seem like the jobs available to you are few and far between, uninteresting, or both. Those entry-level roles can be tedious and thankless, and may not align with the career vision you have. But there is no better way to learn, gain experience, and network than by taking those jobs and doing them well.

This is why you should say yes to everything (within reason), especially last-minute gigs. Not only can they lead to finding amazing connections and networking opportunities, but you’ll gain valuable experience. The more time you spend working, the more opportunities you have to get hands-on experience.

Another thing that will keep your career moving is having consistent credits, which last-minute jobs can help with. Doing work just for the credit isn’t wise, but showing that you work consistently indicates that you’re experienced, good at your job, and in demand.

Before you know it, those gigs you took on short notice will lead to you having your pick of multiple offers.

Finally, when you’re asked to do something at the last minute, you’re in a much stronger position to negotiate. Don’t exaggerate or lie about what it will take moneywise for you to accept the job, but remember that they need you, too. And if it’s a last-minute request, they’re probably willing to offer more if you ask for a number within reason.

Convinced of the power of last-minute jobs? Good. Here’s how to find them.

Job sites and databases Filter listings by a production’s phase—“active” or “filming.” Chances are that once something is in preproduction or principal photography, the jobs that filmmakers will need filled are of the last-minute variety. Make sure you’re constantly checking.

May 26-28

Celebrating the acting + creative talent behind the year’s best and buzziest TV

For details, visit join.backstage.com/backstagefest/

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Crew: Getting Work

How to go from wanting to work behind the scenes to actually doing it

By Matthew Nerber

most effectively get it for you.

But also knowing when to ask, knowing which battles to pick, knowing when to let things go, and knowing when to fight for clean tracks. And that only comes with experience.”

—Mathew Price, production sound mixer, “The Marvelous Mrs. Maisel”

MARBELLASTUDIO/KZENON/NEJRON PHOTO/PETER TITMUSS/GURUXOX/SHUTTERSTOCK.COM

THE CREW IS THE BACKBONE OF ANY PRODUCTION. BEHIND THE scenes—and below the line—they make everything work like a well-oiled machine. And like any job in the entertainment industry, the road to making crew work your career is a winding one.

So how can you make the jump from wanting to work in production to actually doing it? We’ve got you covered with advice from industry pros on what they look for when hiring their teams.

Don’t hide your enthusiasm.

“My team is so important; we need to work hand-in-glove for four to nine months. I often seek advice and referrals from other designers that have worked in the city I am planning to work in. I look for experience, and if I am in a city with few experienced crew [members], then I look for enthusiasm and listening skills.” —Justine Seymour, costumer designer, “Unorthodox”

in bands, so if a friend of yours is making a music video and may also be making a short film, score their short film.

Once you’re to the point where you have an agent, their job is to keep their eye out for jobs and negotiate on your behalf.

But I find the most valuable thing is making connections with directors. If you do a good job, they’ll hire you again, and you’ll ideally have a lifelong creative companion.” —Emile Mosseri, composer, “Minari”

Fitting in with the culture is key.

“Each artist needs to be able to operate in a team and communicate well. That’s the baseline. On top of that, we look for talent that will fit our culture, which is built on honesty, attentiveness, and independence. Given that the team is largely virtual—and has always been—it’s very important we have the right talent in place. Frequently, our team is sourced from referrals from current and previous employees.” —John Renzulli, VFX supervisor, “The Queen’s Gambit”

Communication, computer, and budgeting skills will come in handy. “[As a location manager, I] look for somebody who has good communication skills and [can think] outside the box.

Sometimes you’re asked to find stuff that doesn’t exist, so you have to think of ideas and be brave enough to suggest [them]…. [I look for Microsoft] Excel skills and budgeting skills—being able to handle that side of things.” —Emma Pill, location manager, “1917”

Doing quality work will get you rehired.

“A lot of composers I know are

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Work hard, and care about what you do.

“If you work hard and really care about what you do and have some integrity, that’s going to get noticed. That cultivates a pay-it-forward attitude…. Nurturing those relationships in a genuine, authentic way is a great thing for life in general, and also for the job.” —Ann Laudick, second assistant director, “Minari” Make sure your portfolio is ready to go.

“Something that I do notice a lot with portfolios is they can be a little bit unfocused, so [look] at what studios are actually hiring for. A lot of times, the job application page will say very specifically, “We want to see these exact skills.” Be mindful of making sure your portfolio is actually focused on whatever job you might be interested in.

It’s good to be multitalented, and it’s definitely a benefit to know multiple parts of the pipeline, but you also don’t want to be the jack-of-all-trades and master of none.” —Jill Dykxhoorn, lead background artist, “Archer”

Know how to navigate politics on set.

“I wish I had learned [about on-set] politics earlier on in my career—how to ask [for] what it is you need in a way that will

Always be learning.

“Failure to get the shot by below-the-line technicians

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is greatly frowned upon by those who sign our checks.

So they need to develop a solid method for disasterproofing their particular area of responsibility, which they will learn by watching the good people in the positions above them and making a commitment to learning.”

—Matthew Moriarty, camera operator, “A Quiet Place Part II”

Crew: Getting Work

What Industry Pros Look for When They’re Hiring

Network, network, network.

“I always go for referrals.

Rarely do I hire someone entirely out of the blue. I have a huge network of colleagues whose opinions I trust implicitly, and I’ve rarely been steered wrong that way. I love finding good people through other good people. [Networking] is a huge part of our business. I highly encourage people to attend [local] film festivals and join Facebook groups that match your interests. There’s tons of productive networking to do online.” —Caitlin Gold, producer, “The Sounding”

If you do a good job, they’ll hire you again, and you’ll ideally have a lifelong creative companion.

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Crew: Editing

Making the Cut How to get work as an editor right out of the gate

By Matthew Nerber I came to visit a schoolmate in New York City and never left.

The first job I found was in editing, and I really liked it. I started as an apprentice editor on a corporate film, and soon after that, I got work as an assistant editor for Jay Freund on a feature documentary. I ended up working with him for about seven years. We got along great, and at some point, he agreed to supervise a documentary film that I cut on the artist Franz Kline. He then directed an episode for a series that I cut, as well.” —Ken Eluto, “Modern Love”

ONE OF THE MOST ESSENTIAL MEMBERS OF ANY PRODUCTION team, an editor is responsible for the artistic choices made inside the editing suite that result in what viewers see onscreen. If you’ve tinkered with cutting together projects and think that editing is the path for you, we have some advice from professional editors on what it will take to break into the industry and land that first job.

as an assistant editor on a Hallmark TV movie. A friend of his [needed] to replace himself so he could go home for Christmas; and since I’m from Southern California, I said I’d do it, since I wasn’t leaving. I got the job, and because I had been focusing my schooling on sound design, the editor on the job really liked my sound work and organizational skills. She told me once my two weeks were done that I should call her when I graduated.” —Nona Khodai, “The Boys”

There’s more to filmmaking than being a director.

“I, like anyone, had ambitions to be a director, and someone told me once, ‘If you want to direct, the place you’re going to learn the most about filmmaking is the cutting room, because it’s the culmination of everyone’s efforts.’ So that’s what I did.

Don’t discount the value of an apprenticeship.

“I went to film school at Temple University, but I didn’t study editing; it was all aspects of film. When I got out of school,

Work with as many people as possible, and learn from your experiences.

“When I was in film school and decided I wanted to pursue editing, I told all of my friends that if they wanted someone to cut their short films, I was their guy. You learn a lot more cutting other people’s footage than you do cutting something you directed yourself; it forces you to figure out what the filmmakers’ intentions were when they were planning and shooting. As for actually finding work, it’s really all about meeting as many people in post-production as you can and getting your résumé out there. You just never know when a project is going to be looking for an assistant editor, and the [fresher] you are in people’s minds, the more likely you are to be put up for the job.” —Fred Raskin, “Guardians of the Galaxy”

Foster connections with your peers and classmates.

“Editing kind of fell into my lap. I was in my final year of film school at USC, and I got an email from a friend asking if I’d be interested in working

You learn a lot more cutting other people’s footage than you do cutting something you directed yourself.

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Take the early jobs, even if they’re not in editing.

“After years of trying to break into the business, I finally got a job as an apprentice sound editor…gradually becoming an assistant sound editor and then a sound editor on features for directors like Spike Lee, Brian De Palma, and Sidney Lumet. The opportunity to move into picture editing finally came when I heard that a director named Rob Weiss was looking for someone to edit his first film…. I got hold of Rob’s number and called, asking him to give me a shot.

After sending him my résumé and a short film I’d made, he finally took pity on me and gave me the job.” —Leo Trombetta, “The Outsider”

I became an assistant editor and then studied at a place called the National Film and Television School, just outside of London, and specialized in editing. I think I’m just very suited to the diplomacy in the cutting room.” —Nick Fenton, “A Private War”

In The Envelope The Actor’s Podcast

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!

Crew: Editing

5 Editor Training Programs to Consider From granular skills to industry history, these schools prepare students for professional careers

New York University, Tisch School of the Arts

By Isabelle Lichtenstein

American Film Institute Conservatory MFA in Editing

knowledge they’ll need to be a top-notch editor.

New York University, Tisch School of the Arts Post-Production Specialization

NYU’s Tisch School of the Arts has a reputation for turning out industry icons, and its editing alums are no exception. Tisch’s editing program is housed within the film and television

department’s post-production specialization, which offers classes focused on editing structure (both narrative- and documentary-based) and technical software training.

Students learn the core principles and techniques of production, as well as writing, criticism, and the history of the industry. This holistic look at video creation allows students to understand editing not just as a methodology, but as a storytelling tool.

As they progress, students get hands-on experience working on other students’ projects and learning more advanced techniques. Tisch also offers a wide range of equipment and resources: In post-production suites, students have access to everything from Final Cut Pro X and Avid Media Composer to Adobe Premiere Pro CC and Intuos5 Touch tablets.

University of Southern California Post-Production Degree

Thanks to sizable donations from alumni (like George

American Film Institute Conservatory

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COURTESY AMERICAN FILM INSTITUTE CONSERVATORY; COURTESY NEW YORK UNIVERSITY, TISCH SCHOOL OF THE ARTS

The American Film Institute Conservatory may be one of the most highly selective schools in the country, but with good reason. It prides itself on producing the best, so it only accepts students the institute believes will be the future of film.

The AFI Conservatory’s editing specialization trains fellows in the technical side of the editing process, while emphasizing how storytelling

plays a part in edits. Fellows are guaranteed work editing at least eight films, plus the chance to cut films and work as assistant editors.

AFI also prides itself on bringing “master storytellers” to campus for talks, panels, and seminars. Past speakers include “Lawrence of Arabia” editor Anne V. Coates and “Spotlight” editors Tom McArdle and Michael Rezendes. At the end of the program, each fellow is armed with a full demo reel suited for their entrance into the industry, as well as all the

COURTESY UNIVERSITY OF SOUTHERN CALIFORNIA; COURTESY CHAPMAN UNIVERSITY; COURTESY EMERSON COLLEGE

WHETHER IT’S FOR FILMS, WEB SERIES, OR DIGITAL ADS, ONE OF the most crucial parts of the post-production process across genres and mediums is editing. For anyone who wants to have a career as an editor, finding a great training program is key. Designed to instruct students in every aspect of the video editing process, from learning specific software functions to examining the role of an editor in the scope of a larger production, the following programs offer unique opportunities for budding editors.

Chapman University

COURTESY AMERICAN FILM INSTITUTE CONSERVATORY; COURTESY NEW YORK UNIVERSITY, TISCH SCHOOL OF THE ARTS

COURTESY UNIVERSITY OF SOUTHERN CALIFORNIA; COURTESY CHAPMAN UNIVERSITY; COURTESY EMERSON COLLEGE

MFA in Film Production, Specialization in Editing

Chapman University’s Dodge College of Film & Media Arts boasts a Digital Media Arts Center that features a 1,500-square-foot directing stage, a 4K screening room, and an 18,000-square-foot digital arts studio. For those interested in editing, Chapman has a 76,000-square-foot production studio, giving students the chance to get hands-on experience with

Crew: Editing

Lucas, who contributed $175 million), the University of Southern California is rich in both funds and support.

If you’re interested in video editing, you can learn the discipline in the Peter Stark Producing Program.

