Backstage Magazine Digital Edition: June 3, 2021

06.03.21

Kaley Cuoco

“Nobody—I don’t care who you are—no one’s handing you anything.”

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Go behind the scenes of

“Bridgerton” with director Julie Anne Robinson

Chelsea Handler

reflects on 20 years of making us laugh

Do you really have to like your agent?

Well, it depends

8 Pages OF CASTING NOTICES

4 WINNER 2W I N N E R 4 WINNER SCREEN ACTORS GUILD AWARDS

CRITICS CHOICE AWARDS

B E S T

BEST ACTRESS EMMA CORRIN

D R A M A

S E R I E S

BEST SUPPORTING ACTRESS BEST ACTOR GILLIAN ANDERSON JOSH O’CONNOR

THE

®

OUTSTANDING ENSEMBLE IN A DRAMA SERIES OUTSTANDING FEMALE ACTOR - GILLIAN ANDERSON

GOLDEN GLOBE AWARDS ®

BEST TELEVISION SERIES–DRAMA BEST ACTRESS EMMA CORRIN

BEST SUPPORTING ACTRESS GILLIAN ANDERSON

BEST ACTOR JOSH O’CONNOR

PERFORMANCES ARE

NEXT-LEVEL. E N T E R TA I N M E N T W E E K LY

F OR

YOU R

E M M Y® C O N S I D E R A T I O N

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Contents

vol. 62, no. 16 | 06.03.21

Cover Story

Kaley Cuoco Has Always Been Here Though she’s scaling new career heights with “The Flight Attendant”— not to mention eyeing her first Emmy nomination— the actor and producer has only ever wanted to do one thing: work

page 16

The Green Room 6 A new study explores AAPI representation onscreen

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

10 Chelsea Handler returns to standup and reassesses

Advice 13 NOTE FROM THE CD

When a casting director plays Cupid

14 #IGOTCAST

Honey Henry

14 SECRET AGENT MAN

Do you like me? Do you really like me?

Features 4 BACKSTAGE 5 WITH...

Marielle Heller

12 MEET THE MAKER

Julie Anne Robinson, “Bridgerton” director

13 THE ESSENTIALISTS Mark Worthington, production designer

15 IN THE ROOM WITH Gary Davy

21 NEVER THE BRIDE

Could this be these actors’ year to win their first Emmy?

32 ASK AN EXPERT

Matthew Del Negro on why actors should take initiative

Casting 22 New York Tristate 24 California 27 National/Regional Kaley Cuoco photographed by Shayan Asgharnia on April 27 in Los Angeles.

Styling by Brad Goreski. On cover: Outfit

by Azzi & Osta. Ring by Vhernier. On this page: Sweater and Jacket by Hermès.

In story: Outfit by Miu Miu. Cover designed by Ian Robinson.

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Backstage 5 With...

Marielle Heller

By Casey Mink

Anya Taylor-Joy’s chess prodigy, Beth Harmon, may be the ever-cunning figure at the center of Netflix’s “The Queen’s Gambit”; but it’s her relationship with her adoptive mother, Alma Wheatley, played by Marielle Heller, that gives the show its heart. In the midst of her first Emmys campaign, the acclaimed filmmaker recounts being lured back to her acting roots by series co-creator Scott Frank, and by the role itself, which she calls “sweet and sort of tragic.”

What is one performance every actor should see and why?

Carmela Soprano [on “The Sopranos,” played by] Edie Falco, particularly when she and Tony are getting divorced, in Season 4, I think. Their big fight. In some way, I sort of thought about her when I was playing Alma, because she’s such a woman who would be overlooked in so many ways. She’s such a kind of a stereotype of a mob wife, but with this enormous depth underneath the surface.

and anything in my power to convince Phoebe [Gloeckner], who wrote the book, and her agent that I was the right person to adapt this book—including taking pictures of my cats and sending them to Phoebe, going to visit her in Ann Arbor, staying at her house and cooking dinner in her kitchen, trying to let her know I was not a crazy person.

Do you have an audition horror story you wouldn’t mind sharing? I was going to my third commercial audition of the day, and I was supposed to wear a bikini, and it was a snowstorm. So I put my bikini on under my winter coat and went into some gross office, and had to take off my clothes and hit a beach ball in the middle of January in New York. I didn’t have any lines; I just had to gasp. And I just left this audition going, “I went to theater school and studied ‘Macbeth’ to do this? What am I doing?” It was sort of when I was like: I gotta get more in control of my own creative life.

And it was part of what led me to writing and then directing— dissatisfaction with that life.

How did you get your SAG membership? My husband was a PA for “Spin City” back in the day, and I had him slip my headshot on top of the casting pile and came in and auditioned for a guest part on that show. We didn’t even tell people that he knew me. We made it this secret. And then I booked a guest-starring role on “Spin City” back in, I wanna say, 2000 or something. And, yeah, I had a scene with Charlie Sheen. That’s how I got my SAG card.

What’s the wildest thing you ever did to get a job, either as an actor or filmmaker? Truthfully, when I was trying to get the rights to adapt “The Diary of a Teenage Girl,” I did everything

“It was so nice to just get to focus on acting instead of thinking about every single thing for the shoot.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: RICH POLK

What advice would you give your younger self? Don’t waste too much time auditioning for dumb commercials! But, really, that nobody was going to do it for me—that I needed to figure out a way to make my own art and make my own projects, and stop waiting for somebody to cast me in something and, instead, do it myself.

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

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Karen Gillan, Dwayne ”The Rock” Johnson, and Kevin Hart in “Jumanji: Welcome to the Jungle”

Industry

Asian Characters Still Minor or Stereotyped in Film A new study also cites media as a key factor in the rise of anti-Asian hate crimes

By Diep Tran

BACKSTAGE 06.03.21

stereotype), Asian men portrayed as emasculated, and the hypersexualization of Asian women. Asian characters also frequently experienced harassment or death onscreen. The study also found a connection between onscreen violence and the recent increase in antiAsian hate crimes.

“With the rise of anti-AAPI violence in the United States, onscreen deaths of Asians and Pacific Islander characters are particularly jarring,” said Nancy Wang Yuen, who co-authored the study, in a statement. “In the top 100 films of 2019, just over a quarter of Asian and Pacific Islander characters die by the end of the film, and all

Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films,” found that, for the most part, Asian characters are stereotyped, tokenized, or have less than five lines of dialogue onscreen. The study says that film representation falls far below the Asian and Pacific Islander population of the U.S., where 7.1% of residents identify as AAPI. And for every 15 white male actors hired, only one AAPI actor was hired.

The study found that stereotypical representation included characters speaking either English with an accent or a non-English language (playing into the “perpetual foreigner”

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FRANK MASI

ASIANS ARE STILL COMMONLY stereotyped and tokenized onscreen, according to a new study from the University of Southern California Annenberg Inclusion Initiative. The study analyzed 1,300 of the top-grossing films from 2007–2019 and found that, of 51,159 speaking characters, only 5.9% were Asian or Pacific Islanders.

Only 44 films featured an AAPI actor in a lead role, with Dwayne “The Rock” Johnson booking the most work, in 14 films. The study also cited portrayals in mass media and entertainment as a key factor in the rise of anti-Asian hate crimes in the U.S. The study, called “The

but one death ended violently.

This, along with 41.8% of AAPI characters receiving onscreen disparagement—some of which are racial slurs—[means that] films can fuel anti-AAPI hate.”

There’s also a noticeable lack of AAPI representation behind the scenes. Out of 1,300 films, only 50 films (3.5%) were directed by an AAPI director, and 98 films (2.5%) had an AAPI producer. No female AAPI directors had a sole directing credit—though the study doesn’t include Cathy Yan (“Birds of Prey”) or Chloé Zhao (“Nomadland”), whose films were released in 2020 and 2021, respectively.

Films with AAPI directors or producers were more likely to have an AAPI lead. The study also included a series of recommendations to improve onscreen representation, including hiring more AAPI actors in leading roles, hiring AAPI storytellers behind the scenes, and supporting organizations that nurture AAPI talent. The study was funded by Amazon Studios and the United Talent Agency Foundation.

UTA partner and TV literary agent David Park said in a statement, “One year ago, our community was erroneously blamed for a global pandemic.

Now, we see violence against and hatred of AAPIs reaching unprecedented levels. The words we use, the stories we tell, [and] how we portray people matters.

The creative community is uniquely positioned to tell more authentic and inclusive stories that diverse audiences yearn to hear. This effort to document the quantity and quality of AAPI portrayals is an essential starting point for lasting progress in how our community is represented in the mainstream.”

Taylor. The rapper will portray a former football player who now leads a crime ring. The organization recruits a younger player who’s struggling to make ends meet for his family.

Jackson, who’s also executive producing, is the only cast member officially attached so far. 5th House Casting is assembling additional talent for the project. Production on the revenge heist is set to start in early September in Atlanta.

What’s Casting

Not Kidding Around

work to assemble the cast. So far, Park and Helms are the only two names officially confirmed.

Shooting will begin in mid-June in Los Angeles.

Ed Helms and Randall Park tell a “True Story”

By Rebecca Welch

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

“True Story” Randall Park, last seen as Agent Jimmy Woo on “WandaVision,”

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“Free Agents” Curtis “50 Cent” Jackson is set to star in a new film from Lionsgate, directed by Deon

FILM

Timmy and the Chocolate Factory

By Casey Mink

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

ACADEMY AWARD NOMINEE TIMOTHÉE Chalamet has signed on to star as the world’s most famous chocolatier, Willy Wonka.

The project, from Warner Bros. and the Roald Dahl Story Co., will simply be called “Wonka” and will follow the inventor through his younger years prior to opening his chocolate factory. The film will also be a musical, and as such, will be the first instance in which Chalamet sings and dances onscreen. Paul King will helm the production, which will feature a screenplay he co-wrote with Simon Farnaby.

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MARGAUX QUAYLE CANNON

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

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

is teaming up with Ed Helms to bring wild tales to the small screen. Based on the Australian series “True Story With Hamish & Andy,” the six-episode Peacock series will feature a hybrid of scripted and unscripted content. Helms and Park will host, listening to regular people share their most extraordinary, unbelievable true stories. Meanwhile, a rotating, star-studded cast of actors will reenact the yarns onscreen, “Drunk History”–style. Former “Drunk History” CD Melissa DeLizia will tap into her past

“FBI: International” Dick Wolf, the mind behind the “Law & Order” and “Chicago” franchises, is expanding his “FBI” series of shows (which includes “FBI” and “FBI: Most Wanted”) with “FBI: International.” As the title implies, the show will explore how criminals operate covertly outside of the United States’ jurisdiction. Tasked with protecting American interests across the globe, the series’ Prague-based team will undertake international missions. No actors have been announced for the drama, but Jonathan Strauss Casting is on board to find the international cohort.

Production on the CBS series is expected to start this summer in New York.

“A A CAREER-BEST PERFORMANCE

FROM EWAN MCGREGOR GREGOR. HE TREATS HALSTON AS A PIECE OF ART, A COMPLEX BEING WITH ALWAYS MORE BEHIND HIS MOMENTS OF HUBRIS AND GENIUS.”