Known for its technical training, the program provides students with hands-on experience and software trials, while also emphasizing film history and techniques.

Students have access to resources like Avid editing bays, color-correction suites, sound mixing rooms, visual effects studios, and ADR and foley stages.

Run like a studio, the program challenges you to think about how video editing and post-production play a part in not only specific films, but in the industry as a whole.

Chapman University

multiple editing suites, a production design studio, and set workshops.

The three-year MFA program is mentor-focused, with a curriculum that zeroes in on visual storytelling, specific techniques, and industrystandard software. During the first and second years, students get a foundational look at filmmaking, and how production plays a part in the

process; the program also promises students the ability to gain real-life production experience, not just staged scenarios in class. In the third year, students are given the chance to work with a studentrun team on a thesis project with a $15,000 budget. After receiving a well-rounded look at film production, video editors are able to split off into their specializations to further their education in specific areas.

Emerson College Degrees in Media Arts Production

Emerson College offers both a bachelor of arts and a bachelor of fine arts, both within the media arts production major,

which offers students a wide look at production in general, as well as a deep dive into specializations like video editing. Students spend their first semester learning production foundations and industry history, all while attending production workshops.

Students are then able to dive into editing, with multiple courses offered that each teach different software and techniques with the aim of sending graduates into the world professionally equipped. At the end of the four-year program, students have the opportunity to participate in capstones to gain a BFA and graduate with professional work.

University of Southern California Emerson College

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Crew: Editing

personality who is easy to get along with—someone who is dependable, knowledgeable, and keeps up with the latest technology; someone I can rely on to help out with sound, temp music, and temp visual effects that may be needed; and [someone] to prepare whatever the producers or network may need.

SPOTLIGHT ON:

“Modern Love”

Ken Eluto, Film Editor

Rock” and “Modern Love.” They could not be more different; it keeps life interesting.

I learned most of what I know on the job and [from] working with other people.

What does a day in the life of an editor look like?

On “Modern Love,” I came onboard to edit three episodes of the series…[and] worked at the post facility, Light Iron, in Soho [in Manhattan]. I worked on episodes that were being directed by three directors: Sharon Horgan, Emmy Rossum, and Tom Hall. With Emmy and Tom, I had a full rough cut of their episode, and then they came into the editing room to work with me to address their notes, as well as notes from producers. Sharon had to return to London, so we worked remotely, sending her cuts and getting her notes by email and phone…. “Modern Love” was cut on Avid, and media was shared so my assistant could prepare the dailies and help with other editing tasks.

From “Oz” to “30 Rock,” Eluto has helped create some of the most memorable TV moments of the last 20 years

By Allie White

WHEN A FILM OR SERIES IS SHOT, THERE ARE COUNTLESS TAKES, various set-ups, and dozens of different iterations of the same lines of dialogue—basically, hours and hours of footage that needs to be crafted into the final product seen onscreen. So it’s a bit of an understatement to say that editors have their work cut out for them.

Having worked on everything from “Oz” to “30 Rock” to “Succession,” editor Ken Eluto knows this process well; and it’s his eye for detail and pacing that has resulted in some of the most memorable TV moments of the last two decades. Here, Eluto sheds light on the process, how he works with different creatives, and the importance of learning on the job.

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ended up working with him for about seven years. We got along great, and at some point, he agreed to supervise a documentary film that I cut.

I’ve worked on documentaries, dramatic shows like “Oz,” “Succession,” and “The Purge,” [and] comedy shows like “30

What do you look for in a potential hire?

For an assistant, I look for someone with a good

12

What are some of your favorite moments of great editing?

There are too many inspiring films and shows to mention.

They all influence my work.

They are in my memory, but in the end, as an editor, you always have to find the right style that best serves the specific story, emotions, characters, and situations in an authentic way.

It’s a process of revisions, tightening, double-checking performances, cutting lines, or cutting or moving whole scenes. backstage.com

COURTESY AMAZON

How did you become an editor?

I went to film school at Temple University. The first job I found was in editing, and I really liked it. I started as an apprentice editor on a corporate film, and soon after that, I got work as an assistant editor for Jay Freund on a feature documentary. I

What advice would you give aspiring editors?

When I started out, I was fortunate to be in the same room as the editor, and could watch what they were doing and learn from them. In the digital age, assistants don’t have that opportunity as much, so it’s good to take any opportunity to learn from the editor you’re working with. If you have the time, try cutting some scenes on your own, and ask the editor for his or her comments and suggestions.

One thing that’s great these days is that, with so many new streaming outlets, there [are] so many shows being produced that I think it’s much easier to advance faster. Persistence will pay off.

The Slate

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.

BACKSTAGE

Crew: Sound

Listen Up

was like, ‘Oh, my God, this is it.’

I went up and asked if I could work for them, for free, as an intern. And that’s how I started with them, and [I] just kind of worked my way up.”

—Karen Baker Landers, sound editor, “Skyfall”

Sound pros share their best advice for breaking into—and staying in—the industry

By Matthew Nerber

Take a job that will get you on set with pros.

“I went freelance and did a lot of documentary work before I met a cameraman who invited me to a party, where I met a sound mixer who asked me to be a boom operator for him. It was a four-week job [and] there was no money, but I was young and hungry, so I grabbed that opportunity.

His name was Lee Orloff, and he [now has] a [Cinema Audio Society Filmmaker Award]. So, somehow, I hooked up with the best, which was an amazing learning experience. While I was working with him, I got the bug to mix on my own for narrative work.” —Mathew Price, production sound mixer, “The Marvelous Mrs. Maisel”

WHILE IT’S TRUE THAT FILM IS PRIMARILY A VISUAL MEDIUM, IT’S the pairing of sound and moving image that makes for a truly cinematic experience. Luckily, there are many jobs for aspiring filmmakers in the sound department. A sound designer is responsible for creating the specific effects that go on a soundtrack; a sound mixer is often the head of the department, ensuring that all recorded sound is properly leveled; and a sound editor will take all the elements that make up a soundtrack—score, dialogue, effects— and weave them seamlessly into the final cut.

Whether you’re interested in mixing, designing, or editing, there are several routes you can take to land that first job. Here’s some career advice from the best in the business.

When you’re just starting out, offer to work for free.

“I was always drawn to sound; I was always intrigued by it. [I] used to walk around the house and record stories just with sound. As I was getting ready to go to college, I thought, Maybe there’s something to this. But it wasn’t something people talked about; you just weren’t taught to do that. We had two [sound] designers come and speak to us, Richard Anderson and Mark Mangini.

They were speaking about sound design, and I basically

Be patient.

“I started off as a runnercum–tea boy in an audiovisual company, which was more to do with audio slideshows.

Then, I managed to get a job as an assistant picture editor in commercials, which took me

Don’t be afraid to knock on doors and volunteer.

“I went knocking on doors of production companies, asking if I could help out on any shoots. Most of what I’ve learned has been on the job.

I learned by doing: making films with equipment and other enthusiasts from a film and video workshop. I started volunteering on more professional shoots; then, I got on a trainee scheme where I was attached to various productions assisting in different departments—but mostly in sound. After that year, I worked [as an assistant] but was quickly pushed into recording sound for corporate videos and documentaries.”

—Stuart Wilson, sound mixer and recordist, “1917”

George MacKay in “1917”

FRANÇOIS DUHAMEL/UNIVERSAL PICTURES AND DREAMWORKS PICTURES

Always be on the lookout for teachers and mentors.

“I went to film school with this notion that I was going to be a cinematographer. My film professor, when I graduated, said, ‘I have a job you might be interested in: It’s working for the Saul Zaentz Film Center in Berkeley, [California,] in the sound department.’ And I said, ‘Oh, I want to be a cinematographer.’ And he said, ‘Chris, take the job. You’re gonna be rubbing shoulders with the biggest names in the business. Then see what you wanna do.’ I was working with a lot of really talented people, and I started to watch what they did and how they took all of these sounds and folded them into this track that became [an] integral part of telling [the] story in a movie.”

—Christopher Boyes, sound editor, sound designer, and re-recording mixer, “Avatar”

about two years of applying for lots of different jobs…. You really had to have a passion to get in.

As an assistant picture editor on commercials, it was my responsibility to lay up the sound effects, which is where I became aware of that particular discipline…. I then worked on lots of TV shows before going back to features.

They were good ground to learn the skills I needed.”

—Harry Barnes, sound designer, “Doctor Who”

As my skill set grew, so, too, did my opportunities and the overall quality of my work.

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14

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S:10.25”

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

Five sound design training options for your future in film

By Isabelle Lichtenstein Savannah College of Art and Design

rigs with artist mixers; and classroom workstations with Pro Tools 10/11 and Waves Gold. SCAD also offers advanced Pro Tools and Sibelius certification levels.

Savannah College of Art and Design

What sets SCAD’s sound design program apart are the resources and facilities students have at their disposal. The school has invested over $1 million into custom-built suites intended to simulate a sound designer’s

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DEGREES: Bachelor of fine arts,

master of fine arts, and master of arts in sound design

The Blackbird Academy

Run out of Blackbird Studio, a multistudio production facility in Nashville, Tennessee, the Blackbird Academy is a professional sound engineering school that gives graduates the opportunity to gain technical skills and hands-on experience. Classes,

The Blackbird Academy

professional environment.

The degree goes in-depth on a number of programs, and offers access to tools and software outside the classroom, including 7.1 and 5.1 mix stages with Pro Tools HDX configurations, plus D-Command and D-Control consoles; Pro Tools HD Native

16

backstage.com

COURTESY SAVANNAH COLLEGE OF ART AND DESIGN; THE BLACKBIRD ACADEMY

FROM THE CLANGING OF SWORDS DURING AN EPIC FIGHT TO AN alien’s otherworldly scream, sound design plays a crucial role in transporting viewers into the worlds they see onscreen—and making them all sound believable. This process of creating soundtracks and sound SFX—recording, generating, acquiring, and manipulating audio—encompasses the work of a sound designer.

It’s a job that’s both technical and creative, requiring a deep knowledge of recording, mixing, and special effects techniques; a mastery of sound software and hardware; and the inventiveness to create unique, interesting sounds. As such, formal training is often necessary. But finding the right training program can be difficult; it’s a wide-ranging specialization, and many schools consider it to be part of their broader audio production or sound engineering programs. If you’re interested in sound design, here are five top training courses to consider.

COURTESY MIDDLE TENNESSEE STATE UNIVERSITY; CONSERVATORY OF RECORDING ARTS AND SCIENCES; BERKLEE COLLEGE OF MUSIC

Crew: Sound

Stay the Course

COURTESY SAVANNAH COLLEGE OF ART AND DESIGN; THE BLACKBIRD ACADEMY

COURTESY MIDDLE TENNESSEE STATE UNIVERSITY; CONSERVATORY OF RECORDING ARTS AND SCIENCES; BERKLEE COLLEGE OF MUSIC

taught by top names in the industry, are conducted instudio over the course of 24 weeks; students and faculty meet five days a week for 30– 40 hours per week. Essentially, the Blackbird Academy considers its program your full-time job.

Students learn about specific elements of sound design, including preproduction, overdubbing, and mixing. Outside of the studio, they get the chance to utilize isolation booths, 30 individual Pro Tools stations, and the Universal Audio Apollo interface. Classes are taught by industry professionals and are often held off-site.

“Industry professionals are constantly popping in and out, utilizing and appreciating everything that Blackbird has to offer,” says Blackbird Academy graduate Connor Johnson. “The entire studio—from microphones to outboard gear to all of the studio rooms—is available for the academy. This school is the real-world experience [and] provides tremendous support for [its] soon-to-be graduates, [helping] them land internships [and] work opportunities all over the globe.”

DEGREES: Studio and live sound

engineering diplomas

Middle Tennessee State University

Located in Murfreesboro, Tennessee, Middle Tennessee State University has one of the largest audio production programs in the world. The school prides itself on its production facilities, including

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Middle Tennessee State University

Crew: Sound

Conservatory of Recording Arts and Sciences

industry-standard recording consoles, even going so far as to give them a package upon acceptance that includes a laptop and microphone.

Students have access to all 13 studios across two campuses, available 24/7. Small classes with knowledgeable, experienced faculty mean that every student gets the attention they need. CRAS also brings in industry speakers to discuss careers in related fields and beyond.

five recording studios of various sizes, an audio post-production lab, a “live sound café,” an electronic music lab, and a mastering lab. It also allows students to focus on sound design as a specialization, offering more opportunities to dive deep into software and processes.

DEGREE: Bachelor of science in audio production

Conservatory of Recording Arts and Sciences

DEGREES: Diplomas and

Alumni of the Conservatory of Recording Arts and Sciences often find themselves accepting Grammys for their work. Rather than offering a traditionally structured program, the Tempe, Arizona, school focuses heavily on placing students in internships and helping them network with world-class professionals to gain hands-on experience that best prepares them for careers post-graduation.

CRAS also offers students

certifications

Berklee College of Music For those looking for a complete sound design education without having to physically show up, Boston’s Berklee College of Music offers online certificate programs, as well as 12-week courses at the undergraduate and graduate levels.

Certification programs include live sound production, Logic Pro, mixing, mastering,

17

Berklee College of Music and production for visual media, among many others.

Graduate courses include audio/music production for visual media; meanwhile, undergraduates can study Pro Tools 101, mixing and mastering, audio mastering techniques, live sound mixing and recording, orchestration, film scoring 101, and audio postproduction for film and TV. DEGREES: Advanced

professional certificates

05.27.21 BACKSTAGE

Christopher Boyes, Sound Designer + Mixer

“AVATAR”: TWIN DESIGN/SHUTTERSTOCK.COM; “THE LORD OF THE RINGS: THE RETURN OF THE KING”: NEFTALI/SHUTTERSTOCK.COM

Crew: Sound

SPOTLIGHT ON:

The Oscar winner on what you need to know to work in sound

By Lisa Granshaw and Johanna Bear THERE ARE A NUMBER OF DIFFERENT—AND OFTEN DISPARATE— skills that go into the construction of a final soundtrack. Across his prolific career, four-time Academy Award winner Christopher Boyes has worked variously as a supervising sound editor, sound designer, and re-recording mixer on projects including the “Lord of the Rings” and “Hobbit” trilogies, the “Pirates of the Caribbean” movies, “Avatar,” and “Titanic.” Needless to say, he knows a thing or two about how sounds are put together.

What do you do as a designer and mixer?

In a perfect world, I’ll take on a movie where I’m both the sound supervisor and the rerecording mixer; I see that as a holistic approach. [I] get a hold of the screenplay and really immerse myself in: What is the story that they’re trying to tell? Often, the screenplay gives me clues as to what the job of sounds, sound effects, music, [and] dialogue [will be].

Listen to movies; listen to your clients and mentors.

We all intrinsically know the sounds of the world, but [using them] to create a world [and] create the sound of a movie

Ian McKellen in “The Lord of the Rings: The Return of the King”

is a whole different thing.

What you think would sound interesting is maybe not what your client’s going to want. It’s really understanding where your client wants to go and how you can use your creativity.

How did you get started in sound?

I went to film school with this notion that I was going to be a cinematographer. My film professor, when I graduated, said, “I have a job you might be interested in: It’s working for the Saul Zaentz Film Center in Berkeley, [California,] in the sound department.”

And I said, “Oh, I want to be

“XXXXXXXXY”: XXXX XXXXXX ; “XXXXXXXXXXX”: TXXXXX/HXXXX

BACKSTAGE 05.27.21

18

backstage.com

[an] integral part of telling [the] story in a movie. It just completely captivated me.

Download an inexpensive or free editing program. Start blending [the recorded sounds] with each other; play around.

Pitch them down a little bit or pitch them up.

If you’re looking to be a mixer, that’s a little bit of a different career path. In many ways, you can kind of blur the two worlds and start to play with recording, designing, editing, and mixing sounds.

Getting into any kind of class is a great idea. It’s worth its weight in gold to see what other people are doing.

What training does someone need in order to work in sound?

Go out and get an inexpensive recorder, like a Zoom H1. You don’t need to spend money on fancy mics or anything; when you’re starting out, the simpler, the better. You can probably get a decent microphone attachment for an iPhone.

Go out and listen to the sounds around you, and record them.

If you start the process yourself by doing some of these incremental, simple steps and playing with sounds, your head’s going to be in the right place so that when you take that class, you’re going be ahead of the game right out of the gate.

What’s one thing you wish everyone knew about your work?

Recently, the [Academy of Motion Picture Arts and Sciences] turned the [sound editing and sound mixing] awards into one. One of the arguments was that nobody ever understood the difference between editing and mixing.

We spent years trying to explain how they are totally different jobs. You may be a good editor, but that doesn’t mean you’re a good mixer. You may be a good sound designer, but that doesn’t mean you’re a good editor or a good mixer.

I applaud the Academy turning [it] into one award, though; if an editor has come on to a film and done an incredibly good job, and a sound designer has made really great sounds for that editor to cut, then a mixer is gonna be able to do a better job because all of those things [were] done before. I wish the industry understood that there [are] different creative talents that go into all categories of making a soundtrack. But I like the notion of us all being on one team and celebrating, because the final product is one product.

Crew: Sound

“AVATAR”: TWIN DESIGN/SHUTTERSTOCK.COM; “THE LORD OF THE RINGS: THE RETURN OF THE KING”: NEFTALI/SHUTTERSTOCK.COM

a cinematographer.” And he said, “Chris, take the job. You’re gonna be rubbing shoulders with the biggest names in the business. Then see what you wanna do.”

I found myself out on ponds, floating around in canoes, up on roofs throwing building materials 30 feet down onto the ground, and recording all of them. I was working with really talented people, and I started to watch what they did and how they took all of these sounds and folded them into this track that became

“XXXXXXXXY”: XXXX XXXXXX ; “XXXXXXXXXXX”: TXXXXX/HXXXX

What you think would sound interesting is maybe not what your client’s going to want.

backstage.com

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05.27.21 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays ‘A Doll’s House, Part 2’

• Casting Equity actors for “A Doll’s

House, Part 2.” Note: As of this writing, we are planning for shows and rehearsals to be held outdoors due to Covid-19 restrictions.

• Company: Franklin Stock Company.

Staff: Lucas Hnath, playwright; Kirk Jackson, dir.; Leslie Noble & Patricia Buckley, FSC artistic dirs.

• Rehearsals begin July 6, 2021; runs July

23-Aug. 15 in Franklin, NY.

• Seeking—Torvald: 18+, Nora’s former

husband; a banker andupstanding member of the community, he ismeasured and reserved, concerned withreputation, propriety and consistency; he feels deeply but is unsure how to express his feelings; Nora has come back to get him to file the divorce he was presumed to have filed 15 years ago; but he doesn’t want to make things easy for her.

• Seeking submissions from NY. • Prepare a monologue in the style of the

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.

• For consideration, prepare a video

actors for “Thurgood.”

• Company: Lake Theatre. Staff: Jarel

Davidow, artistic dir.

• Rehearsals begin Aug. 9; runs Aug.

26-Sept. 19 in Glen Falls, NY. Note: Due to various complications of COVID, Lake George Dinner Theatre will not be a dinner theater this year. Instead, we will be producing this at The Charles R. Wood Theater in Glens Falls, NY. • Seeking—Alex More: 35-45, This one-

man show sees Alex, a very enthusiastic storyteller, captivating the audience with his unique story of working for Barbra Streisand in her personal basement shopping mall. Actor will play 6 different characters (including Barbra herself).

• Seeking submissions from NY.

BACKSTAGE 05.27.21

film

• Company: Chautauqua Institution.

‘Love?’

Navigate the perils of romance in the LA/OC area

Staff: Andrew Borba, artistic dir.; Stori Ayers, assoc. artistic dir.; Steve Broadnax, dir.

• Rehearsals begin July 27; runs Aug.

13-22 in Chautauqua, NY.

musical

• Seeking—Thurgood Marshall: male,

45-65, brilliant, wise, and playful.

‘Hadestown’ Intertwine famous Greek myths in this SETA Equity tour

• Seeking submissions from NY. • For consideration, prepare one con-

temporary monologue of your choice as well as side at https://drive.google. com/ file/d/1HSgMXIL7Lu60yqXf1Ev5gzC5qg Fn2dKs/view?usp=sharing. Submit all videos and headshots/resumes to andrew@ctcompany.org. Submissions deadline is May 28.

Audiobooks & Podcasts ‘Sponsor’ Explore the road to recovery in this remote scripted-comedy podcast

• Pays $881/wk. Equity URTA (Tier 3)

Contract.

• Company: Shakesperience

actors for the role of Alex More in “Buyer and Cellar.”

‘Art’ Traverse the meaning of art in MA for this Yasmina Reza classic

• Seeking video submissions from Equity

agreement.

• Seeking video submissions from Equity

stage

‘Thurgood’

‘Twelfth Night’

‘Buyer and Cellar’

BY LISA HAMIL

• Pays $404/wk. Equity SPT 4 Contract.

play by May 31 to casting@franklinstagecompany.org.

• Pays $400/wk. (SPT IV). Equity SPT

Casting picks of the week

audition of the provided sides at https://tinyurl.com/57m6fhxa.

Memorization not necessary.

Perfectly fine to read on camera, just as in a cold reading. Submit your audition with your headshot and resume attached to jarel@ lakegeorgedinnertheatre.org with the subject line “Buyer & Cellar EPA.” Submissions deadline is May 31.

Theme Parks

‘Star Wars Galactic Cruiser’ May The Force be with you in Lake Buena Vista, FL

• Casting Equity actors for “Twelfth

Night.”

Productions, Inc. Staff: Emily Mattina, dir.; Jeff Lapham, prod.; David Bonilla, production mgr.

• Rehearsals begin July 20; runs Aug. 4-8

in Litchfield Hills, near Waterbury, CT. • Seeking—Equity Actors: 18+, four

Equity contracts available to be cast among all possible roles; one additional contract for Equity Stage Manager position; actively seeking all ethnicities, nationalities, and gender identities.

EOE. • Seeking submissions from CT. • Submit a video audition consisting of a

one-minute monologue from the show along with your headshot and resume to management@shakesperienceproductions.org by May 27. While Shakesperience’s studio is based in Downtown Waterbury, this production will be performed in Washington Depot in the Litchfield Hills. Shakesperience Productions educates and inspires stu-

dents, families, and theater professionals through the arts in order to explore social constructs and foster mutual respect for all people. Shakesperience creates innovative, interactive, thoughtprovoking live theatre programs rooted in classical literature by focusing on the dynamic relationship between the artist and the audience. Find more information at www.Shakesperience.org/ Summer.

• Salary pending (LOA ref. LORT D.)

Equity LOA Agreement.

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

20

Musicals ‘Hadestown’ SETA

• Seeking video submissions from Equity

actors of all gender identities for principal roles in “Hadestown” tour.

• Company: RCI Theatricals (General

Manager). Staff: Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy, prods.; Anais Mitchell, book-music-lyrics; Rachel Chavkin, dir.; David Neumann, choreo.; Liam Robinson, music dir.; Duncan Stewart, CSA, casting dir.; Benton Whitley, CSA, casting dir.; Luke Schaffer (Stewart/Whitley Casting), casting coord.; Micah Johnson-Levy, Joseph Hayes (Stewart/ Whitley), assists.

• Rehearsals begin Aug. 23; perfor-

mances begin Oct. 5.

• Seeking—Orpheus: male, 20-39, all

ethnicities. Hades: male, 40-69, all ethnicities. Persephone: female, 40-69, all ethnicities. Hermes: 30-89, all ethnicities. Eurydice: female, 18-39, all ethnicities. Fate 1: female, 18+, all ethnicities. Fate 2: female, 18+, all ethnicities. Fate 3: female, 18+, all ethnicities.

• Seeking submissions from NY. • For consideration, choose a brief non

musical theater song (folk, rock, jazz, gospel, etc…) using your own accompaniment. You also have the option to use the provided sheet music/accompaniment at www. dropbox.com/s/l5s2kjx1t1pvvxv/ WORKE R%20SIDES%20PACKET%20 -%20APRIL%202021.pdf?dl=0 to film your audition. Select a vocal line of your choosing and sing both cuts.

Slate before you audition, and send video in a downloadable link, such as WeTransfer, or Google Drive. Submit your headshot and resume to hadestownaudition@gmail.com.

Submissions deadline is May 25.