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way of sliding back in to see if I wanted to be onstage by myself, rather than with a person. In retrospect, I just used that as a cushion, I think, and gathered my material through doing one live appearance after another.

I did about 20 or 30, and by the end of that, I thought, I should turn this into a standup show.

My dream had been to be able to do standup that had some meaning; instead of just telling jokes, I wanted it to have a little bit more depth.”

Chelsea Handler in “Chelsea Handler: Evolution” Backstage Live

alone. But sometimes we think we are. For me, it was just so important. The response from the book was so meaningful to me because people finally saw me in a new way. I wasn’t just a ‘loud-mouthed bitch.’ I actually had something to say, and was vulnerable, and had gone through something that I was ready to share.”

Chelsea Handler’s Still Got It

The stalwart comedian returns to standup after a six-year hiatus

By Matthew Nerber

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

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comedy stage, and why she isn’t interested in simply telling jokes anymore.

Her memoir “Life Will Be the Death of Me…And You Too!” helped shape “Evolution.”

“I had made a career out of oversharing my personal experiences, and this was such a personal experience that was so healing that I thought could help so many people.

Because you realize when you share your story that so many people have similar stories, and no one is really suffering

TELEVISION

Elizabeth Banks Returns to the Small Screen

By Casey Mink

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

AFTER SPENDING SOME TIME IN THE film world, Elizabeth Banks is heading back to television in a major way. The multihyphenate is developing a series adaptation of Victoria Aveyard’s novel “Red Queen” for Peacock, which she’s set to executive produce, direct, and act in. The one-hour drama will be set in the near future, in an alternate universe in which the American government has been taken over by a monarchy of superhumans.

Aveyard co-wrote the pilot along with Beth Schwartz (“Arrow”), who will additionally serve as showrunner.

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COURTESY HBO MAX

AFTER A SIX-YEAR BREAK, comedian, talk show host, and author Chelsea Handler returned last fall to standup with her HBO Max special “Chelsea Handler: Evolution.”

It’s an apt title from an artist who is interested not only in how we change and grow as people, but also how the stories we tell can grow with us.

Handler joined Backstage— from a mountaintop while hitting the slopes, of all places—to talk about her journey as a writer and creator, what sparked her return to the

Her last book tour served as a warmup for her return to standup.

“I wrote my last book, and I was doing a tour then. And I was kind of having people moderate conversations onstage. And I realized it was just kind of my

Handler isn’t interested in doing comedy that doesn’t have substance underneath the jokes.

“I don’t get away with doing anything that doesn’t have substance. I want to set an example, not only for myself, but for the people that look to me to see how it is to be in this world and the way that it is right now, and all of the things that we’re learning about sexism, racism, racial injustice, and social injustice. And [I want] to be a voice that people can look to and say, ‘OK, this is what we need to do: We all have to get on board and look forward and become more clever about the jokes we’re making and the stories that we’re telling, instead of just cashing a check or just being silly or funny.’ Those things are all good, but everything should have some more meaning to it.”

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“STRONG WRITING”

” “SHARP “DIZZYING, DELIGHTFUL”

“BRILLIANT”

“THRILLING SAGA”

“DAZZLING”

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Meet the Maker

Julie Anne Robinson, “Bridgerton” director Phoebe Dynevor and RegéJean Page on “Bridgerton”

BACKSTAGE 06.03.21

of the estate. Page was completely nude. It was filmed on a sunny day, when the castle was open for visitors, some of whom stopped to take a peek at the proceedings—as well as some photos.

“People came running down from the house saying, ‘They’re all looking out the window.

They’re all pointing their long [camera] lenses down here,’ ” says Robinson with a chuckle. “ ‘Get those long lenses. Close the whole thing down!’ That was a fun moment.”

Robinson has been nominated for a Directors Guild of America Award for her work on the show, which depicts aristocrats in England trying to marry off their daughters.

Since its debut in December, “Bridgerton” has become the most-watched series on Netflix.

It has also become an obsession

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for viewers, thanks in large part to its intrigue-filled world of romance and empire-waist gowns. And it has also captured viewers’ attention for being, well, sexy.

Robinson admits the sex scenes in “Bridgerton” were the hardest thing she’s ever directed because, she explains, “It’s about something that you can never talk about or see.” When shooting a sex scene, Robinson has to convey the emotional state of the characters without dialogue, advance the story, and ensure that the nudity is earned.

“We wanted to communicate each step along the way of Daphne’s journey,” she says. “So each [sex scene] was, I hope, not gratuitous, but a storytelling device to explore a young woman’s sexual awakening.”

Safety was also a huge priority during those scenes,

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LIAM DANIEL/NETFLIX

JULIE ANNE ROBINSON knows you have been talking about that sex scene in “Bridgerton.” The veteran television director oversaw Episodes 1 and 6 of Netflix’s hit Regency romance series, the latter of which contained a montage so hot and heavy, it would have made Jane Austen faint. But Robinson would like viewers to know that filming the sex scene was not as uninhibited as it looked.

For one, it was filmed at Castle Howard, a 300-year-old manor in Yorkshire, England, where the “Bridgerton” crew was not allowed to move any paintings or furniture. They weren’t even allowed to touch the walls.

Robinson recalls one scene in which main characters Daphne (Phoebe Dynevor) and Simon (Regé-Jean Page) were getting intimate on the lawn

so that no boundaries were crossed. Robinson worked with intimacy coordinator Elizabeth Talbot, who choreographed the movements with the actors and made sure that no body part showed up on camera that wasn’t supposed to be shown and that nothing was touching that wasn’t supposed to be.

“I would pause while we were shooting, and the intimacy coordinator would run in with levels of protection for the actors to just keep them feeling separated,” explains Robinson.

She brought in tools like yoga mats and large stress balls.

“There [are] a lot of tricks to those scenes that are invisible to the audience.”

According to Robinson, that level of oversight and detail allowed the actors to feel safer in those vulnerable scenes. “They just can feel so much more confident in themselves when they come to those scenes; they know there’s a level of trust.”

There is one sex scene in particular that has been controversial with viewers. It takes place at the end of Episode 6 and drives an emotional wedge between Daphne and Simon, as it leaves both feeling violated, with lines of consent blurred.

Robinson is aware that fans have interpreted the moment as Daphne assaulting her husband. But the team was trying to show the scene through Daphne’s eyes—a moment when the character saw herself as taking control. “I was trying to repivot the gaze to the female gaze for those scenes,” Robinson says. “It was very important to me that you experience this journey through her eyes, through her experiences. And that’s what we were attempting in that last scene.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “WANDAVISION”: COURTESY MARVEL STUDIOS

By Diep Tran

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THE ESSENTIALISTS

MARK WORTHINGTON production designer

Beneath the superhero and supervillain origin stories on Disney+ and Marvel’s “WandaVision” is a love story. More importantly, it’s a story about people—and production designer MARK WORTHINGTON was always hyper-aware of that.

Sets should assist the actors’ performance.

“I’m comfortable talking with actors. I’m comfortable talking about character and an actor’s performance—that kind of thing. As a production designer, if you’re doing a character piece, specifically—and they’re all character pieces, but some even more so—on something like “Ugly

Note From the CD

When a Casting Director Plays Cupid

LIAM DANIEL/NETFLIX

ILLUSTRATION: MARGAUX QUAYLE CANNON; “WANDAVISION”: COURTESY MARVEL STUDIOS

By Marci Liroff

CASTING DIRECTORS ARE supposed to be good at putting together an ensemble; but, at times, we also become matchmakers.

I’ve had the pleasure of casting several actors who have fallen in love and gotten married. I was there when John Travolta first laid eyes on Kelly Preston on a film I cast called “The Experts,” and actors Alison Elliott and Will Patton met each other on an indie film I cast, “The Spitfire Grill,” and ended up tying the knot.

Casting director Adrienne Stern made another love match with actors Amber Paul and David Arrow on the film “Porno.” Paul shared her story with Stern, saying, “Your casting was both perfect and prescient. David Arrow, the actor you cast as my husband in the film, has now become

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my husband for life. David and I met for a friendly lunch two weeks after we wrapped—and the rest is history!”

I dug a little deeper into this story to ask Stern: When casting a project, do you ask yourself if these people would make a good couple in real life? Or are you just casting for looks?

Stern responded, “When casting couples, pairs, people who work together, hang out, etc., I always think, Would they be friends, family, lovers, enemies? It’s so important that the audience feels a sense of togetherness. It’s a puzzle with people pieces.”

Florida-based casting director Lori Wyman has her own version of this story.

“I was working as the Florida principal casting director on ‘Miami Vice,’ and there was one actor who was living in New

Betty,” it’s especially important to have a conversation with [star] America Ferrera about how you are expressing the character through the environment she inhabits. [It’s] so that it feels accurate to her understanding of it, and she feels at home in that space and can inhabit the character, rather than have her walk in and go, ‘This doesn’t make any sense to me.’ ” Actor input is crucial— but delicate.

“It’s a delicate balance, because I’ve had disagreements with actors—I won’t say which ones—about, sometimes, their approach, because I

York City, and he was determined to work on the show.

He flew down to Miami and got a local agent, because he couldn’t get in with the casting director in New York. He put an answering machine at his sister’s house in South Florida and submitted his materials to our Miami office,” she recalls.

“Since he had a strong résumé and a good look, I brought him in to read. Unbeknownst to me, he flew down from New York to Miami each time I called him in to audition. He booked.

He booked again,” she says.

“During the fifth and final season, he confessed that he actually lived in New York City full-time and said he would love to live in Florida, but he didn’t know if he could make a living.

I spouted off something about how, if he moved to Florida, I’d help him get an agent, and I was sure he would work all the time. One day, he called me and told me he had moved down and asked if I would help him

13

By Casey Mink

felt it was a little too self-involved and not as much about how that character would really exist in the world and the realities of what that would mean as an adult…. But I don’t believe that everything I say is right. You’ve got to let a little light in and say, ‘I need to hear from other people to round out the ideas that I have and make it better.’ ”

get an agent. He listed with one of the bigger agencies in Florida and built a very successful, three decades–long career.”

And the story doesn’t end there for Wyman or the hardworking actor. Sometimes, the real-life chemistry builds long after the actor has walked off the set. “On Christmas, back in 1988, a mutual friend of ours put together an afternoon cruise. I was invited. So was this actor. We ended up sitting next to each other on the cruise ship. After the day was over, we all went out for sushi. We sat together again, and we have been sitting together since that day.” Wyman’s story shows that putting yourself out there as an actor might change more than just your career.

Want more?

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

06.03.21 BACKSTAGE

culture +

Spotlighting the people and projects you need to know

Do You Like Me? Do You Really Like Me?

BACKSTAGE 06.03.21

on IMDb. Surprise! I knew his agent. And the actor was right— the guy is a jerk. If I had to choose between working with him and being unemployed, I would gladly stay home and pick my toes all day long.

But then I realized something: This actor had been working steadily for the last 12 months.

He’d actually booked some serious jobs. It was all right there on his page! Putting aside those personality issues, the jerky agent he was about to fire had been pretty effective.

So is this actor right or

Let’s say you’re represented by a bullish agent who’s doing a kick-ass job.

What would you do?