• Note From Creative: We welcome

performers of all ethnicities, gender identities, and body types. We are seeking actors with unique, vibrant singing skills. Certain roles will also require strong instrumental abilities.

Actors of diverse cultural and racial backgrounds are encouraged to apply. In general, we are not looking for conventional “music-theatre style”/vibrato singers. We are seeking singers capable of pure tones and/or vibrato that feels informed by jazz/ rock/gospel.

• Pays $1,073/wk. Equity Short

Engagement Touring (Cat 1) Contract. backstage.com

California casting

Chorus Calls ‘Hadestown’ SETA

• Seeking video submissions from Equity

singers and dancers of all gender identities for chorus roles in “Hadestown” tour.

• Company: RCI Theatricals (General

Manager). Staff: Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy, prods.; Anais Mitchell, book-music-lyrics; Rachel Chavkin, dir.; David Neumann, choreo.; Liam Robinson, music dir.; Duncan Stewart, CSA, casting dir.; Benton Whitley, CSA, casting dir.; Luke Schaffer (Stewart/Whitley Casting), casting coord.; Micah Johnson-Levy, Joseph Hayes (Stewart/ Whitley), assists.

• Rehearsals begin Aug. 23; perfor-

mances begin Oct. 5.

• Seeking—Worker 1: 18+, all ethnicities,

the workers chorus populates the world above and below ground, representing the spirit of both labor and community.

They should be physically strong and great dancers; soprano; F#3-E5.

Worker 2: 18+, all ethnicities, the workers chorus populates the world above and below ground, representing the spirit of both labor and community.

They should be physically strong and great dancers; low alto; E3-C#5.

Worker 3: 18+, all ethnicities, the workers chorus populates the world above and below ground, representing the spirit of both labor and community.

They should be physically strong and great dancers; tenor; B2-B4. Worker 4: 18+, all ethnicities, the workers chorus populates the world above and below ground, representing the spirit of both labor and community. They should be physically strong and great dancers; tenor/baritone; G2-G4. Worker 5: 18+, all ethnicities, the workers chorus populates the world above and below ground, representing the spirit of both labor and community. They should be physically strong and great dancers; bass/baritone; C2-G4.

• Seeking submissions from NY. • For consideration, singers choose a

brief non musical theater song (folk, rock, jazz, gospel, etc…) using your own accompaniment. You also have the option to use the provided sheet music/accompaniment at www. dropbox.com/s/l5s2kjx1t1pvvxv/ WORKER%20SIDES%20PACKET%20 -%20APRIL%202021.pdf?dl=0 to film your audition. Select a vocal line of your choosing and sing both cuts. Slate before you audition, and send video in a downloadable link, such as WeTransfer, or Google Drive. Submit your headshot and resume. Send tapes to hadestownaudition@gmail.com. For dancers: We are requesting dance video audition submissions from the provided choreography. Use the below instructional movement video as accompaniment. Chant 1: https:// vimeo.com/467553353/5ec45cfcc5.

Slate before you audition, and send video in a downloadable link, such as WeTransfer, or Google Drive. Also submit your headshot and resume.

Send tapes to hadestownaudition@ gmail.com. backstage.com

dynamic relationship between the artist and the audience. Find more information at www.Shakesperience.org/ Summer.

• Note From Creative: We welcome

performers of all ethnicities, gender identities, and body types. We are seeking actors with unique, vibrant singing skills. Certain roles will also require strong instrumental abilities.

Actors of diverse cultural and racial backgrounds are encouraged to apply.

In general, we are not looking for conventional “music-theatre style”/ vibrato singers. We are seeking singers capable of pure tones and/or vibrato that feels informed by jazz/rock/ gospel.

• Salary pending (LOA ref. LORT D.)

Equity LOA Agreement.

Gigs Customer Care and Fulfillment Assistant

• Note: There are no singer tracks in

• Seeking a customer care and fulfill-

“Hadestown.” All singers must be excellent dancers (as this is a huge priority).

Singers with only movement are not needed.

ment assistant at Jet Set Candy’s Manhattan based office. Depending on the suitability of candidates, this role may be spilt to accommodate two part time positions or one full time role up to five days per week.

• An Equity Monitor will not be provided.

The producer will run all aspects of this audition.

• Company states: “If you’re passionate

‘Thurgood’

about travel, fashion, and customer service then this might be the perfect position for you. At Jet Set Candy, travel is our world. Our passion fueled us to develop the first premium line of collectible, destination-specific travel jewelry so we could collect our global adventures. Designed for travel lovers globally, the brand echoes exciting, wanderlust ambitions and the opportunity to ‘collect your adventures.’”

“Thurgood.”

Trueman, coord.

• Pays $1,073/wk. Equity Short

Engagement Touring (Cat 1) Contract.

Stage Staff & Tech • Seeking Equity stage managers for

• Company: Jet Set Candy. Staff: A.

• Company: Chautauqua Institution.

• Works at Jet Set Candy’s office, 1133

Staff: Andrew Borba, artistic dir.; Stori Ayers, assoc. artistic dir.; Steve Broadnax, dir.

Broadway, Suite 218, New York, NY. • Seeking—Customer Care and

Fulfillment Assistant: 18+, exceptional customer service and interpersonal skills. Proven ability to multi-task in a fast pace environment. Ability to manage and solve issues with a minimum of fuss. Well-organized with time management skills. Detail orientated. Ability to work as part of a team.Experience within a similar environment or role and computer skills a plus.

• Rehearsals begin July 27; runs Aug.

13-22 in Chautauqua, NY. Positions work June 7-Aug.(SM 1 & ASM 1); July 19-Aug. 22 (SM 2 & ASM 2).

• Seeking—Stage Managers: 18+.

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

cover letter to Sarah@ctcompany.org.

Submissions deadline is May 28.

• Pays $962/wk. Equity URTA Tier 3

Contract.

• Seeking submissions from NY. • Send submissions to careers@jetset-

‘Twelfth Night,’ Equity SM

• Perks: Flexible working hours and a fun

candy.com.

environment. Generous product discount. Opportunities for growth in an expanding company.

• Seeking an Equity stage manager for

“Twelfth Night.” Productions, Inc. upcoming mainstage production of “Twelfth Night” by William Shakespeare, directed by Artistic Director, Emily Mattina. While Shakesperience’s studio is based in Downtown Waterbury, this production will be performed in Washington Depot in the Litchfield Hills.

• Company: Shakesperience Productions, Inc. Staff: Emily Mattina, dir.; Jeff Lapham, prod.; David Bonilla, production manager:.

• Rehearsals begin July 20; runs Aug. 4-8 in Litchfield Hills, near Waterbury, CT. • Seeking—Equity Stage Manager: 18+.

• Seeking submissions from CT.

throughout your script. Through the development work you do in your Scene-Study classes, you will grow more confident making strong choices in your auditions with less time and preparation and be better prepared to take on the work of a professional actor. It requires a serious commitment to yourself and your scene partner to be prepared, focused, and present. On Camera Audition: Now that the industry has slowed to a halt, and we all have to work remotely, the best way to stay active and prepared is to work on camera and develop your self-tape audition technique. Self-tapes are likely to be the only available audition opportunity for the coming months and this is a great way to continue working and stay fresh. With Zoom, we will have the ability to all work together, record your individual tapes, and review them together as a group for feedback, similar to how we are able to work in the studio in the on-camera class. We will focus on making strong, natural choices in front of the camera while working with current television and film scripts.”

• Company: Michael Luggio Acting for

the Professional Actor. Staff: Michael Luggio, instructor.

• The class runs Monday evening June 7

that 6:30 p.m. on zoom.

• Seeking—Tommy-(Female Role)-

Michael-(Male Role): 18+, all ethnicities, is the new police chief for the Los Angeles police department, Michael is her ex-husband.

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

gmail.com.

• Send your headshot and resume for

attendance. This is a complimentary class, you are not required to make any sort of payment. You will be sent the link for the Zoom meeting.

• No pay. Free class.

Southern California

• If you would like to apply, send your

resume and a cover letter highlighting your experience and how you feel you’re the right candidate.

• Pay TBD.

Workshops & Classes Complimentary Online Character Development/ Audition

• For consideration, submit resume and

cover letter to management@shakesperienceproductions.org. Submissions deadline is May 27. Shakesperience Productions educates and inspires students, families, and theater professionals through the arts in order to explore social constructs and foster mutual respect for all people. Shakesperience creates innovative, interactive, thoughtprovoking live theatre programs rooted in classical literature by focusing on the

• Seeking participants for an online class

on advanced character development.

Company states: “This is an advanced character development class meant to help you make strong, effective choices and develop those choices into a fully realized character in a performance. In this series, you will dive deeper into your scripts, focusing on analyzing your character and carrying your choices

21

Plays North Coast Repertory Theatre 2021-22 Season

• Seeking video submissions from actors

and singers for the North Coast Repertory Theatre’s 40th season.

Season includes “Dancing Lessons” (Mark St. Germain, writer; Richard Baird, dir. Rehearsals begin Aug. 10; runs Sept. 8-Oct. 3 with a possible extension through Oct. 10; must be available); “Ben Butler” (Richard Strand, writer; David Ellenstein, dir. Rehearsals begin Sept. 21; runs Oct. 20-Nov. 14 with a possible extension through Nov. 28; must be available); “Desperate Measures” (Peter Kellogg, book & lyrics; David Friedman, music; Christopher Williams, dir. Rehearsals begin Dec. 14; runs Jan. 12, 2022-Feb. 6 with a possible extension through Feb. 13; must be

05.27.21 BACKSTAGE

casting National/Regional available); “The Homecoming” (Harold Pinter, writer; David Ellenstein, dir.

Rehearsals begin Feb. 1, 2022; runs Mar. 2-27 with a possible extension through Apr. 3; must be available); “Forbidden Broadway’s Greatest Hits” (Gerard Alessandrini, writer-creator; William Selby, dir. Rehearsals begin Mar. 22, 2022; runs Apr. 20-May 15 with a possible extension through May 22; must be available); “The Outgoing Tide” (Bruce Graham, writer; Nike Doukas, dir. Runs June 8-July 3 with a possible extension through July 10; must be available); and “The Remarkable Mr. Holmes” (World Premiere Musical; Omri Schein and David Ellenstein, book; Omri Schein, lyrics; Daniel Lincoln, music; David Ellenstein, dir. Runs July 20, 2022-Aug. 22 with a possible extension through Aug. 28; must be available).

• Company: North Coast Repertory

Theatre. Staff: David Ellenstein, artistic dir.; Christopher Williams, casting dir.

• Season rehearses and performs in

Solano Beach, CA.

• Seeking—Equity Actors: 18+.

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

resume plus link to monologues and songs to casting@northcoastrep.org.

For Non-Musicals: prepare two contrasting monologues. For Musicals: prepare one comedic monologue and a brief selection of a song (actor’s choice). If you do not have access to accompaniment, you may select one of the songs at https://www.dropbox. com/sh/eic0xfrfi6ymgn4/ AADEuN0MC_PQaKy5BlGrbqdNa?dl=0.

Include Name on video and links.

Submissions deadline is June 20.

• Those selected for callbacks will be

notified throughout the season as shows are being cast. Callbacks are by invitation only and will be held throughout the season either remotely or inperson, depending on health restrictions.

• Pays $493/wk. Equity SPT Contract.

Short Films ‘Goat Milk’

• Casting “Goat Milk,” an AFI Cycle pro-

duction. Synopsis: A young couple Jerrick and Emma lives on a farmland, they married for a few years, but Emma is still not pregnant. After find out Jerrick cannot reproduce from the doctor, Jerrick’s conservative mother Annie come up with a solution, force Emma to have sex with her father in law, in order to keep the blood within the family.

• Company: American Film Institute.

Staff: Charles Xiuzhi Dong, writer-dir.

• Shoots June 19 in the Los Angeles, CA

area.

• Seeking—Annie: 55-85, White /

European Descent, Annie is an happily married mid age women who live with her family on a farmland, she desperately wants a grandchild. Emma: 18-35, White / European Descent, Emma married to her husband Jerrick for about three years and she is still not pregnant, she wants to fit in to her new family.

Joseph: male, 45+, White / European

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Descent. Jerrick: 18-35, White / European Descent. Docter: 25+, White / European Descent.

• Company: American Film Institute

Conservatory. Staff: Morgen Whiteman, dir.; Joe Gonzales, prod.

• Seeking submissions from CA. • Send submissions to xd445@nyu.edu.

• Meal and copy provided

• Shoots June 14-16, 2021 in Los

Angeles, CA.

• Seeking—Celeste: 30-50, all ethnicities,

a top socialite and perfectionist in the upper echelon of Los Angeles; she is incredibly resourceful and is able to maintain her status but using the network that she exists into; she believes that money is made by appearance. Nelson: 30-50, all ethnicities, a businessman who has spent many years traveling around the world for work; his business recently folded, and has spent more time at home and around his wife than he has in years.

Vivian: 30-50, all ethnicities, an LA socialite with high standards and a competitive nature. Bruce: 30-50, all ethnicities, a confident, boisterous businessman; he is respected, well-liked, and is an active member in his upperclass community.

‘Love?’

• Casting “Love?,” a story about an Asian

American woman trying to navigate her romantic relationship from a cultural perspective.

• Company: Biola CMA. Staff: Connor

Truax, An Da, dir.; Alison Chan, prod.

• Rehearsals will be done over Zoom;

shoots TBD in the LA/OC area.

• Seeking—Michelle Lee: 18-30, Asian, an

Asian American woman in her early twenties who wants to follow her heart but also has to deal with cultural differences with her partner, Jay; fluency in an Eastern Asian language not mandatory but strongly preferred. Jay: male, 18-30, White / European Descent, early twenties who is Michelle’s current boyfriend; he has a strong passion for their relationship but cannot quite understand the cultural factors Michelle has to consider before getting serious with their relationship. Joanne Lee: 30-69, Asian, mother of Michelle Lee and wife of Walter Lee; Joanne is an Asian woman in her mid-fifties who just wants what is best for Michelle; she grounded in reality and wants her daughter to have a good future; fluency in an Eastern Asian language not mandatory but strongly preferred.

Walter Lee: 30-70, Asian, father or Michelle Lee and husband of Joanna Lee; Walter is an Asian man in his midfifties who wants to protect his daughter from heartbreak and wants a goos future for her; fluency in an Eastern Asian language not mandatory but strongly preferred.

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

• Audition deadline is May 28. Self Tape

Instructions: Slate all takes on one file, please. You may send two takes if desired.

• Use a reader, or tape the other

character’s lines. Upload to Vimeo or YouTube and email both the producer and director the link.

• Rate of Pay: copy, meals, mileage.

National/ Regional Plays

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

• Submit acting reels.

• Meals will be provided. You may use

‘ART’

• Seeking video submissions from “Art”

footage for reels.

by Yasmina Reza. All roles will be understudied.

• Company: Shakespeare & Company.

Staff: Allyn Burrows, artistic dir.; Ariel Bock, prod. assoc.; Adam Davis, managing dir.; Stephen Ball, general mgr.

Student Films

• Rehearsals July 13; previews July 30;

‘Meat’

closes Aug. 22. Rehearsed and performed outdoors in the Roman Garden Theatre (233 socially distanced seats).

• Casting “Meat.” Logline: In a future

dystopian Los Angeles, a desperate upper-class couple hosts a dinner with a surprise dish. “Meat” is a dark comedy where the solution to the meat shortage and LA’s ever-growing homeless population is commercialized cannibalism. AFI firstyear cycle films are not eligible for festival entry and rarely receive IMDB credit. They are designed to be a safe space for filmmakers and actors to take risks and to forge relationships.

They are also opportunities to add beautifully shot footage to your reel.

Note: at the 2019/20 Student Academy Awards, the Gold, Silver, and Bronze medals all went to AFI Thesis Films.

This is where those relationships begin. Note if you are a member of the SAG-AFTRA LA Conservatory. Our Covid safety protocols may be found online at AFI’s website.

• Seeking—Marc: 50-59, Black / African

Descent. Yvan: 50-59, Black / African Descent. Serge (Pre-Cast): 50-59.

• Seeking submissions from MA. • Prepare a two-minute Vimeo

submission with name, name of piece to be presented, and either one short classical/Shakespearean monologue or one short contemporary monologue. Send an email with headshot, resume and link to monologues on Vimeo to auditions@ shakespeare.org. Submissions will be viewed in the order they are received.

Submissions deadline is May 28.

• Callbacks will be announced and

scheduled after auditions submissions are viewed.

• Shakespeare & Company is an equal

opportunity employer that is committed to evolving its approach to

22

diversity and inclusion to engender positive change toward race equity in its employment and artistry, seeking those who will embrace its commitment to inclusion, diversity, equity, and access as well as anti-racism initiatives.

Applicants from groups historically underrepresented in theatre are strongly encouraged to apply.

• Equity’s contracts prohibit

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

• Pays $562/wk. Equity SPT 7 Contract.

Arvada Center for the Arts 2021-22 Season

• Seeking video submissions from experi-

enced Equity actors with strong acting abilities for roles in the Arvada Center for the Arts 2021-22 season. Season includes “Sylvia” (Lynne Collins, dir.

Rehearsals begin Aug. 31, 2021; runs Oct. 1-Nov. 7, 202); “The Liar” (Geoffrey Kent, dir. Rehearsals begin Dec. 7, 2021; runs Feb. 4-May 22, 2022); “Animal Farm” (Jessica Robblee, dir. Rehearsals begin Dec. 14, 2021; runs Feb. 25, 2022May 21, 2022); and “Stick Fly” (Jada Suzanne Dixon, dir. Rehearsals begin Jan. 4, 2022; runs Mar. 18-May 19, 2022).

“The Liar,” “Animal Farm” and “Stick Fly” are performed in repertory.

• The Arvada Center is committed to

diversity and maintains a policy of equal employment opportunity designed to promote a positive model of inclusion.

As such, we encourage performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to audition. All stage manager positions have been filled.

• Company: Arvada Center for the Arts &

Humanities. Staff: Lynne Collins, artistic prod.-dir.; Geoffrey Kent, Jessica Robblee, Jada Suzanne Dixon, dir.

• Season rehearses and performs in

Arvada, CO.

• Performances are Thur through Sat

evenings with matinees on Wed, Sun and some Sat for five to seven shows/ week. Some weekday student matinees may be added.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from CO. • For consideration, submit two mono-

logues (one contemporary and one in verse for a total of two minutes by video link such as YouTube or Vimeo), and a completed audition form, with a current headshot and résumé to ac_blackbox_auditions@arvadacenter.org.

Audition forms can be downloaded by visiting our website at www.arvadacenter.org/theatre/auditions. Any missing items may eliminate you from consideration. Send links only; do not attach video. Submissions deadline is June 4.

• Equity members must have a current

equity ID card. These are Equity LORT D productions; nonunion actors will be considered. Do not contact the production staff to submit your video audition. If you have any questions, backstage.com

National/Regional casting

contact Lisa Hoffman at ac_auditions_ email@arvadacenter.org.

• Equity’s contracts prohibit

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

• Pays $739/wk. Equity LORT D Non-Rep

Contract.

Bay Area Playwrights Festival, Equity Video Submissions

• Casting Equity actors for the Bay Area

Playwrights Festival. Note: We are accepting submissions from anywhere in the United States. Local Bay Area actors particularly encouraged to submit.

• Company: Playwrights Foundation.

Staff: Jessica Bird-Beza, exec. artistic dir.; Lauren English, casting dir.

• Rehearses June 26-July 3 for three

hours of rehearsal and July 12-18 for 12 hours of rehearsal and one public reading; and July 19-July 25 for 8 hours of rehearsal and one public reading. Note: Rehearsals and performances will be held virtually.

• Seeking—Equity Actors: 18+.

• Seeking submissions nationwide.

• Prepare a two-minute contemporary

monologue and use the below link to access the Google Form to submit your audition. Google Form will require you to attach your head shot and resume and a video link to your taped monologue. Submissions will be reviewed as they come starting on May 25. Actors will be contacted only if they are going to be considered for individual projects.

Submissions deadline is June 1. If you have questions, contact Casting Director, Lauren English at casting@ playwrightsfoundation.org.

• Pays $16/hour for rehearsals and per-

formances. Equity Special Agreement

‘Bina’s Six Apples’

• Seeking video submissions from Equity

actors for the Alliance Theatre and Children’s Theatre Company productions of “Bina’s Six Apples” by Lloyd Suh. Note: Offers are contingent on being able to participate in both productions.

All stage manager positions have been filled.

• Company: Alliance Theatre. Staff: Jody

Feldman (Alliance Theater), prod.-casting dir.; Skylar Burks, (Alliance BOLD), prod. assoc.

• Children’s Theatre Company rehearsals

begin Dec. 6, 2021; runs Jan. 14, 2022Feb. 13); Alliance Theatre rehearsals begin Mar. 4, 2022; runs Mar. 16-27 in Atlanta, GA. • Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from GA. • Prepare one of the two monologues

provided at https://drive.google.com/ drive/ folders/1CWO05ml0YpoJTOup6SJ-_ BLfT8SllxZW?usp=sharing. Then create Google Drive Folder with your name backstage.com

and upload your video, headshot, and resume. Select folder, go to “get link” be sure to change permission settings to “anyone with link” and send link to EPAcasting@alliancetheatre.org with the subject line “Bina.” Submissions deadline is May 28.

• 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.

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.

ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

Rep Contract.

• Casting Equity actors for the Portland

• Pays $1,008/wk. Equity LORT B Non-

Phoenix Theatre 2021-22 Season

• Seeking actors for Phoenix Theatre’s

102nd season. The mainstage season at Phoenix Theatre includes “Becoming Dr. Ruth” (Rehearsals begin May 11; tech runs May 28-30; runs June 4-27); “Daddy Long Legs” (Rehearsals begin June 1; tech runs June 18-20; runs June 25-July 18); “Pump Boys and the Dinettes” (Rehearsals begin June 29; tech runs July 16-18; runs July 23-Aug. 22); “Steel Magnolias” (Rehearsals begin July 27; tech runs Aug. 13-15; runs Aug. 20-Sept. 12); “Camelot” (Rehearsals begin Aug. 24; tech runs Sept. 10-12; runs Sept. 17-Oct. 24); “The Rocky Horror Show” (Rehearsals begin Sept.

14; tech runs Oct. 1-3; runs Oct. 8-Nov. 28); “Million Dollar Quartet” (Rehearsals begin Oct. 19; tech runs Nov. 12-14; runs Nov. 19, 2021-Jan. 2, 2022); “Hello Girls” (Rehearsals begin Dec. 14; tech tentatively runs Dec. 29, 2021-Jan. 2, 2022; runs Jan. 7-30, 2022); “Singing in the Rain” (Rehearsals begin Jan. 11, 2022; tech runs Jan. 28-30; runs Feb. 4-Apr. 3, 2022); “The Color Purple” (Rehearsals begin Feb. 8, 2022; tech runs Feb. 25-27; runs Mar. 4-May 8, 2022); “Something Rotten” (Rehearsals begin Apr. 12, 2022; tech runs Apr. 29-May 1; runs May 6-June 19); “Always, Patsy Cline” (Rehearsals begin May 17, 2022; tech runs June 3-5, 2022; runs June 10-Aug. 7, 2022); and “On Your Feet” (Rehearsals begin June 21, 2022; tech runs July 8-10; runs July 15-Aug. 28, 2022).

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

Ford’s Theatre 2021-22 Season

• Seeking video auditions from Equity

actors for roles in 2021-22 season.

Season includes: “My Lord, What a Night” (Deborah Brevoort, writer; Sheldon Epps, dir. Rehearsals begin Aug. 27; runs Oct. 1-24); “A Christmas Carol” (Michael Wilson, adaptation; Michael Baron, original dir. Rehearsals begin Nov. 5; runs Nov. 24-Dec. 27); “The Mountaintop” (Katori Hall, writer; Nicole Watson, dir. Rehearsals begin Dec. 7; runs Jan. 21, 2022-Feb. 13, 2022); “Grace” (Nolan Williams, Jr., storymusic-lyrics; Robert Barry Fleming, dir.

Rehearsals begin Feb. 8, 2022; runs Mar. 18-May 14).

• Company: Ford’s Theatre Society. Staff:

Jose Carrasquillo, dir. of artistic programming; Erika Scott, artistic programming mgr.