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Honey Henry

By Jalen Michael HONEY HENRY may be young, but she’s ambitious— and Backstage helps fuel her fire every step of the way.

Don’t limit yourself to one kind of project.

“I typically look for acting roles in films, short films, and documentaries. My character in [a recent film] is the lead role—an 11-year-old girl called Sacha.”

The pandemic hasn’t stopped her from booking.

“The auditions [for my recent projects had] me sending in a selftape first. I then had a Zoom audition with the producers and casting directors. I wanted to become involved because I saw these as great opportunities.”

Let Backstage help you build out your reel.

“My advice to others to create an effective reel would be to use Backstage to get cast in a film or short film, to [get footage you can use]. I have credits that I have earned from Backstage, like my IMDb credit, and I am soon going to have a cinematography credit, which I also earned from Backstage.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; HENRY: EMILIO HENRY

THIS PAST WEEKEND, I WAS at my local café and found myself sitting 6 feet away from two actors. These dudes were in their 20s and good-looking, and they were having a serious conversation about their careers. I have to imagine my eyebrows went up a bit when I realized one of them was getting ready to drop his agent.

Why? It seemed his rep was an in-your-face aggressive type—the kind who likes to yell at clients. The actor explained that he couldn’t stand the guy, and that’s why he was getting ready to pull the trigger.

Curious, I walked by their table as I was leaving. I caught a glimpse of the actor’s name on his credit card, and when I was back in my car, I looked him up

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

wrong? Let’s say you’re represented by a bullish agent who’s doing a kick-ass job. What would you do in this actor’s position? If you stay, you might start feeling like a client who tolerates bad behavior. And if you go, you might find a charming replacement who lights up your heart like a Christmas tree but doesn’t get you any decent auditions.

Let me give you a little more to consider: The day after my encounter at the café, I called one of my casting friends and I asked her to share her opinion of this particular agent. She told me he had excellent taste, and she always saw his people.

When I pushed for more, she admitted the guy was difficult to deal with and she would never want to be friends with him, but she wasn’t about to ignore his clients just because he’s rude.

So now, what would you do?

Wait! Before you answer, let me share one more important fact: This agent works at a huge company—the kind with three initials. Their name at the top of your résumé will open doors and get you seen.

Now you have all the facts.

I’ll ask again: What’s the right move?

If you’re waiting for me to help with this decision, you came to the wrong guy. There’s no right or wrong answer here.

This is a personal choice you might have to make one day.

The way I see it, you should start meditating on it now; it will give you something to do between auditions.

I’ll leave you with a quote from HBO’s “Boardwalk Empire.” The main character, played by Steve Buscemi, is a New Jersey politician -turned-gangster, and at a crucial point in the story, he says, “We all have to decide for ourselves how much sin we can live with.”

It’s a good show. You should watch it.

culture +

Spotlighting the people and projects you need to know In the Room With

Gary Davy

A one-of-a-kind television event like “Small Axe” required a special approach to casting

By Elyse Roth

held in Steve’s office on his days off or [on] his lunch breaks! Steve is always happy to meet actors and is always impressed with the U.K. talent.

We didn’t have time to put loads of people in front of Steve, so having worked with him before was invaluable, as we had a shorthand. I prescreened most of the actors who met for the show, so time in the room wasn’t wasted and actors had already run through scenes, meaning they were also prepped and got Steve’s full attention. It was a fun and exciting time.

ILLUSTRATION: SPENCER ALEXANDER; HENRY: EMILIO HENRY

RAQUEL APARICIO

AMAZON’S STEVE MCQUEEN ANTHOLOGY SERIES “SMALL AXE” was unlike anything that had been on television before, both in style and substance. The intimate look into London’s West Indian community from the late 1960s through the early 1980s was a compilation of five related but unique feature films, each with its own cast— Golden Globe winner John Boyega and Letitia Wright among them.

McQueen repeat collaborator Gary Davy was tapped to find the cast for the collection of films, and he dug into the U.K. talent pool to populate the creator’s powerful stories. He shares how the ensembles came together, how his shorthand with McQueen impacted the process, and where he searches when he wants to discover new talent.

What was the casting process like for “Small Axe”? Steve loves actors, so everyone had a meeting. There were story outlines for the films, and we had a few lead characters to search for. Setting a couple of “name” actors can help steady a ship for networks. Ultimately, Steve wanted the right person for each role. John Boyega and Steve had been looking for something to work on together

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for a while, so this was an easy fit. They were instantly connected on the Leroy Logan character in “Red, White and Blue,” and John wanted to research and prep straight away. Letitia Wright instantly related to her [“Mangrove”] character—and to Steve. It seemed like these roles were perfect fits for both, and it was a privilege to be in the rooms when these discussions were

had. Letitia actually signed on before “Black Panther” was shot and released. We also met with a couple of other name actors for other roles, but their busy schedules didn’t work out. Setting John and Letitia was the first thing we did.

What did the rest of the search look like? The talent pool in the U.K. is so strong that the casting ideas snowballed as soon as scripts appeared. Alex Howes and Jessica [Straker] in my office joined, getting shortlists together and getting ready to set up meets. We had more prep time for “Mangrove,” which shot first and had the largest cast, but we had to work around Steve’s shooting schedules on all the other stories. Auditions were regularly

15

Where do you do those searches for talent outside of agent submissions? Drama schools, youth groups, and National Youth Theatre are usually my first ports of call for newer, younger actors; but there are so many amazing places to investigate, Open Door being my favorite at the moment. We keep our eyes and ears open at all times, and are constantly on the lookout for new talent. I just wish there was more time in the day.

What can an actor do in an audition that will make them memorable to you? Make that first instinctual read as honest and truthful to your vision of the character as possible. Try not to be too nervous. Don’t over-rehearse scenes; make sure you leave room for directors’ notes. Please remember the casting director always wants you to do well.

Want more?

Read the full interview at backstage.com/magazine

06.03.21 BACKSTAGE

Kaley Cuoco Has Always Been Here Though she’s scaling new career heights with “The Flight Attendant”— not to mention eyeing her first Emmy nomination—the actor and producer has only ever wanted to do one thing: work

By Casey Mink | Photographed by Shayan Asgharnia

SINCE “THE FLIGHT ATTENDANT” BECAME HBO Max’s runaway hit late last year—one of the then-nascent streaming platform’s first— there’s been a certain narrative about its star and executive producer, Kaley Cuoco: that she “came out of nowhere.”

Cuoco, who has been working professionally since the age of 5, finds this hilarious; she understands, though, how the story took form. “There was never a moment where I got tossed to the wolves, where I was like, ‘Oh, my God, I’m famous!’ ” Cuoco says, video chatting from her Los Angeles home. “I’ve been on this slight uphill trajectory my whole career, just slowly working, working, working. I was always kind of here.”

And she’s right. Having appeared on various television series throughout the 1990s and early aughts, she had amassed 25 IMDb credits by the time she landed her first true BACKSTAGE 06.03.21

“break” in 2002 on the three-season comedy “8 Simple Rules.”

Being on sets from a young age, Cuoco posits, was a more useful education than any traditional acting class. “I took a few [classes] when I was very, very young, and it just was not for me,” she remembers. “The whole school of it was just being lucky enough to be on sets and being around adults at a young age, and having a time when I had to be at work and when I had to be quiet [and] memorize my lines. And going to the parties and the premieres—those were my proms.”

But the real reason the “overnight sensation” moniker is such an absurd one to pin on Cuoco, of course, lies in the fact that she spent 12 seasons starring on one of the biggest comedies of its time, “The Big Bang Theory.” The CBS sitcom from creator Chuck Lorre concluded in 2019 and made Cuoco one

16

of the highest-paid television stars to date, a kind of success too absurd to even dream of.

Cuoco’s sincere days of pavement-pounding are also frequently lost in her industry narrative. Like any actor, she became exceptionally good at hearing no—and, boy, she heard it a lot. “Because, if you think about it,” she says, “you’re being told no way more than you’re being told yes. You’re being told, ‘You’re not good enough; you’re not pretty enough; you’re not blond enough,’ way more than, ‘You’re perfect for this.’ And even now, there’s a lot more opportunity, but it’s harder, too.”

To ease the strain of those especially rejection-heavy days, she supplemented her life with other “loves and likes,” as she calls them: tennis, horses—passions far outside Hollywood. “So that it wasn’t so depressing,” she says with a laugh. backstage.com

o s

backstage.com

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06.03.21 BACKSTAGE

You don’t have to be a jerk. You can still be taken seriously, you can be a boss, you can get shit done— and you can be nice.

BACKSTAGE 06.03.21

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backstage.com

Cuoco also learned early on to compartmentalize, a trait she advises every actor—at levels both low and high—to harness. “I can really just shut off. I can be like, ‘OK, that didn’t work. Move on to the next one.’ I don’t sit in it. It’s a blessing and a curse, because I can really do that in my personal life, even,” she says. “But it’s helped me in my career.

You’ve got to know that you’re not the only person in this position.”

But, crucially, she has not become jaded.

On the contrary, her three-plus decades in the field have given her perspective, along with a profound understanding of just how monumental the wins are—and that they should be celebrated.

Recently, she and her production company—Yes, Norman Productions, founded in 2017—sold a project they had been fighting for.

Afterward, in the parking lot with her team, she started to cry. “I was jumping up and down. And some of my partners were like, ‘Are you seriously this excited right now?’ ” she remembers. “It was such a moment for them to see me be so excited. But I know better than anyone: Nobody—I don’t care who you are—no one’s handing you anything.”

That mentality is precisely how “The Flight Attendant” came to be. As “Big Bang” was coming to an end, she did not expect anyone to just offer her the great next role or project. “It wasn’t like I just had a million options,” she says matter-of-factly.

Before the long-running series had set an official end date, Cuoco’s team—whom she has now been with for 14 years—saw the writing on the wall. “They know I can get a little: ‘We’ll deal with it later! It’s gonna be fine!’ ” she says. So it was those people who encouraged her to consider what might be next. “They were like, ‘It might not last for 30 years, even though it feels like it’s going to.’ ” She was, at the time, “completely uninterested in producing,” but the seed had been planted in her head: If you happen to find an article or a book that triggers an emotional response, you could turn it into a TV show or movie. “Oh, that sounds like so much work!” she remembers thinking at the time. “I was so turned off by this idea.” And then, one night, she was perusing Amazon, looking for something new to read.

“I read one sentence [of a description] that said, ‘Fun-loving drunk flight attendant wakes up next to a dead body. How does she get home?’ I know this sounds cheesy AF, but I got this really wild-feeling chill,” she says of the novel of the same name by Chris Bohjalian. “So I called my attorney and said, ‘Did Reese Witherspoon already get the rights to this book?’ ” Witherspoon, a pioneer in the actor-producer trend we’ve seen so many Hollywood leading ladies follow these last few years, had not. And the rest was history. It was quickly established that Cuoco would both star in and executive produce the series, going almost instantly from playing a supporting role on a beloved ensemble sitcom to backstage.com

carrying a prestige dramedy that calls upon her acting chops in distinctly new ways. And when executive Sarah Aubrey, whom Cuoco had been pitching, left TNT to head up HBO Max (which was still unnamed at the time), she told Cuoco, “I want to take this with me.”

Though Cuoco did have something to prove by going after the project so ferociously, she is adamant that it was not a reaction to any fears of being boxed in.

“I do think a lot of actors coming off a show—drama, sitcom, whatever—that’s the fear. I actually was not worried about that,” she says. “I actually had always accepted: If this is my career, if I am a sitcom [person], that’s great. I was so happy with that life.

How could you not be?”

She also insists there was never any need to prove her prowess from an acting standpoint, nor to show off her ability to transition between genres. That said, she certainly appreciates the chance to do so. “I always

19

knew I could do other things. I always loved drama and I’m very emotional, so I can pretty much go to any place at any moment,” she says. “I mean, that’s what makes us actors, right? I do feel that I’ve gotten the opportunity for a whole new career.

“It feels good to show other sides, and for people to love it,” she continues. “I have stayed really true to myself and my team. I haven’t tried to conform to what people need me to be.”

Though “The Flight Attendant” is at times very funny (it is contending as a comedy in the awards races), it is also frequently devastating: a brutal character study detailed through one woman’s struggle with addiction, all told through the lens of a compelling murder mystery, unfolding with, at times, wacky situational framing.

It’s no wonder Cuoco is sick to death of discussing “tone,” because this show, basically, has all of them. “If I could tell you how

06.03.21 BACKSTAGE

many times that word was used…” she says, deadpan. But striking that tricky stylistic balance did create challenges, particularly from an acting standpoint. Cuoco is, by her own definition, not a huge preparer. “People hate hearing that, because they’re just like, ‘Fuck you,’ ” she says. “But anyone that works with me knows I’m not at home at night, like, highlighting. It has to happen for me in that moment.”

Though working off the cuff may not be everyone’s preferred style, it seems the most natural fit for playing Cassie on “The Flight Attendant,” a woman who, given her alcoholism and general tempestuousness, isn’t exactly a preparer herself. “In this show, everything is happening around her. It’s such a reactive character,” she says. “And so for me as Kaley to be in the moment, it truly was like, ‘I have no idea what’s going to happen.’

We used to get to set, and some of these scenes were really long, and I’d say to my director, ‘Tell me where you want me to start and where you need me to end up.’ ” Even when portraying Cassie’s most emotionally fraught moments, Cuoco does not require a solitary or somber atmosphere. She recalls one day, when such a scene was on the schedule, walking onto a sober-feeling set, which was very unusual for the closeknit production. “I’m like, ‘What in the hell is going on here?’ ” she recalls. Only later did she learn the crew had been told “that it was gonna be, like, really intense for me,” she says, sunny as Florida.

After shooting the scene a few times, the set remained dead silent. So, naturally, she started cracking up. “I’m like, ‘You guys!

Do you know how I got into character? I am crying so hard right now because I am so hungry, and I am so desperate to eat,’ ” she says. “And all of a sudden, they all start dying laughing.”

It’s an anecdote that proves how truly unprecious she is when it comes to her process, but it’s far more revealing of how she led her set as No. 1 on the call sheet. The late John Ritter, her “8 Simple Rules” co-star, used a metaphor to describe the position— one that has stuck with her to this day: a Christmas tree. As in: “However the person acts on top trickles down.”

“You can get really good work done, and you can still be nice,” she says with more sternness than she’s shown during the previous 45 minutes. “You can still be kind. You can still have empathy for your crew. You don’t have to be a jerk. You can still be taken seriously, you can be a boss, you can get shit done—and you can be nice.”

She lingers on the importance of appreciating one’s crew, without whom, she correctly points out, there would be no TV show. “They are working so hard for you.

There is no reason that you cannot love on them, thank them, empathize with how they’re doing. They have families, too. They have lives, too,” she says. “I think, as actors, we do, a little bit, put our head in the sand, do BACKSTAGE 06.03.21

our job, and go to the next one. But, actually, when we leave is when all the work happens.

And then we see it, and we’re like, ‘Wow, I did a great job!’ Well, 400 people made you look really good.”

Now that she’s been bitten by the producing bug (not to mention that her production company can now boast “The Flight Attendant” as part of its repertoire),

20

she plans to do more of it, including a TV project about the life of Doris Day and a screen adaptation of Katie Russell Newland’s memoir “A Season With Mom.” A second “Flight Attendant” season is also currently in preproduction. In short, Cuoco isn’t going anywhere. Why would she?

“I’ve always been kind of waving from the corner,” she says. “Working, happy.” backstage.com

Never the Bride These actors have been nominated for the Emmy but have never won—could this be their year?

By Jack Smart

Jane Krakowski

EMMY NOMINATIONS: 5 ELIGIBLE FOR: “Dickinson”

THE APPROACH OF THE 73RD ANNUAL PRIMETIME EMMY AWARDS reminds us television watchers of an uncomfortable fact: It marks 73 whole years of the deserving actors below missing out on the prize.

Yes, it’s an honor just to be nominated for a major Hollywood accolade, and, yes, the very design of awards shows guarantees that more artists fail to make the cut than take the prize. But looking at this year’s list of TV MVPs in the running for 2021 Emmys who have been previously nominated, it’s hard to resist petitioning the Television Academy for long-overdue victories. Let’s get some gold on these actors’ mantles!

longtime fans had been hoping.

From that magical “Transparent” performance to her scenestealing turn on “Parks and Recreation” to bearing her soul on “I Love Dick” and “Mrs. Fletcher,” Hahn has done it all on TV. Oh— and she killed Sparky, too.

Anthony Anderson and Tracee Ellis Ross

(Ross also brings Bow’s humor and charm to spinoff “Mixed-ish,” another chance for Emmy gold!)

EMMY NOMINATIONS: 6 ELIGIBLE FOR: “Good Girls” (NBC)

It’s about time someone from the Johnson family made it to the top of Emmy voters’ lists.

Anderson and Ross’ Dre and Bow represent the best of traditional family sitcoms and everything the genre is becoming. Full of history and recognizably relatable, their dynamic can still both produce laughs and unpack thorny, modern-day issues, even after seven seasons of “Black-ish.”

Kathryn Hahn

EMMY NOMINATIONS: 9 and 4 ELIGIBLE FOR: “Black-ish” (ABC)

Hendricks is still empty-handed.

Her fiery leading performance on “Good Girls,” four seasons in, could finally get her in the club.

EMMY NOMINATIONS: 1 ELIGIBLE FOR: “WandaVision”

(Disney+) Sure, she has the fewest Emmy nods of anyone on this list, but there aren’t many stars more deserving of mainstream awards attention than Hahn, whose performance as Agatha on the hit “WandaVision” was hailed as the breakout for which her

Christina Hendricks

There should be a Television Academy rule that if you get enough nominations in a row for the same performance, you’re guaranteed a win. That’s certainly what fans of “Mad Men” would have wanted when, year after year, the show raked in drama Emmys, but only once an award for any of its actors.

It took Jon Hamm until the final season to win; Elisabeth Moss didn’t become an Emmy winner until “The Handmaid’s Tale”; and

(Apple TV+) Krakowski, who somehow never snatched an Emmy for her legendary “30 Rock” theatrics, followed up those four nods with another for her equally funny work on “Unbreakable Kimmy Schmidt.” Her distinct knack for haughty hilarity can be seen on this Hailee Steinfeld– starring, irreverently inventive Emily Dickinson series, but a new, nuanced sense of drama is threaded throughout; her Mrs. Dickinson finds true pathos amid the dissonance of the show’s period piece–skewering silliness.

Ewan McGregor

EMMY NOMINATIONS: 3 ELIGIBLE FOR: “Halston” (Netflix)

McGregor’s three Emmy nods are proof of his prolific, wide-ranging career: “ER,” “Fargo” Season 3, and narration for a series about Scotland! He’s stretching himself yet again on this summer’s Netflix biopic “Halston,” about the titular flashy designer—the kind of role sure to catch nominators’ attention. Competition will be tough in the limited series categories this year, but could McGregor sweep in for the win?

Rosie Perez

ABC

EMMY NOMINATIONS: 3 ELIGIBLE FOR: “The Flight

Attendant” (HBO Max) Fun fact: Perez is a three-time Emmy nominee for dance. Her choreography work on “In Living Color” in the ’90s never got her a trophy, and despite compelling appearances on the small screen throughout the years, her acting hasn’t yet been recognized.

In addition to being riotously funny on the U.K. action comedy “Bounty Hunters” and memorably heartbreaking on an episode of “High Maintenance,” Perez brought her inimitable presence to this year’s juiciest dramathriller, “The Flight Attendant.”

Anthony Anderson and Tracee Ellis Ross on “Black-ish”

backstage.com

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06.03.21 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays

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.

• Equity’s contracts prohibit discrimina-

Casting picks of the week

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.

BY LISA HAMIL

stage

• Pays $354/wk. Equity SPT 3 Contract.

‘Chicken and Biscuits’ Take a bite of this delicious new Broadway comedy

‘Chicken and Biscuits’

• Casting Equity actors for roles in

“Chicken and Biscuits,” a new comedy.

• Company: Chicken and Biscuits

Broadway LLC. Staff: Pamela Ross, Hunter Arnold, E. Clayton Cornelious, and Leah Michalos, prods.; Zhailon Levingston, dir.; Douglas Lyons, playwright; Erica A. Hart and Bethany Whiteman, casting (viewing auditions).

• Rehearsals begin on or about Aug. 23;

previews begin on or about Sept. 23; fourteen full playing weeks with possible extensions.

• Seeking—Actors: 18+.

• Seeking submissions from NY. • For consideration, prepare contem-

porary monologues no longer than two minutes in length. Send tapes via YouTube or Vimeo link, headshot, and resume to chickenandbiscuits.submissions@gmail.com with the subject line as follows: C+B_NAME_ROLE. Submissions deadline is June 8.

• 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.

• Broadway minimum scale and term

(currently $2,456). Equity Production (League) Contract.

‘The Mountaintop’

• Casting “The Mountaintop.”

• Company: Depot Theatre. Staff: Kenney

M. Green, dir.-prod. artistic dir. (viewing auditions); Kim Rielly, exec. dir.

• Rehearsals begin June 21; runs July 2-18

in Westport, NY.

• Seeking—Dr. Martin Luther King, Jr.

(Cast): male, 39-60, Black / African Descent. Camae (Cast): female, 25-45, Black / African Descent.

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

ute dramatic and email to kgreen@ depottheatre.org by June 7.

BACKSTAGE 06.03.21

Musicals

short film

‘MJ The Musical’

‘Love?’

Search for your soulmate in the Los Angeles, CA area

• Casting two roles in “MJ The Musical.”

• Company: MJP Musical LLC. Staff: The

Michael Jackson Estate and Lia Vollack Productions, prods.; Lynn Nottage, writer; Christopher Wheeldon, dir.choreo.; David Holcenberg, music supervision; Jason Michael Webb, music dir.; Bespoke Theatricals, general mgmt.; The Telsey Office, casting.

musical

‘Groundhog Day’ Relive your days in this Equity Aurora, IL Equity musical

• Rehearsals begin in early fall; perfor-

mances begin in late fall in NYC.