• Season rehearses and performs in

Washington, DC.

• Seeking—Equity Actors: 18+.

• Seeking submissions from DC. • Prepare a classic or modern American

monologue that’s no more than 90 seconds. For musical auditions you may use a 90-second selection of your choice for which you will provide your own accompaniment; or you may use the cut of “Amazing Grace” provided in the link here www.dropbox.com/sh/ r684butq6tgszmr/AAD0J-kzG7aghip_ xu-FEq1ya?dl=0. Sing two verses of “Amazing Grace” to the track. The first verse is in G Maj and then modulates to A Maj. Feel free to personalize your performance. Frame yourself so casting can clearly see your head and torso.

• Company: Phoenix Theatre. Staff:

Michael Barnard, prod. artistic dir.; Robbie Harper, assoc. artistic dir.; Alan Ruch, resident musical dir.; Pasha Yamotahari, assoc. prod. dir.-dir. of casting; Alex Koszewski, company mgr.

• Rehearses and performs in Phoenix, AZ. • Seeking—Equity Actors: 22+.

• Seeking submissions from AZ. • For Musical auditions, prepare one min-

ute of an up-tempo song; one minute of a ballad & 1-1 ½ minute monologue. audition with songs of your own choosing or use one provided at https://drive. google.com/drive/ folders/1FBqKuKM9sI3UaKbFqYnQphCAoeSuQ-_?usp=sharing. For NonMusical (straight play) auditions, prepare two contrasting monologues, no more than 1 1/2 minutes each. For consideration, submit all materials to auditions@phoenixtheatre.com.

Submissions deadline is June 15.

• For consideration, submit your

recorded audition (.mov file, not to exceed two minutes total; introduction and 90 sec of material) to auditions@ fords.org. Submissions deadline is June 4 at 5 p.m. EDT. Actors unable to submit an audition electronically may send their resume to: Casting Attn: Jose Carrasquillo Ford’s Theatre 514 10 St NW Washington DC 20004.

• In accordance with Equity protocols,

recorded auditions will be destroyed once reviewed and considered.

• Equity’s contracts prohibit

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

• Note: The Ford’s Theatre Society 2021-

22 theatre season has not been publicly announced. Do not post any related season information (roles, productions, directors, etc.) on social media.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity

23

• Pays $739/wk. Equity LOA ref. LORT D

Contract.

Portland Playhouse 20212022 Season, Equity Video Submissions

Playhouse 2021-2022 Season. Season includes “A Christmas Carol,” (SPT8.

Charles Dickens, writer; Brian Weaver, dir. Rehearsals begin Nov. 9, 2021; runs Nov. 28-Dec. 31, 2021), “Titus Andronicus,” (SPT 6. William Shakespeare, writer; Tina Packer and Brian Weaver, dirs. Rehearsals begin Feb. 14, 2022; runs Mar. 16-Apr. 10, 2022), and “Bella: An American Tall Tale” (SPT 6. Kirsten Childs, book-music-lyrics. Rehearsals begin Apr. 5, 2022; runs May 4-June 5, 2022.).

• Company: Portland Playhouse. Staff:

Brian Weaver, artistic dir.; Charles Grant, assoc. prod.

• Season runs in Portland, OR. • Seeking—Equity Actors: 18+.

• Seeking submissions from OR. • All audition materials due by 5 p.m. PST

on May 31, 2021. In the subject line of your email, list your last name, first name, and union status (Example; Smith, Ann AEA). Include a PDF File of your headshot and resume, and a link to your audition video via YouTube or Vimeo. If it requires a password, display that clearly in the body of the email. If you have submitted to us in the last three months, you do not need to submit again. Submit to casting@portlandplayhouse.org. Callbacks will take place at various points throughout the season (June 2021-March 2022). Note: Because of the ever changing landscape due to COVID-19, our season is subject to possible alteration. This production may be filmed and/or recorded under Actors’ Equity Association guidelines, and Actors’ will be given at least 24 hours notice per Equity requirement.

Portland Playhouse does not discriminate against any employee, volunteer or customer on the basis or race, color, cultural heritage, national origin, religion, age, sex, sexual orientation, gender identity or expression, size, mental or physical dis/ability or appearance, genetic status, marital status, political affiliation, source of income, veteran status or any other status protected under local, state, or federal law.

• Pay: Projected minimum: $640/wk. SPT

8. Projected minimum: $508/wk SPT 6.

Equity SPT Agreements.

Signature Theatre 2021-22 Season

• Seeking video submissions from actors

for various roles in six shows for the upcoming Signature Theatre’s 20212022 season. Season includes “Rent” (Jonathan Larson, music-lyrics-book; Matthew Gardiner, dir.; James Alsop, choreo.; Mark G. Meadows, music dir.

Rehearsals begin Oct. 5; runs Nov. 2, 2021-Jan. 30, 2022 with a possible extension through Feb. 13, 2022 at The MAX Theatre: LORT B scale); “Daphne’s Dive” (Quiara Alegria Hudes, writer; Paige Hernandez, dir. Rehearsals begin

05.27.21 BACKSTAGE

casting National/Regional Jan. 7, 2022; runs Feb. 1-Mar. 20, 2022 at The ARK Theatre: LORT D scale); “She Love Me” (Jerry Bock, music; Sheldon Harnick, lyrics; Joe Masteroff, book; Matthew Gardiner, dir.; Kelly Crandall d’Amboise, choreo. Rehearsals begin Feb. 15, 2022; runs Mar. 15-Apr. 24 at The MAX Theatre: LORT B scale); “The Upstairs Department” (Chelsea Marcantel, writer; Holly Twyford, dir.

Rehearsals begin Apr. 1, 2022; runs Apr. 26-June 12 at ARK Stage: LORT D scale); “Jeannette: A New Musical” (Ari Afsar, music-lyrics; Lauren Gunderson, book; Erin Ortman, dir.; Yusha-Marie Sorzano, choreo. Rehearsals begin May 3, 2022; runs May 31-July 3 with a possible extension through July 10 at The MAX Theatre: LORT B scale); and “The Color Purple” (Brenda Russell, Allee Willis & Stephen Bray, music-lyrics; Marsha Norman, book; Timothy Douglas, dir.; Lady Dane Figueroa Edidi, choreo.; Mark G. Meadows, music dir. Rehearsals begin July 19, 2022; runs Aug. 16-Oct. 9 with a possible extension through Oct. 16 at MAX Stage: LORT B scale).

• Company: Signature Theatre. Staff:

Kelly d’Amboise (Signature Theatre), casting dir.; Jorge Acevedo (Signature Theatre), casting assoc.

• Season rehearses and performs in

Arlington, VA. Signature Theatre’s 20212022 season will be performed indoors at our MAX and ARK Theatres.

Rehearsals will take place indoors as well.

• Seeking—Equity Actors: 18+.

• Seeking submissions from VA. • Due to Covid-19, this season we are

accepting video submissions only. No in-person appointments or auditions will be held. Self-taped video auditions will be reviewed by members of the casting department at Signature Theatre only. Each and every video audition that is submitted via email within the window of May 27-June 1, 2021 will be reviewed. We will not review video submitted earlier than May 27 or later than June 1, 2021.

• For consideration, email your self-tape

video (any video format that is compatible with YouTube, Dropbox, or Vimeo upload is welcome) via attachment or private link, along with your headshot and resume in PDF format attached to casting@sigtheatre.org. The subject line and name of video files should read as “(last name), (first name) 2021 Signature EPA Submission.” Clearly note your Equity status on your resume.

Make sure that you have your contact information on your resume as well.

Submissions deadline is June 1 at 11:59 p.m. EDT. • Preparation: All self-tape videos should

be no longer than two minutes in length and include introduction of actor’s name along with a monologue, contrasting monologues, a song, 2 contrasting songs, or any combination therein. An optional 30 second improv dance/movement is also welcome, danced to the song of your choosing, so long as the self-tape does not exceed two minutes in length. Slate your name and announce the pieces you are performing, or slate your name and go directly into your performance.

In addition, if you are interested in

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being considered for a specific show, include the title of show in your slate. If you are interested in auditioning for “Jeannette: A New Musical,” we invite you to view the full breakdown before auditioning, as provided by the creative team, which can be found here: https:// res.cloudinary.com/signature-theatre/ image/upload/v1621368550/Jeannette_ Breakdown_1_1.pdf A recorded track and sheet music for “Seasons of Love” from “Rent” is provided for your convenience at this link www.dropbox.com/ sh/gwayx4l6mop5bad/AACeflNIJtwV_ GlERGJYocuRa?dl=0. You are not required to sing this particular song from this show. It is only provided for your convenience should you choose to sing this selection.

• Callbacks will be granted based off the

video auditions. You will be notified if you are called back. Be sure to provide correct contact info on your headshot and resume so that we can reach you.

• Equity Performers of all racial and eth-

nic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition.

Include information regarding any accommodations your client/you need in an audition, rehearsal or performance space.

• Pays $1,008/wk. (LORT B); $739/wk.

(LORT D). Equity LORT Non-Rep Contract.

Slow Burn Theatre Company 2021-22 Season

• Seeking video submissions from Equity

actors for principal roles in 2021-2022 Season. Season includes “Songs for a New World” (Jason Robert Brown, music & lyrics. Rehearsals begin Sept. 28; runs Oct. 12-24); “Kinky Boots” (Cyndi Lauper, music & lyrics; Harvey Fierstein, book. Rehearsals begin Nov. 30; runs Dec. 17, 2021-Jan. 2, 2022); “Once On This Island” (Lynn Ahrens, book-lyrics; Stephen Flattery, music. Based on “My Love, My Love” by Rosa Guy. Rehearsals begin Jan. 18, 2022; runs Feb. 4-20); “Matilda” (Dennis Kelly, book; Tim Minchin, music & lyrics; Based on the book, “Matilda” by Ronald Dahl.

Rehearsals begin Mar. 8; runs Mar. 25-Apr. 10); and “Head Over Heels” (Jeff Whitty, conceived & original book by; James Magruder, adaptation; The Go-Go’s, music. Rehearsals begin May 24; runs June 10-26). All roles will be understudied. Slow Burn Theatre Company strives to be inclusive and seeks to cast a diverse group of actors throughout the 2021-2022 season.

• Company: Slow Burn Theatre Co. Staff:

Patrick Fitzwater, artistic dir.; Matthew Korinko, exec. dir.

• All rehearsals and productions will be

held indoors and for a live audience in Ft. Lauderdale, FL. Slow Burn Theatre Company will promote a fully vaccinated workplace. Employees will be required to show proof of vaccination two weeks before rehearsals begin.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from FL. • Send submissions to PFitzwater@slow-

burntheatre.org.

• For consideration, email a PDF file of

your headshot/resume and a link and

password (if required) for audition video via YouTube or Vimeo (You may attach links to dance reels or other audition reels) to PFitzwater@slowburntheatre. org with your last name, first name, and union status (Example; Smith, Ann AEA) in the subject line. Submissions deadline is June 4, at 5 p.m. EDT. • For the video audition, prepare two

song selections of contemporary musical theater and monologue (if you would like). Choose your own songs (from one of the shows is fine) or choose from the songs provided at Include a slate of your full name.

(oud skills are not required for this track). Further Replacements: 18+, all ethnicities, see attached breakdown.

• Seeking submissions from MD. • For consideration, submit your head-

shot, resume, and video via a non-expiring link with the option to download to TheBandsVisitCasting@gmail.com with your name and contact info in the body of the email and the subject line “Submission - Your Last Name.”

Submissions deadline is June 1.

• To submit, tape the assigned show

• Equity’s contracts prohibit discrimina-

material for the role you are auditioning for or a song of your choice in the style of the show. Sheet music, tracks, and further instructions can be downloaded at the following link: https://tinyurl. com/TBVCasting

• Pays $639/wk. Equity LOA ref. LORT D

your audition in front of a clean background, with no backlighting. As much as possible, limit ambient noise. We recommend you do not use Bluetooth headphones, as it can sometimes cause a delay in the audio. Use a secondary audio source to play the accompaniment music so that it is audible in the tape.

‘The Band’s Visit’ Tour

Equity Short Engagement Touring (Cat 2) Contract.

• Callbacks will be held by a combination

of video submission and in-person individual appointments. 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.

Contract.