Audiobooks & Podcasts

• Seeking—Young Michael Jackson: male,

‘Sponsor’ Walk down the road to recovery In this comedic remote production

10, Black / African Descent. Young Marlon Jackson: male, 10-12, Black / African Descent.

• Seeking submissions from NY. • For specific instructions on how to sub-

mit, visit: tinyurl.com/youngmjauditions. Submissions deadline is June 4.

stage

• Equity’s contracts prohibit discrimina-

‘Steel Magnolias’ Celebrate the strength of women in an Equity production in Milwaukee, WI

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.

Inc., GM; Taylor Williams, casting dir. (viewing tapes); Borna Barzin, casting assoc. (viewing tapes).

• Pays $2,244/wk. min. Equity

Production League Contract.

‘Oklahoma!’ SETA Tour, Video Submissions

• Rehearsals begin on or around Oct. 6 in

NYC; first performance on or around Nov. 6 in Elmira, NY; first performance in Minneapolis, MN on or around Nov. 8.

• Seeking Equity actors in “Oklahoma!”

SETA Tour.

• Company: Cain’t Say No LLC. Staff:

• Seeking—Various Roles: 18+, all

Daniel Fish, dir.; Jordan Fein and Mikhaela Mahony, assoc. dirs.; Daniel Kluger, orchestrations-arrangements; Nathan Koci, music supervisor; John Heginbotham , choreo.; Andrew S. Collopy, music dir.; Eva Price, Maximum Entertainment Productions, prod.; Tamar Climan, consulting prod.; Danielle Karliner Naish, RCI Theatricals

ethnicities.

• Seeking submissions from NY. • For consideration, send tapes via

Youtube or Vimeo link, headshot, and resume to okcastingsubmissions@ gmail.com with the subject line “OK Tour 2021 [your name].” If you have any SM experience, note in the submission.

Production will not be able to reply to

22

every submission. Production will reach out if they need anything additional. Submissions deadline is June 4.

• Equity’s contracts prohibit discrimina-

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

• Pays $1036.18/wk. Equity Short

Engagement Touring Cat 3 Contract.

‘Working: The Musical’

• Casting Equity actors for roles in

“Working: The Musical.”

• Company: Depot Theatre. Staff: Studs

Terkel, book as source material; Stephen Schwartz and Nina Faso, adaptation; Gordon Greenberg, additional contributions; Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, and James Taylor, songs; Julie Lucido, dir.; Michael Adam Tilford, music dir.; Kenney M. Green, artistic dir.; Kim Rielly, exec. dir.; Kenney M. Green, prod. artistic dir.

• Rehearsals begin July 12; previews July

22; runs July 23-Aug. 8 in Westport, NY. • Seeking—Man 2: male, 18+, Latino /

Hispanic. Woman 1: female, 20-49, Southeast Asian / Pacific Islander.

• Seeking submissions from NY. • For consideration, submit a one-min-

ute monologue and either a brief song of your choice (with your own accompaniment) or “All the Livelong Day” using the sheet music and accompaniment provided at https://depottheatre.org/auditions/ to kgreen@ depottheatre.org. Submissions deadline is June 2.

• Equity’s contracts prohibit discrimina-

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

• Pays $354/wk. min. Equity SPT 3

Contract.

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

backstage.com

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

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casting California

Demo & Instructional Videos Foil for TV Chef Editorial Cooking Video Series

reacting to it. Lisa - HR Boss: female, 32-47, Black / African Descent, Ethnically Ambiguous / Multiracial, affirming spokesperson on her good job. Office Worker: 22-60.

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

• Pay amount TBD.

• Seeking female talent to act as the audi-

ence proxy in a series of short social cooking instructional videos. Talent does not need to be great or even good at cooking but some familiarity with a kitchen will help. Features a nationally famous chef as the other talent. Videos are for a small produce delivery business bringing the farmer’s market to your home.

• Company: Jmw3 Creative. Staff: Joe

Williams, prod.

• Shoots June 3 or 4 in Tribeca, NYC. • Seeking—Foil: female, 18-32.

• Seeking submissions from NY. • Send submissions to jmw3create@

gmail.com.

• Make sure you are available on both

June 3 and 4.

• Pays $300 for the shoot, plus meals

provided.

Online Commercials & Promos Asian or Latina Female for Comedic Retail Web Ad

• Casting a comedic retail web ad for a

national retailer. In the video, female friends chat while shopping for summer and home decor.

• Company: Awakened Films. Staff:

Gillian Schuler, prod.

• Shoots June 8 or 9 in Basking Ridge, NJ. • Seeking—Asian or Latina Female in Her

20s: female, 20-32, Asian, Latino / Hispanic, South Asian / Indian, Southeast Asian / Pacific Islander, must be able to self-report to Basking Ridge, NJ on June 8 or 9. Must have a COVID negative test within 48 hours of the production at actor’s expense. Comedic background a bonus. Speaking role.

• Seeking submissions from NJ and NY. • Send submissions to jason@awakened-

films.com.

• Must have commercial video reel.

Theater is not suitable. Comedic background a plus.

• Compensation includes day rate, all

travel (must be able to self-report to Basking Ridge, NJ), Zoom rehearsal, manicure, and COVID test within 48 hours of the June 8 or 9 production date.

Comedic HR Office Commercial

Stage Staff & Tech ‘Oklahoma!’ SETA Tour, SM

• Seeking a SM for the “Oklahoma!” SETA

Tour. One of the understudy tracks listed in the breakdown will serve as an ASM. All other stage manager positions have been filled.

• Company: Cain’t Say No LLC. Staff:

Daniel Fish, dir.; Jordan Fein and Mikhaela Mahony, assoc. dirs.; Daniel Kluger, orchestrations-arrangements; Nathan Koci, music supervisor; John Heginbotham , choreo.; Andrew S. Collopy, music dir.; Eva Price, Maximum Entertainment Productions, prod.; Tamar Climan, consulting prod.; Danielle Karliner Naish, RCI Theatricals Inc., GM; Taylor Williams, casting dir. (viewing tapes); Borna Barzin, casting assoc. (viewing tapes).

• Rehearsals begin on or around Oct. 6 in

NYC; first performance on or around Nov. 6 in Elmira, NY; first performance in Minneapolis, MN on or around Nov. 8.

• Seeking—SM/Understudy track: 18+,

all ethnicities.

• Seeking submissions from NY. • Send tapes via Youtube or Vimeo link to

okcastingsubmissions@gmail.com.

Include your headshot and resume in the email. If you have any SM experience, note in the submission. Send all emails with the subject line as follows: Subject line: OK Tour 2021 [your name].

Production will not be able to reply to every submission. Production will reach out if they need anything additional.

Submissions due June 4.

• Equity’s contracts prohibit discrimina-

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

• Pays $1036.18/wk. Equity Short

Engagement Touring Cat 3 Contract.

Southern California

• Casting comedic HR office commercial

in the style of Dollar Shave Club.

• Company: Tiny Giraffe Pictures. Staff:

Daniel Sorochkin, coord.

Plays

female, 25-39, Dollar Shave Club-type video. Office Worker Receiving a Lame Office Gift: all genders, 23-60, office worker receiving a lame office gift and

Aurora Theatre Company 2021-22 Season

• Shoots mid-late June in NYC. • Seeking—Spokesperson - HR Manager:

BACKSTAGE 06.03.21

• Casting Equity actors for roles in the

Aurora Theatre Company 2021-22 sea-

son. Local Bay Area actors particularly encouraged to submit. Season includes: “Father/ Daughter” world premiere (Kait Kerrigan, writer; M. Graham Smith, dir. Rehearses Oct. 20-Nov. 17), “This Much I Know” world premiere (Jonathan Spector, writer. Rehearses Jan. 12-Feb 9, 2022), “That’s What We’re Waiting to Find Out” originate and generate world premiere (Cleavon Smith, writer; Dawn Monique Williams, dir.

Rehearses Mar. 23-Apr. 20, 2022), and “Wives” West Coast premiere (Jaclyn Backhaus, writer. Rehearses June 1-29, 2022).

• Company: Aurora Theatre Company.

Staff: Dawn Monique Williams, casting dir.; Josh Costello, artistic dir.

• Season rehearses and runs in Berkeley,

CA.

• Seeking—Actors: 18+.

• Seeking submissions from CA. • For consideration, submit a self-tape

monologue of choice up to two minutes. Submit your audition using the form at https://docs.google.com/ forms/d/e/1FAIpQLSfLRDOPykO8iYkp1z zWGjUE7P00TlxBqiiOUU74kHZU1GvK7g/viewform?usp=sf_link.

Deadline for submissions is July 1.

• Equity’s contracts prohibit discrimina-

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

• Pays $689/wk. min. Equity Bay Area

Theatre (BAT 4) Contract.

Musicals Berkeley Repertory Theatre 2021-22 Season, Chorus • Casting chorus roles in the Berkeley

Repertory Theatre 2021-22 season.

Season includes: “the ripple, the wave that carried me home,” Peet’s Theatre — world premiere (Christina Anderson, writer. Rehearsals begin Sept. 7; tech begins Sept. 26; previews begin Oct. 1; runs Oct. 6-Nov. 7); “Wintertime,” Roda Theatre (Charles L. Mee, writer; Les Waters, dir.

Rehearsals begin Oct. 19; tech begins Nov. 7; previews begin Nov. 12; runs Nov. 17-Dec. 19); “Goddess,” Roda Theatre—world premiere (Saheem Ali, conception-dir.; Jocelyn Bioh, book; Michael Thurber, music-lyrics; Mkhululi Z. Mabija, additional material.

Workshop Aug. 19-Sept. 19; rehearsals begin Feb. 8, 2022; tech begins Mar. 8; previews begin Mar 19; runs Mar. 30-May 15); “Octet,” Peet’s Theatre— West Coast premiere (Chamber Choir Musical by Dave Malloy; Annie Tippe, dir.; Signature Theatre Company, coprod. Rehearsals begin Mar. 21, 2022; tech begins Apr. 13; previews begin Apr. 20; runs Apr. 27-June 5); and “Sanctuary City,” Peet’s Theatre— West Coast premiere (Martyna Majok, writer. Rehearsals begin June 14, 2022; tech begins July 3; previews begin July

24

8; runs July 13-Aug. 14).

• Company: Berkeley Repertory Theatre.

Staff: Johanna Pfaelzer, artistic dir.; Katie Craddock, artistic assoc.

• Rehearses and runs in Berkeley, CA. • Seeking—Chorus: 18+.

• Seeking submissions from CA. • Prepare an audition not to exceed 3

minutes total with a short monologue; or a short song; or a one-minute monologue and 16 bars of a song; or 16 bars of a song and a short dance combination; or a short monologue, 16 bars of a song, and a short dance combination. If including a dance combination as part of your audition, you may use the instruction video and combination found at https://vimeo.com/549646181 and the recorded accompaniment at https://drive.google.com/drive/folders/ 194ELMk8Jx4YZPb4hQXtf6Ftgz49ixNNn ?usp=sharing. If you are singing as part of your audition, you may sing a song of your choosing, or use one of the options provided at https://drive. google.com/drive/folders/194ELMk8Jx 4YZPb4hQXtf6Ftgz49ixNNn? usp=sharing.

• For consideration, submit headshot,

resume, and audition videos (as a YouTube or Vimeo link) to berkeleyrepcasting@gmail.com between 9 a.m. and 6 p.m. PDT on June 1. Unable to accept videos submitted outside this window.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

Berkeley Repertory Theatre, Principal Roles

• Casting principal roles in the Berkeley

Repertory Theatre 2021-22 season.

Season includes: “the ripple, the wave that carried me home,” Peet’s Theatre — world premiere (Christina Anderson, writer. Rehearsals begin Sept. 7; tech begins Sept. 26; previews begin Oct. 1; runs Oct. 6-Nov. 7); “Wintertime,” Roda Theatre (Charles L. Mee, writer; Les Waters, dir.

Rehearsals begin Oct. 19; tech begins Nov. 7; previews begin Nov. 12; runs Nov. 17-Dec. 19); “Goddess,” Roda Theatre—world premiere (Saheem Ali, conception-dir.; Jocelyn Bioh, book; Michael Thurber, music-lyrics; Mkhululi Z. Mabija, additional material.

Workshop Aug. 19-Sept. 19; rehearsals begin Feb. 8, 2022; tech begins Mar. 8; previews begin Mar 19; runs Mar. 30-May 15); “Octet,” Peet’s Theatre— West Coast premiere (Chamber Choir Musical by Dave Malloy; Annie Tippe, dir.; Signature Theatre Company, coprod. Rehearsals begin Mar. 21, 2022; tech begins Apr. 13; previews begin Apr. 20; runs Apr. 27-June 5); and “Sanctuary City,” Peet’s Theatre— West Coast premiere (Martyna Majok, writer. Rehearsals begin June 14, 2022; tech begins July 3; previews begin July 8; runs July 13-Aug. 14). backstage.com

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casting California • Company: Berkeley Repertory Theatre.

Staff: Johanna Pfaelzer, artistic dir.; Katie Craddock, artistic assoc.

• Rehearses and runs in Berkeley, CA. • Seeking—Principal Roles: 18+.

• Seeking submissions from CA. • Prepare an audition not to exceed three

minutes total with a short monologue or a short song or a one-minute monologue and 16 bars of a song. If you are singing as part of your audition, you may sing a song of your choosing, or use one of the options provided at https://drive. google.com/drive/folders/194ELMk8Jx4 YZPb4hQXtf6Ftgz49ixNNn?usp=shar ing. Send email to berkeleyrepcasting@ gmail.com with headshot/resume and audition videos (as a YouTube or Vimeo link) between 9 a.m. and 6 p.m. PDT on June 1. Unable to accept videos submitted outside this window.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

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

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, a Caucasian man in his 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 mid-fifties 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.

• Submit acting reels.

• Meals will be provided. You may use

‘Goat Milk’

Student Films

production.

‘Meat’

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.

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 first-year 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.

• Casting “Goat Milk,” an AFI Cycle • Synopsis: A young couple Jerrick and

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

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

• Meal and copy provided

‘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.

BACKSTAGE 06.03.21

CA.

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

ties, 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

• Use a reader, or tape the other charac-

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

• Rate of Pay: copy, meals, mileage.

‘Tulips’

• Casting “Tulips.” Synopsis: A new

empty nester father deals with the loss of his only daughter as she goes to college and attempts to fill the gap in his life in a peculiar way. This film explores themes of acceptance, connection through distance and growing up.

• Production states: “Olivia Pearce, Diya

Correa and Israel Gomez are rising juniors at USC studying Film and TV production. This is their passion project.”

• Rehearses June 10 via Zoom and June

20 next to USC; shoots June 24-26 next to USC. • Seeking—Scott: 30-55, all ethnicities,

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

• Shoots June 14-16, 2021 in Los Angeles,

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

Israel Gomez, prods.

• Casting “Meat.” Logline: In a future

• Company: American Film Institute

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

• Audition deadline is May 28. Self Tape

• Staff: Olivia Pearce, dir.; Diya Correa,

footage for reels.

Short Films

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 upper-class community.

a soft, gentle, single-dad character who’s passion lies in gardening. After having to raise Ava on his own, the two of them share a very close bond. When Ava goes to college, Scott must deal with the struggle of being a new emptynester while dealing with loneliness and judgemental neighbors. Nancy: female, 22-45, all ethnicities, the neighborhood’s President, and is constantly worried over whether her neighborhood is up to her standards. She is a highstrung LA mom, a Lulu Lemon enthusiast, and a woman who spends her money on juiceries on the daily. She has a subtle hatred towards Scott as he’s a thorn in her side when it comes to creating a perfect neighborhood. Greta: 22-45, all ethnicities, similar to Nancy, Judy is the stuck up sidekick. She listens to whatever Nancy has to say and is as equally high-strung and Snobby. Ava: 18-26, all ethnicities, a college freshman. She’s excited about school and sometimes gets carried away, as in she forgets to call her dad, Scott. The two of them are very close, she just needs to learn how to balance having fun at college and staying connected with her dad.

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

gmail.com.

• In your cover letter note your availabil-

ity and your contact info. All auditions are self tapes and call backs over Zoom.

• Pays $130/day flat rate for lead role

(Scott) plus meal, copy, credit.

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

26

Stage Staff & Tech Aurora Theatre Company

• Seeking stage managers for the Aurora

Theatre Company 2021-22 season.

Local Bay Area stage managers particularly encouraged to submit. Season includes: “Father/ Daughter” world premiere (Kait Kerrigan, writer; M. Graham Smith, dir. Rehearses Oct. 20-Nov. 17), “This Much I Know” world premiere (Jonathan Spector, writer. Rehearses Jan. 12-Feb 9, 2022), “That’s What We’re Waiting to Find Out” originate and generate world premiere (Cleavon Smith, writer; Dawn Monique Williams, dir.

Rehearses Mar. 23-Apr. 20, 2022), and “Wives” West Coast premiere (Jaclyn Backhaus, writer Rehearses June 1-29, 2022).

• Company: Aurora Theatre Company.

Staff: Dawn Monique Williams, casting dir.; Josh Costello, artistic dir.

• Season rehearses and runs in Berkeley,

CA.

• Seeking—Stage Manager: 18+.

• Seeking submissions from CA. • Submit resume and cover letter to Jenn

Ruygt, Production Manager, at jruygt@ auroratheatre.org for consideration by July 1.

• Equity’s contracts prohibit discrimina-

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

• Pays $689/wk. min. Equity Bay Area

Theatre (BAT 4) Contract.

Berkeley Repertory Theatre • Casting stage manager for the

Berkeley Repertory Theatre 2021-22 season. Season includes: “the ripple, the wave that carried me home,” Peet’s Theatre — world premiere (Christina Anderson, writer.

Rehearsals begin Sept. 7; tech begins Sept. 26; previews begin Oct. 1; runs Oct. 6-Nov. 7); “Wintertime,” Roda Theatre (Charles L. Mee, writer; Les Waters, dir. Rehearsals begin Oct. 19; tech begins Nov. 7; previews begin Nov. 12; runs Nov. 17-Dec. 19); “Goddess,” Roda Theatre—world premiere (Saheem Ali, conception-dir.; Jocelyn Bioh, book; Michael Thurber, music-lyrics; Mkhululi Z. Mabija, additional material. Workshop Aug. 19-Sept. 19; rehearsals begin Feb. 8, 2022; tech begins Mar. 8; previews begin Mar 19; runs Mar. 30-May 15); “Octet,” Peet’s Theatre—West Coast premiere (Chamber Choir Musical by Dave Malloy; Annie Tippe, dir.; Signature Theatre Company, co-prod.

Rehearsals begin Mar. 21, 2022; tech begins Apr. 13; previews begin Apr. 20; runs Apr. 27-June 5); and “Sanctuary City,” Peet’s Theatre—West Coast premiere (Martyna Majok, writer.

Rehearsals begin June 14, 2022; tech begins July 3; previews begin July 8; runs July 13-Aug. 14). backstage.com

National/Regional casting

• Company: Berkeley Repertory Theatre.

Staff: Johanna Pfaelzer, artistic dir.; Katie Craddock, artistic assoc.

• Rehearses and runs in Berkeley, CA. • Seeking—Stage Manager: 18+.

• Seeking submissions from CA. • Stage managers can submit resumes to

Audrey Hoo (Production Manager) and Zoey Russo (Associate Production Manager): ahoo@berkeleyrep.org/ zrusso@berkeleyrep.org. Submissions deadline is June 1.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,202/wk. Equity LORT B Non-

Rep Contract.

National/ Regional Plays Alley Theatre 2021-22 Season • Casting Equity actors for roles in the

Alley Theatre 2021-22 season. No roles will be understudied. Season includes: “Sweat” (Lynn Nottage, writer; Rob Melrose, dir. Hubbard Theatre [LORT B].

Rehearsals begin Aug. 31; runs Oct. 1-24), “72 Miles to Go” (Hilary Bettis, writer; José Zayas, dir. Neuhaus Theatre [LORT C]. Rehearsals begin Sept. 14; runs Oct. 15-Nov. 14), “Charles Dickens’ A Christmas Carol” (Doris Baizley, adaptation; Brandon Weinbrenner, dir.

Hubbard Theatre [LORT B]. Rehearsals begin Oct. 26; runs Nov. 19-Dec. 29), “High School Play: A Nostalgia Fest” (Vichet Chum, writer; Tiffany Nichole Greene, dir. Hubbard Theatre [LORT B].

Rehearsals begin Dec. 21; runs Jan. 21-Feb. 13, 2022), “Amerikin” (Chisa Hutchinson, writer; James Black, dir.

Neuhaus Theatre [LORT C]. Rehearsals begin Jan. 11, 2022; runs Feb. 11-Mar.13), “Sense & Sensibility” (Kate Hamill, writer; Jane Austen, novel; Adriana Baer, dir. Hubbard Theatre [LORT B].

Rehearsals begin Feb. 1, 2022; runs Mar. 4-27), “Dead Man’s Cell Phone” (Sarah Ruhl, writer; Brandon Weinbrenner, dir.

Hubbard Theatre [LORT B]. Rehearsals begin Mar. 15, 2022; runs Apr. 15-May 8), “Born With Teeth” (Liz Duffy Adams, writer; Rob Melrose, dir. Neuhaus Theatre [LORT C]. Rehearsals begin Apr. 5, 2022; runs May 6-June 5), and “Noir” (Duncan Sheik, music; Kyle Jarrow, book; Kyle Jarrow and Duncan Sheik, lyrics; Darko Tresnjak, dir. Hubbard Theatre [LORT B]. Rehearsals begin May 3, 2022; runs June 2-July 3).

• Company: Alley Theatre. Staff: Brandon

Weinbrenner, assoc. prod.-casting dir.

• Season rehearses and runs in

Houston, TX.

backstage.com

• Seeking—Actors: 18+.

• Seeking submissions from TX. • For consideration, submit an audition

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from CO. • Submissions will be accepted only

to auditions@alleytheatre.org on or between the dates of June 4-10. All auditions will be reviewed if received during these dates.

between May 24 and June 4. For consideration, submit two monologues (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.