• Seeking video submissions from excel-

lent actors who are strong singers for “The Band’s Visit.” “The Band’s Visit” takes place in the town of Bet Hatikva, Israel. Casting states: “We strongly encourage submissions of MENASA performers, and actors with knowledge of Hebrew and Arabic languages.” All stage manager positions have been filled.

• Company: The Bands Visit National

Tour, LLC. Staff: Eran Kolirin, film as source material; David Yazbek, music & lyrics; Itamar Moses, book; David Cromer, dir.; Andrea Grody and Dean Sharenow, music supervisors; Patrick McCollum, choreo.; Orin Wolf, John Styles, John Hart, prods.; Gentry & Associates, general mgr.; Tara Rubin Casting/Peter Van Dam, CSA (viewing auditions), casting.

• Rehearsals begin on or about Sept. 13 in

NYC; tour begins Oct. 5 in Durham, NC. 43 Week Term.

• Seeking—Telephone Guy: 18-29, a

young man who waits by a phone in Bet Hatikva for his girlfriend to call, very romantic but an oddball. Must have a beautiful tenor voice. This character is Israeli. Primary vocal range: C3-Bb4.

Papi: 20-29, works at Dina’s café.

Young, disheveled, and very nervous around girls. This character is Israeli.

Primary vocal range: D3-Ab4. Zelger: 20-29, a brash, charismatic friend of Papi, fun loving and confident. Roller skating skills a plus. This character is Israeli. Primary vocal range: B2-Eb4.

Anna: 20-29, Julia’s cousin, sexy and extroverted. Roller skating skills a plus.

This character is Israeli. Primary vocal range: G3-G5. Julia: 20-29, Papi’s blind date, gloomy and shy. This character is Israeli. Primary vocal range: G3-E5.

Offstage Female Cover: female, 20-35, will cover the roles of Dina, Iris, Julia, and Anna. Offstage Male Cover (20s): Will cover the roles of Haled, Camal, Itzik, Telephone Guy, Papi, and Sammy

24

• A note regarding self-tape quality: Film

• Pays $930/wk. plus 2% media fee.

‘The Cherry Orchard’

• Seeking video submissions from Equity

actors for select roles in the Wilma Theater’s upcoming production of an adaptation of Anton Chekhov’s “The Cherry Orchard,” adapted and directed

by Dmitry Krymov.

• Company: Wilma Theater. Staff: Dmitry

Krymov, adaptation-dir.-prod. dir.; Jeff Becker, designed by; Yury Urnov; cultural liaison-current lead-artistic dir.; Kellie Mecleary, prod. dir.; Mariah Ghant, artistic admin.; James Ijames, co-artistic dir.

• Fall workshop will be held Nov. 10-23,

2021; rehearsals begin Mar. 1, 2022; runs Apr. 16-May 1 in Philadelphia, PA.

• Seeking—Anya: female, 18+, all ethnici-

ties. Varya: female, 30-39, all ethnicities. Dunyasha: female, 20-39, all ethnicities. Carlotta: female, 40-59, all ethnicities. Firs: male, 70-89, all ethnicities. Trofimov: male, 20-39, all ethnicities.

• Seeking submissions from PA. • For consideration email casting@wil-

matheater.org to request sides for the role you’d like to audition for. You will be asked to send your headshot/resume and a video submission as a link to either a YouTube video or Google Drive file. No other submissions (MP4 or file attached to email) will be accepted.

Auditionees will submit video auditions to casting@wilmatheater.org.

• Note: No roles will be understudied.

• Pays $825/wk. Equity LORT D Non-Rep

Contract.

‘The Convent,’ Equity Video Submissions • Casting Equity actors for “The

Convent,” an outdoor staged reading (one week total.).

• Company: Summit Performance

Indianapolis. Staff: Kelsey Leigh Miller, dir.; Lauren Briggeman, artistic dir.

Summit Performance Indianapolis. backstage.com

National/Regional casting

• Rehearsals begin Aug. 9; runs Aug.

13-15 in Indianapolis, IN.

• Seeking—Jill: 30-35, all ethnicities,

(female-identifying, early-mid 30s, any race/ethnicity); open, naïve, in crisis in her marriage; smart, but has trouble with consequences; a sudden, intense sexual attraction to Patti; in the midst ofa massive cracking open of her life and her self; on the verge of major change and deeply conflicted. Mother Abbess: 55-60, all ethnicities, (femaleidentifying, late 50s, any race/ethnicity); wise, truth-telling, powerful and can definitely cut a bitch, runs the convent as her spiritual platform to raise women’s sense of intrinsic divinity; has her own darkness to carry. Patti: 30, all ethnicities, (female-identifying) ; sexy, dark, damaged, charismatic, truthtelling, manipulative, but also searching for the light and meaning; deserves to be saved; a propensity for cutting; and Mother Abbess’ daughter. Wilma: 60, all ethnicities, (female-identifying);a nun; frank, earthy, very self-possessed; notwhat you’d expect; very present, authentic; a juxtaposition to all the neurosis and drama around her; possesses the wisdom that comes from a lot of time alone and silence; came to the convent because she has lost God. Dimlin: 45-55, all ethnicities, (femaleidentifying); from a wealthy British family, but in a way that it makes her orphaned, lives off her trust fund; deeply codependent with Bertie, in love with her but has no concept that women can be together; or cannot bear the idea of how that mightaffect her life; appears perhaps stuffy, even nosey and prudish, but really is just sheltered.

Bertie: 30-39, all ethnicities, (femaleidentifying); younger than Dimlin, sillier, more flirtatious, truly an innocent; raised in a compound; has nothing of her own; throughout the play uncovers her own longing to know love, to know sex, to know more of the world. Tina: 20-29, all ethnicities, (femaleidentifying);raised in southern California, lost, stoner, psoriasis; slightly immature, has come to the Convent out of a fetish for Renaissance Fairs; a deep longing for her dead mother and to find her place in the world.

• Seeking submissions from IN. • Prepare a one-minute, contemporary

monologue. Videos should include a slate and be no more than 90 seconds total in length. Upload your audition video to YouTube and send us a link (if you have not uploaded videos to YouTube before, you can set the video to private so that only those with the direct link can view it). Send the link and a current headshot and resume to KelseyM@summitperformanceindy. com by June 1, 2021.

• Pays $318/wk. (SPT 2 - pending Equity

trip she didn’t ask for, with a boyfriend who isn’t present and their mutual friend that’s in love with her. Now she’s stuck in the Pine Barrens... The friend-group is figuratively and literally torn apart when they meet the Jersey Devil.

• Company: Hivemind. Staff: Kelly Pratt

the New Jersey and Pennsylvania areas.

• Seeking submissions from CA and NV. • Send submissions to andrea@origin-

• Seeking—Male Camper: male, 25-35,

White / European Descent. Female Camper: female, 25-35, White / European Descent.

all ethnicities, an old, vicious, seemingly harmless woman that lives in the woods with her monster of a son. Kim: 18+, all ethnicities, the main character’s sassy best friend, whose chock full of one-liners.

needs taken into account

‘Apart’

• Casting a voiceover actress for a phone

conversation in “Apart,” a student film.

• Company: ArtCenter College of Design.

Staff: Jolyn Mei, student.

• Records remotely from home.

• Seeking—Ella: female, 24-36, an

outgoing, talkative mother of a 3-yearold who always brings joy to people. As a mediator in the family, she wishes her brother and father could fix their relationship.

• Seeking submissions worldwide.

• Send submissions to zmei@inside.art-

‘Star Wars Galactic Cruiser’

‘Sponsor’

abilities for various roles in “Star Wars Galactic Cruiser.” Disney Live Entertainment is actively accepting online submissions from actors of all abilities and gender identities from a diverse spectrum of ethnic and cultural backgrounds. In a one of a kind, immersive Star Wars™ multi-day adventure, guests of the Star Wars™: Galactic Starcruiser come aboard a ship and enter a galaxy far, far aboard a civilian recreational cruise – and performers will join them as respected crew members, guests, and interlopers as they all travel in style to the Outer Rim.

scripted comedy podcast which follows the Golden family as patriarch, Sam, attempts his road to recovery. If getting sober wasn’t hard enough, he’s paired with an unusual sponsor: the ghost of his recently departed mother, Mia.

• This is a fully immersive experience

where the story unfolds over two days in a myriad of ways. During the experience, a variety of adventures befall the ship and onboard characters find themselves caught in the intrigue of a galactic conflict. This company of actors will portray characters from a vast and diverse galaxy and will actively engage with passengers as much as with other performers. Every character will be leveraged for improvisational, scripted, and interactive moments.

center.edu.

• Audio will be used in a short student

film.

‘Soledad y El Mar’

• Casting the role of the teacher in

“Soledad y El Ma” (“Soledad and the Sea”), a first year UCLA MFA student short film. Synopsis: Recently immigrated to the US, Soledad recounts her week to her ESL (English as a Second Language) class.

• Company: Walt Disney World Company.

Staff: Stephen Gelpi, casting dir.

• Company: UCLA. Staff: S. Gonzalez,

coord.

• Works remotely from home provided

• Runs TBD in Lake Buena Vista, FL. • Seeking—The First-Time Cruiser: 18+,

• Seeking—Teacher: female, 30+,

• Seeking submissions from FL. • Visit the audition posting at

all ethnicities. Galactic Superstar: 18+.

that you have a good working microphone.

teacher asks her ESL (English as a second language) students what they did during their week.

DisneyAuditions.com to see the submission and online audition check-in instructions section. You may prepare a song of your choosing or use links provided in “Seeking.” Instructions on audition monologue preparation is found in the requirements section of the posting. Note that it is a two-step process.

Candidates must submit and check-in to the audition to be considered.

Submissions deadline is May 28 at 11 p.m.

• Seeking submissions nationwide.

• Send submissions to soniagonzalez@g.

ucla.edu.

• No pay.

‘Camping With Style’

a girl who just can’t catch a break on her birthday. Synopsis: She goes on a quad

camping gear demonstration and promotional video.

• For song preparation, visit https://cdn.

media.disneyauditions.com/other-files/ music/wdw/Galactic_Superstar_Music. mp3 for music and https://cdn.media. disneyauditions.com/other- files/ music/wdw/Galactic_Superstar_Music_ Lyrics.pdf for lyrics.

• Casting “Camping With Style,” a

• Potential relocation assistance may be

available to qualified performers hired

25

• Pays $17.92/hr. incl. potential Equity

Audiobooks & Podcasts

• Seeking Equity actors with musical

Student Films

uled June 17-21, 2021. Performers will only be notified if they are being considered for a call back following their initial submission.

Theme Parks & Attractions

doors, with hiking and camping experience. Will be demoing camping gear.

• Include your headshot.

• Meals will be provided with any food

• Potential virtual callbacks to be sched-

• Pays $200/day with meals provided.

• Must be comfortable with the out-

gmail.com.

into specific roles. Must be 18+ and authorized to work in the United States.

pension, Equity 401K, & Disney health.

Equity Walt Disney World Contract.

Upon signing of Walt Disney World® Individual Employment Contract, candidates are eligible to immediately apply for membership in Actor’s Equity Association.

point.io.

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

‘Dirty Jersey’

backstage.com

CA.

• Seeking—Mother Leeds: female, 50+,

Short Films • Casting”Dirty Jersey,” a short film about

• Shoots June 14-15 in South Lake Tahoe,

• Company: DNT. Staff: David Keane, dir.

• Shoots TBD in various locations around

Online Commercials & Promos

approval.) Equity SPT Agreement.

and Andrea Dondanville, prods.

• Casting “Sponsor,” an irreverent

• Company: Tandon Productions.

• Rehearses and records June-August

remotely.