• Tape two contrasting monologues or

one monologue and one song. Total audition time should not exceed three minutes. You may use a song of your choice or you may use the accompaniment and sheet music provided for the below selections from another Duncan Sheik musical, “Spring Awakening:” • Soprano: www.dropbox.com/sh/

rkn96o36ckq5l69/ AABQX1tsgvgp_PVz6WrWL5d4a?dl=0

• Equity members must have a current

equity ID card. These are Equity LORT D productions; nonEquity actors will be considered. Do not contact the production staff to submit your video audition.

If you have any questions, contact Lisa Hoffman at ac_auditions_email@ arvadacenter.org.

• Alto: www.dropbox.com/

sh/1xwqcirsceqotd4/ AAD-wpMs3BExp6liGq--Vc5Ca?dl=0 • Tenor: www.dropbox.com/sh/nog-

87pn3nc6i4bm/ AADAuvQKLBjTuCyxXrk_EnVsa?dl=0 • Baritone/Bass: www.dropbox.com/

sh/4srwj4f6flljrrs/ AADcGEHy_HK31e9zfoquGk2ka?dl=0

• 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.

• To view content advisories for each

show in our 75th Season, visit www. alleytheatre.org/content-advisory.

• Equity’s contracts prohibit discrimina-

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

• Pays $739/wk. Equity LORT D Non-Rep

Contract.

Ford’s Theatre

• Equity LORT B Non-Rep Contract until

• Seeking video auditions from Equity

Feb. 13, 2022: $1,008/wk. min. Equity LORT C Non-Rep Contract until Feb. 13, 2022: $926/wk. min.

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).

Arvada Center for the Arts

• 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.

• Company: Ford’s Theatre Society. Staff:

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

• Season rehearses and performs in

Washington, DC.

• The Arvada Center is committed to

• Seeking—Equity Actors: 18+.

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

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.

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: 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 Thurs.-Sat. evenings

with matinees on Wed., Sun. and some Sat. for five to seven shows/week.

Some weekday student matinees may be added.

• For consideration, submit your

recorded audition (.mov file, not to exceed two minutes total; introduction

27

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.

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

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

Round House Theatre 20212022 Season, Equity Video Submissions

• Casting the Round House Theatre 2021-

2022. Season includes “Quixote Nuevo” (Octavio Solis, playwright; Lisa Portes, dir. Rehearsals begin Aug. 3; tech Sept.

1-4; runs Sept. 8-Oct. 3), “The Great Leap” ((Lauren Yee, playwright.

Rehearsals begin Oct. 5; tech Nov. 3-6; runs Nov. 15-Dec. 5), “Nine Night” (Natasha Gordon, playwright; Timothy Douglas, dir. Rehearsals begin Nov. 30; tech Dec. 28, 2021-Jan. 2, 2022; runs Jan. 5-30), “it’s not a trip, it’s a journey” (Charly Evon Simpson, playwright; Nicole A. Watson, dir. Rehearsals begin Feb. 22, 2022; tech Mar. 22-26, 2022; runs Apr. 5-May 8), and “We Declare You a Terrorist” (Tim J. Lord, playwright; Ryan Rilette and Jared Mezzocchi, codirs. Rehearsals begin Mar. 1, 2022; tech Mar. 29- Apr. 2, 2022; runs Apr. 7-May 8, 2022.).

• Company: Round House Theatre. Staff:

Ryan Rillette, artistic dir.; Agyeiwaa Asante, casting dir.

• Season runs in Bethesda, MD. • Seeking—Equity Actors: 18+.

• Seeking submissions from MD. • Prepare one contemporary monologue.

Total time should not exceed three minutes. Submit picture, resume and video submissions to casting@roundhousetheatre.org by June 4, 2021 at 11:59 p.m.

EDT. Roles will not be understudied.

Actors from the DC/MD/VA area are encouraged to submit. Shows will be performed at Round House Theatre in Bethesda, Maryland.

• Pays $739/wk. (LORT D). Equity LORT

Non-Rep Agreement.

Shakespeare Theatre Company 2021-2022 Partial Season • Casting Equity actors for the

Shakespeare Theatre Company 20212022 Partial Season. Season includes “The Amen Corner (Sidney Harman Hall.

James Baldwin, playwright; Whitney White, dir. Rehearsals begin Aug. 31; tech begins Sept. 9 or 10; runs Sept.

06.03.21 BACKSTAGE

casting National/Regional 14-26, 2021), “Our Town” (Sidney Harman Hall. Thornton Wilder, playwright; Alan Paul, dir. Rehearsals begin Jan. 18, 2022; tech begins Feb 11, 2022; runs Feb. 17-Mar. 20, 2022), and “Red Velvet” (The Klein. Lolita Chakrabarti, playwright, Jade King Carroll, dir.

Rehearsals begin May 17, 2022; tech begins June 10, 2022; runs June 16-July 17, 2022.).

• Company: Shakespeare Theatre

Company. Staff: Simon Godwin, artistic dir.; Chris Jennings, exec. dir.; Carter Wooddell, resident casting dir.

• Season runs in Washington, DC. • Seeking—Equity Actors: 18+.

• Seeking submissions from DC. • Casting will not review materials of

non-Equity/EMC actors at this time. You must be a member of Equity to submit an electronic audition. Prepare one (1) classical monologue, preferably Shakespeare, and a contemporary monologue of your choosing. Total audition should not exceed three minutes. Submit all taped auditions electronically with the subject line: EPA Subnission STC 2021-2022 (also include your membership number in the subject line to verify that you are a member of Equity). State your name and what you are going to perform, prior to beginning your monologues. Send videos in the form of a link to view, not a file to download. Deadline June 10.

Submit to castingshakespeare@shakespearetheatre.org. STC is committed to building an inclusive organization that reflects the national artistic landscape and communities that we serve. We encourage people of all communities to audition for all roles available.

• Pays $1,096/wk. (LORT B+

-Shakespeare Theatre Company’s Sidney Harman Hall.) Pays $1,008 weekly minimum (LORT B - Michael R. Klein Theatre.) Equity LORT Non-Rep Agreements.

‘Steel Magnolias’

• Seeking photo/resume submissions for

“Steel Magnolias.”

• Company: Milwaukee Repertory

Theater/Quadracci Powerhouse Theatre. Staff: Robert Harling, writer; Laura Braza, dir.

• Rehearsals begin Oct. 12; previews

begin Nov. 9; runs Nov. 12-Dec. 5 in Milwaukee, WI.

• Seeking—Truvy Jones: 38-45. Annelle

Dupuy-Desoto: 19. Clairee Belcher: 65-67. Shelby Eatenton-Latcherie: 25.

M’Lynn Eatenton: 48-52. Ouiser Boudreax: 66.

• Seeking submissions from WI. • For consideration, email headshot and

resume to clementz.casting@gmail. com by June 3. Video auditions on June 4. Virtual callbacks week of June 7.

• Equity’s contracts prohibit discrimina-

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

• Pays $969/wk. Equity LORT B Non-Rep

Contract.

BACKSTAGE 06.03.21

‘Summerfield Estates’

• Casting “Summerfield Estates.”

• Company: Portland Center Stage. Staff:

Saturdays at 8 p.m. ET; and Sundays at 2 p.m. ET) in Philadelphia, PA.

Fades%20Away%20TenorBaritone%20 Instrumental%20.m4a?dl=0

14+, Asian. Atung: male, 18+, Asian.

Reference: www.dropbox. com/s/0dre9c2yz5f24jz/Someone%20 Like%20You%20Sop%20Reference. m4a?dl=0

• Seeking—Afong Moy (Cast): female,

Ashley Mellinger, lead artist-co-writer; Joseph Bowden, co-writer-dir.; Chip Miller, assoc. artistic dir.

• Seeking submissions from PA. • For consideration, email auditions@

interacttheatre.org and production will send the sides to prepare up to two minutes of Atung’s monologue. Submit auditions to auditions@interacttheatre. org by June 7.

• Rehearses June 15 (9 a.m.-5 p.m. PDT),

June 16 (12-8 p.m. PDT), June 17 (9 a.m.-5 p.m. PDT), June 18 (12-8 p.m. PDT), June 19 (9 a.m.-5 p.m. PDT), June 20 (9 a.m.-5 p.m. PDT); tech June 22-24 (12-8 p.m.

PDT); runs June 25 (7:30 p.m. PDT), June 26 (2 p.m. PDT and 7:30 p.m.), and June 27 (7:30 p.m. PDT) in Portland, OR. 18+. Felix: 18+.

• Seeking submissions from OR. • Seeking Equity actors for workshop of

“Summerfield Estates,” an original, interactive sci-farce. It will be performed in person at Portland Center Stage and streamed live on their platform. There will be no in-person audience. If you submit, you must be able to film in person in Portland, OR. This piece is being developed as a part of their PCS Remix: Original Works series.

To learn more about the program, visit https://www.pcs.org/original-works. No roles will be understudied.

• Equity’s contracts prohibit discrimina-

• Pays $546/wk. min. Equity SPT Tier 7

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.

Westcoast Black Theatre Troupe 2021-22 Season

• Casting Equity actors for roles in the

Westcoast Black Theatre Troupe 202122 season. Season includes: “Eubie!”

(Jim Weaver, dir. Rehearses Sept. 7-Oct. 5 [four weeks]; runs Oct. 6-Nov. 21 [seven weeks]; total performances: 47), “Joyful, Joyful” world premiere (Nate Jacobs, dir. Rehearses Nov. 2-30 [four weeks]; runs Dec. 1-30 [four weeks]; no performances on Dec. 24 or 25; total performances: 26), “Broadway in Black” (Nate Jacobs, dir. Rehearses Feb. 8-Mar. 8, 2022 [four weeks]; runs Mar 9-Apr. 24 [seven weeks]; total performances: 47), and “Float Like A Butterfly and From Birmingham to Broadway” (Nate Jacobs, dir. Rehearses Apr. 5-May 3, 2022 [four weeks]; runs May 4-29 [four weeks]; possible two-week extension; total performances: 26).

• Audition Materials can be found at

https://www.dropbox.com/sh/erlrt69pmu4hroc/ AACme45v0Rbz_1TC3yPmfQwza?dl=0.

Prepare the sides for the roles you’re interested in (preferred) or a contemporary monologue of your choice.

Please email all video submissions through either a Dropbox or Google Drive that has granted access to casting@pcs.org. Please attach a PDF of your headshot and resume. Deadline to submit is June 5.

• As an Equal Opportunity Employer,

Portland Center Stage does not discriminate in employment based on race, color, religion, sex or national origin. Qualified applicants are considered for all positions without regard to age, marital status, sexual orientation, or the presence of a non-job-related medical condition or handicap.

• Company: Westcoast Black Theatre

Troupe of Florida, Inc. Staff: Nate Jacobs, founder-artistic dir.; Jim Weaver, dir. (“Eubie”); Donald Frison, resident choreo.; Travis Ray, assoc. managing dir.; Juanita Munford, resident stage mgr.

• Company states: “We are committed to

identifying and interrupting instances of racism and all forms of oppression, through the principles of inclusion, diversity, equity, and accessibility (IDEA). To learn more, please visit https://www.pcs.org/idea.”

• Season rehearses and runs in Sarasota,

FL.

• Seeking—Actors: 18+.