• Seeking—Sam Golden: male, 35+, (45,

male) - A frat boy turned business bro, Sam Gunderson is a recovering alcoholic who relapses and is sent to AA by court order. He takes after his mother, Mia, a drunk, unfiltered woman who has never told her own son that she loves him. Sam wants to be better than that. He is the father of teenage twins, Jake and Lizzy, and husband to Adrian. Their marriage is rocky to say the least. Mia Golden: female, 50-70, (65, female) - Sam’s recently deceased mother and now sponsor. Mia didn’t go to a “proper afterlife” - instead, she is sent back to help her son who is a recovering alcoholic going through a troubled marriage. Mia is (was?) not the perfect mother. She was a drunk, unfiltered, compulsive woman, who didn’t even attend her own son’s bar mitzvah. Jake Golden: male, 16-18, (16, male) - the perfect student and twin brother to Lizzy. Jake’s dream is to attend Yale. In fact, he has not put a thought into any other school. Him and Lizzy have a very tight relationship, but don’t get me wrong, they still fight like any angsty teenage siblings. Jake puts his emotions of losing his grandmother into focusing on his work. Lizzy Golden: female, 16-18, (16, female) - unlike her twin brother, Jake, she is not a good student. Lizzy was very close with her recently deceased grandmother, and wishes to honor her by living in the moment. Her boyfriend, Cameron, gets caught in the crossfire of her newly found spontaneity. Adrian Golden: female, 35-45, (43, female) the parent who carries all the weight of her teenage twins and alcoholic husband, all behind a full face of makeup and welltailored suit. Very Devil Wears Prada at work, while struggling to cope with the mess of her home life. Adrian is a boss!

Literally and figuratively. Colin Lake: 25-35, (25, male) - precious guppy in a sea of sharks. Collin is Adrian’s assistant,

05.27.21 BACKSTAGE

casting National/Regional perfect at his job, and privately comfortable blurring the lines of professionalism. Theodore Ellis: male, 16-18, (17, male) - Lizzy’s boyfriend of a year. He gets caught in the crossfire of Lizzy’s newly found spontaneity since her grandmother’s passing. He comes off a little like a f**k boy but then tries to be a more romantic boyfriend as their relationship progresses. Ellie Jacobs: female, 30-45, (43, female) - Sam’s childhood girlfriend and now Adrian’s colleague. She is very successful, polished in a pristine white suit, Jimmy Choos clacking against the floor, and has cocaine at work. She was extremely close to Sam’s mother, Mia - much closer than Adrian was. Comes off very passive aggressively nice to Adrian. Justine: 30-45, (40s, female) - Jake’s school counselor. Pretty washed up but doing her best. Maybe God: all genders, 20-50, presents like every white cartoon ideation of God: Moses beard stretching to the middle of his chest, salt and pepper hair that grows into the beard seamlessly, long, flowing linen clothes, and bare feet. Has the ability and tendency to change appearance and voice to whatever they think might be the most comfortable for an afterlife client.

• Seeking submissions worldwide.

• Send submissions to casting@tandon-

• Pays $1,202/wk. Equity LORT B Non-

Rep Contract.

‘Nature: A Walking Play,’ Stage Manager

• Seeking Equity stage managers for

“Nature: A Walking Play.” Boston stage managers particularly encouraged to submit.

• Company: TigerLion Arts. Staff: Tyson

Forbes, writer-creator-prod.; Markell Kiefer, dir.-writer-prod.

• Rehearsals begin Aug. 2 at Fruitlands

Museum in Harvard, MA; tours Aug. 27-Oct. 3 locally to three exquisite Trustees of Massachusetts locations (TBA). To insure the safety of our company and audiences from COVID-19, we will follow all CDC and Massachusetts guidelines, along with Equity approved protocols throughout the production period. The 3 week rehearsal process will take place outside under a large tent on the grounds of the historic Fruitlands Museum in Harvard, MA. All performances are outdoors under the open sky. All company members must be fully vaccinated by July 12, 2021 and provide proof of vaccination to TigerLion Arts.

• Seeking—Stage Manager: 18+, all

ethnicities.

productions.com.

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

mit, visit tandonproductions.com/ sponsor-casting.

• Pays $590/wk. Equity SPT Contract.

• For full audition information and to sub-

• Pay provided.

Stage Staff & Tech Ford’s Theatre 2021-22 Season, Stage Manager

• Seeking Equity stage managers for 2021-

22 season. Season includes: “My Lord, What a Night” (Deborah Brevoort, writer; Sheldon Epps, dir. Rehearsals begin Aug. 27; runs Oct. 1-24); “A Christmas Carol” (Michael Wilson, adaptation; Michael Baron, original dir. Rehearsals begin Nov. 5; runs Nov. 24-Dec. 27); “The Mountaintop” (Katori Hall, writer; Nicole Watson, dir. Rehearsals begin Dec. 7; runs Jan. 21, 2022-Feb. 13, 2022); “Grace” (Nolan Williams, Jr., story-music-lyrics; Robert Barry Fleming, dir. Rehearsals begin Feb. 8, 2022; runs Mar. 18-May 14).

• Company: Ford’s Theatre Society. Staff:

Jose Carrasquillo, dir. of artistic programming; Erika Scott, artistic programming mgr.

• Season rehearses and performs in

Washington, DC.

• Seeking—Stage Manager: 18+.

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

cover letter to auditions@fords.org or mail to Casting Attn: Jose Carrasquillo, Ford’s Theatre, 514 10 St NW, Washington, DC 20004. Submissions deadline is June 4.

• Note: The Ford’s Theatre Society 2021-

22 theatre season has not been publicly announced. Do not post any related season information (roles, productions, directors, etc.) on social media.

BACKSTAGE 05.27.21

cover letter to info@tigerlion.org.

Submissions deadline is May 31.

Pioneer Theatre Company 2021-22 Season, Stage Manager

• Seeking Equity stage managers for the

Pioneer Theatre Company’s 2021-22 season.

• Company: Pioneer Theatre Company.

Staff: Mary P. Costello, prod. stage mgr.

• Season runs August, 2021 through May/

June, 2022 in Salt Lake City, UT.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from UT. • For consideration, submit cover letter

and resume to our Production Stage Manager, Mary P. Costello, at mary. costello@ptc.utah.edu. Submissions deadline is Aug. 1.

• Company states: “Pioneer Theatre

Company is committed to being a welcoming community that reflects and enacts the values of diversity, equity and inclusion that inform artistic excellence. We are actively working to repair past harms, prevent future harms, and build a more equitable, just and inclusive institutional culture where all are welcome to thrive. To that end, we are seeking a diverse pool of candidates, and strongly encourage all BIPOC, LGBTQIA+, people with disabilities, and those whose identities intersect with multiple communities and lived experiences to apply.”

• Pays $1,202/wk. Equity LORT B Non-

Rep Contract.

Signature Theatre 2021-22 Season, Stage Manager • Seeking Stage managers for the

upcoming Signature Theatre’s 20212022 season. Season includes “Rent” (Jonathan Larson, music-lyrics-book; Matthew Gardiner, dir.; James Alsop,

choreo.; Mark G. Meadows, music dir.

Rehearsals begin Oct. 5; runs Nov. 2, 2021-Jan. 30, 2022 with a possible extension through Feb. 13, 2022 at The MAX Theatre: LORT B scale); “Daphne’s Dive” (Quiara Alegria Hudes, writer; Paige Hernandez, dir. Rehearsals begin Jan. 7, 2022; runs Feb. 1-Mar. 20, 2022 at The ARK Theatre: LORT D scale); “She Love Me” (Jerry Bock, music; Sheldon Harnick, lyrics; Joe Masteroff, book; Matthew Gardiner, dir.; Kelly Crandall d’Amboise, choreo. Rehearsals begin Feb. 15, 2022; runs Mar. 15-Apr. 24 at The MAX Theatre: LORT B scale); “The Upstairs Department” (Chelsea Marcantel, writer; Holly Twyford, dir.

Rehearsals begin Apr. 1, 2022; runs Apr. 26-June 12 at ARK Stage: LORT D scale); “Jeannette: A New Musical” (Ari Afsar, music-lyrics; Lauren Gunderson, book; Erin Ortman, dir.; Yusha-Marie Sorzano, choreo. Rehearsals begin May 3, 2022; runs May 31-July 3 with a possible extension through July 10 at The MAX Theatre: LORT B scale); and “The Color Purple” (Brenda Russell, Allee Willis & Stephen Bray, music-lyrics; Marsha Norman, book; Timothy Douglas, dir.; Lady Dane Figueroa Edidi, choreo.; Mark G. Meadows, music dir. Rehearsals begin July 19, 2022; runs Aug. 16-Oct. 9 with a possible extension through Oct. 16 at MAX Stage: LORT B scale).

• Company: Signature Theatre. Staff:

Kelly d’Amboise (Signature Theatre), casting dir.; Jorge Acevedo (Signature Theatre), casting assoc.

• Season rehearses and performs in

Arlington, VA. Signature Theatre’s 20212022 season will be performed indoors at our MAX and ARK Theatres.

Rehearsals will take place indoors as well.

• Seeking—Stage Manager: 18+.

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

cover letter to jobs@sigtheatre.org.

Submissions deadline is June 1.

• Signature Theatre is an Equal

Opportunity Employer who celebrates diversity and does not discriminate based on race, religion, color, national origin, sex, sexual orientation, age, veteran status, disability status, or any other applicable characteristics protected by law. Signature Theatre is committed to providing access, equal opportunity, and accommodation for individuals with visible and/or invisible disabilities in employment, its services, programs, and activities.

• Pays $1,202/wk. (LORT B); $911/wk.

(LORT D). Equity LORT Non-Rep Contracts.

Slow Burn Theatre Company 2021-22 Season, Stage Manager • Seeking Equity stage managers for

2021-2022 Season. Season includes “Songs for a New World” (Rehearsals begin Sept. 28; runs Oct. 12-24); “Kinky Boots” (Rehearsals begin Nov. 30; runs Dec. 17, 2021-Jan. 2, 2022); “Once On This Island” (Rehearsals begin Jan. 18, 2022; runs Feb. 4-20); “Matilda” (Rehearsals begin Mar. 8; runs Mar. 25-Apr. 10); and “Head Over Heels” (Rehearsals begin May 24; runs June 10-26).

26

• Company: Slow Burn Theatre Co. Staff:

Patrick Fitzwater, artistic dir.; Matthew Korinko, exec. dir.

• Rehearses and performs in Ft.

Lauderdale, FL. Note: All rehearsals and productions will be held indoors and for a live audience. Slow Burn Theatre Company will promote a fully vaccinated workplace. Employees will be required to show proof of vaccination two weeks before rehearsals begin.

• Seeking—Stage Manager: 18+, all

ethnicities.

• Seeking submissions from FL. • Send submissions to PFitzwater@slow-

burntheatre.org.

• For consideration, submit resume and

cover letter to PFitzwater@slowburntheatre.org. Submissions deadline is June 4.

• Pays $639/wk. Equity LOA ref. LORT D

Contract.

‘The Cherry Orchard,’ Stage Manager

• Seeking Stage managers for the Wilma

Theater’s upcoming production of an adaptation of Anton Chekhov’s “The Cherry Orchard,” adapted and directed

by Dmitry Krymov.

• Company: Wilma Theater. Staff: Dmitry

Krymov, adaptation-dir.-prod. dir.; Jeff Becker, designed by; Yury Urnov; cultural liaison-current lead-artistic dir.; Kellie Mecleary, prod. dir.; Mariah Ghant, artistic admin.; James Ijames, co-artistic dir.

• Fall workshop will be held Nov. 10-23,

2021; rehearsals begin Mar. 1, 2022; runs Apr. 16-May 1 in Philadelphia, PA. • Seeking—Stage Manager: 18+, all

ethnicities.

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

cover letter to casting@wilmatheater. org. Submissions deadline is May 28.

• Pays $911/wk. Equity LORT D Non-Rep

Contract.

Agents & Managers ‘Christmas Mubarak,’ Equity Stage Manager • Seeking Equity stage manager for

“Christmas Mubarak.”

• Company: Silk Road Rising. Staff: Reza

Mirsajadi and Corey Pond, co-dir.; Reza Mirsajadi, music dir.; Malik Gillani and Jamil Khoury, conceived by; Corey Pond, adapted by (featuring a mix of religious Christmas music and two original songs by Ronnie Malley and Karim Nagi); Jo Chaloub, production management by.

• Rehearsals begin week of Oct. 11; runs

Nov. 8-Dec. 19 in Chicago, IL.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from IL. • Submit resume and cover letter for

consideration by May 28, 2021 to production@silkroadrising.org or Silk Road Rising, 150 N Michigan Ave, Ste 1970, Chicago, IL 60601.

• Pays $337/wk. (CAT 1). Equity CAT

Agreement.

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BACKSTAGE, vol. 62, no. 15 (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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