• Seeking submissions from FL. • All online submissions must be emailed

to Travis Ray at tray@westcoastblacktheatre.org by June 3 before 4 p.m. EDT. Late submissions unacceptable. All actors and singers must provide one monologue and one song both three minutes max. You may use a song of your choice or use the accompaniment provided below.

• 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.

• Alto Reference: www.dropbox.com/s/

lgc1jv3mn9nu66o/Home%20Alto%20 Reference%20.m4a?dl=0

• Pays $2,016 ($168/day). Equity LORT

• Soprano “Someone Like You”

Instrumental: www.dropbox.com/s/ p7qtusaqnao6e09/Someone%20 Like%20You%20Sop%20F%23%20 Instrumental%20.m4a?dl=0

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.

• Seeking—Mouser (Cast): 18+. Dallas:

• Soprano “Someone Like You”

• Equity’s contracts prohibit discrimina-

• Pays $638/wk. Equity SPT 8 Contract.

‘When Harry Met Rehab’ • Casting Equity actors for roles in

“When Harry Met Rehab.” Local Chicago actors particularly encouraged to submit.

• Staff: Donald Cameron Clark, prod.;

Spike Manton and Harry Teinowitz, authors; Jackson Gay, dir. (viewing auditions); Laura Stanczyk, CSA, casting dir. (viewing auditions).

• Rehearsals begin Oct. 25; previews

begin Nov. 23; runs Dec. 5-Mar. 5, 2022; possible extension through Apr. 3.

• Seeking—Harry: male, 45-55, White /

European Descent. Vince: male, 45-55.

Barb: female, 50-65. Andrea: female, 37-47. Isaiah: male, 30-39. George: male, 20-24.

• Seeking submissions from IL. • Prepare a brief monologue that tackles

serious issues with humor. All submissions must be emailed to submissions@ lscasting.org no later than June 4.

• Equity Principal Auditions via taped

submissions. Callback auditions for vaccinated individuals will be held in person in Chicago. Callback auditions for unvaccinated individuals will be held via Zoom. Equity COVID guidelines will be followed and CDC vaccination cards must be presented at any in person appointment.

• Equity’s contracts prohibit discrimina-

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

• Pays $638/wk. Equity CAT Tier IV

Contract.

• Alto “Home” from “The Wiz”: www.

Non-Rep Contract.

‘The Chinese Lady’

dropbox.com/s/efievld6yf2li0p/ Home%20The%20Wiz%20Alto%20 Ref%20Instrumental.m4a?dl=0

Staff: Seth Rozin, artistic dir. (viewing auditions); Lloyd Suh, playwright; Justin Jain, dir. (viewing auditions).

Reference: www.dropbox.com/s/ nq3r8sbffl1x9og/It%20All%20 Fades%20Away%20TenorBaritone%20 Reference.m4a?dl=0

‘Darlin’ Cory’

Oct. 29; runs Nov. 4-21 (Wednesdays and Thursdays at 7 p.m. ET; Fridays and

Instrumental: www.dropbox.com/s/ ka5w0b3sdeikoxz/It%20All%20

• Staff: Kristian Bush, music-lyrics;

• Casting “The Chinese Lady.”

• Company: InterAct Theatre Company.

• Tenor/Baritone “It All Fades Away”

• Rehearsals begin Oct. 5; previews begin

• Tenor/Baritone “It All Fades Away”

28

Musicals • Casting Equity actors for roles in

“Darlin’ Cory,” a world premiere musical set in the Appalachian Mountains in the early 1900s.

Phillip DePoy, book-lyrics; Susan V. backstage.com

National/Regional casting

Booth, dir.; Jody Feldman, Alliance Theatre prod.-casting dir. (viewing auditions); Skylar Burks, Alliance Theatre BOLD producing assoc.

• Rehearsals begin Aug. 10; runs Sept.

15-Oct. 3 in Atlanta, GA.

• Seeking—Alex Crow: 18+, Asian, Black /

African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Brody/Grey: male, 27-34, White / European Descent. Gaither: male, 27-34, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Ivy/Jenny: female, 17-19, White / European Descent. Truegood: female, 30-39, White / European Descent.

Tucker: male, 40-59, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander.

• Seeking submissions from GA. • Create Google Drive Folder with your

name. Upload audition video and headshot/resume. Select folder, go to “get link”; be sure to change permission settings to “anyone with link.” Label e-mail “Darlin’ Cory’ and send by 10 a.m. EDT on June 4. Email submission to EPAcasting@alliancetheatre.org.

• Prepare sides at https://drive.google.

com/drive/folders/146CC36RaFSdtQN uGahJ20KNUOhwFj1AP?usp=sharing for the character of your choice or oneminute monologue of your choice, plus 16 bars of either a song of our choice in the style of “O Brother, Where Art Thou” soundtrack or prepare the first two verses of “Amazing Grace” with the accompaniment provided at https:// www.youtube.com/ watch?v=hEiVj4F3EVA. If the character you are auditioning for needs to play a string instrument, also include and a piece with string instrument.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

‘Groundhog Day’

• Seeking strong Equity actors and sing-

ers of all genders, ethnicities, ages, and types for roles in “Groundhog Day.” • Company: Aurora Civic Center

Authority. Staff: Jim Corti, dir.-artistic dir.; Tom Vendafreddo, music dir.; Megan E. Farley, choreo.; Trent Stork, CSA, assoc. artistic prod.-casting dir.; Paul-Jordan Jansen, assoc. artistic prod.

• Rehearsals begin Dec. 27; previews

begin Jan. 26, 2022; runs Feb. 4-Mar. 13 in Aurora, IL. • Seeking—Phil Connors: 35+. Rita: 30+.

Nancy: 25+. Townspeople of Punxsutawney: 20+.

• Seeking submissions from IL.

backstage.com

Almira Gulch/Wicked Witch: 40-55, mezzo, Dorothy’s menacing and meddling neighbor in Kansas who she later meets in Oz as the Wicked Witch of the West; the Witch is cunning, vengeful, and somewhat comical in her pursuit to destroy Dorothy and retrieve the ruby slippers; must be comfortable riding a bike and handling a live animal. Prof.

Marvel/Wizard of Oz: 45-65, non-singing; a phony, yet amiable fortune teller in Kansas who Dorothy later meets in Oz as the Wizard; the powerless Wizard is egotistical and a bit of a blowhard, but eventually sees the good in the travelers and assists them with their wishes.

• Submit a video along with your head-

shot/resume via YouTube, Vimeo, or Dropbox to casting@paramountarts. com. The video should include either one one-minute cut of a song of your choice in the contemporary musical theatre style or you may use the accompaniment at www.dropbox.com/ sh/11puia9hmzc6xby/ AACIUL5PAVTXFY0ilnDY06Uda?dl=0.

Submissions will be accepted from the time of this posting to 11:59 p.m. CDT on June 9.

• Equity’s contracts prohibit discrimina-

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

• Seeking submissions from PA. • Seeking video auditions from Equity

• Pays $791/wk. Equity LOA ref. COST

Contract.

‘The Wizard Of Oz’

• Casting Equity actors for “The Wizard

Of Oz.”

• Company: Pittsburgh Civic Light Opera.

Staff: Glenn Casale, dir.; Gerry McIntyre, choreo.; James Cunningham, music dir.; JZ Casting, casting; Billy Mason, producing assoc.; Olivia O’Connor, development dir.

• Rehearsals begin July 1, 2021; runs

actors for roles in The Wizard of Oz. Equity Performers of all racial and ethnic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition.

All stage manager positions have been filled at this time. Prepare a brief classical musical theater song. No pop rock.

You may also choose to sing one of the provided cuts of “Somewhere Over the Rainbow” that is appropriate for your voice part at www.pittsburghclo.org/ about/cloauditions. Submission information is also available on that page.

Submission deadline is June 14, 2021, 11 p.m. EDT. • Pays $1,168 wk. Equity RMTA

through July 10 2021 (possible July 11, 2021 rain date) outdoors at Heinz Field (stadium) in Pittsburgh, PA. • Seeking—Dorothy: 18+, mid to late teens; a plucky girl who is transported to the Land of Oz from her home in Kansas; throughout her journey she is seen as determined, daring, honest, and loyal; must be a strong singer/actor who moves very well; must be comfortable with handling a live animal, soprano. Aunt Em/Glinda: 35-49; Dorothy’s aunt who is hard workingand stern, yet also concerned for Dorothy’s well being and safety; Glinda is Oz’s Good Witch of the North; she is he kind-hearted and magnanimous protector of Dorothy and her friends; legit soprano. Hunk/Scarecrow: 30-49; a Kansas farmhand who Dorothy later meets in Oz as the Scarecrow; although the Scarecrow lacks the brains he wishes to receive from the Wizard and thereby doubts his own intelligence, he turns out to be the most clever and resourceful member of the group; must be a fluid dancer; baritone. Hickory/Tin Man: 30-49, baritone; a Kansas farmhand who Dorothy later meets in Oz as the Tinman; The Tinman is a hardened woodsman in search of a heart from the Wizard to reconnect with a past love; he actually is full of emotion and follows his instincts when helping his friends; possible Tap Dancer. Zeke/Cowardly Lion: 30-49, a Kansas farmhand who Dorothy later meets in Oz as the Cowardly Lion; as the King of Forest, the Cowardly Lion has a mighty roar, but hislack of courage leave him frightened and spineless, especially in front of the Wizard; his quest for courage puts him toe to toe with the Wicked Witch, proving to himself that he can stand up and face his fears; bari-tenor.

Agreement.

‘Unfolding Temporary’

• Casting “Unfolding Temporary,” a

musical in development. Synopsis: Set in cCollege, two girls unexpectedly begin to fall in love except one is in the midst of planning to end her own life and the other has no idea.

• Production states: “Aiming to tell an

honest and raw story that deals with some of the many branches of mental health. Tonally, it’s the softness of ‘Waitress the Musical’ meets the edginess of ‘Mean Girls the Musical.’ You will be part of workshopping the songs and putting together a demo album.”

• Company: Sweet Creativity

Productions. Staff: Elena L., writer-dir.book; Gloria M. and Mark F., music & lyrics.

• Dates TBD. Currently working remotely

with plans to also work in-person when it is safe to do so.

• Seeking—Ryan Kommer: male, gender-

nonconforming, non-binary, trans male, 21-28, charismatic frat boy with a zest for parties and open mics. Best friends with Naomi Wilder (one of the leads) and Jenny Hastings. Ryan and Naomi used to date but soon decided they’re better off as friends. They’re all close and there for each other unconditionally.

• Seeking submissions from CA and NY. • Send submissions to elockleis@gmail.

com.

• In your cover letter, note why you’re

interested. If asked to audition, the song will be from a more contemporary musical.

• Contact details TBD.

‘Wildfire’

• Casting Equity actors for “Wild Fire.”

Synopsis: “Wild Fire” follows the lives of

29

eight people in Grand County Colorado over the course of one momentous week as they face the threat of an unprecedented wildfire. A local fire marshall, a park ranger, a reporter, a rancher, and other evacuated residents... these are a few of the lives that are crossed, changed, and ultimately interwoven forever. Featuring a folk score written by Colorado musicians, crafted by a Colorado playwright, and inspired by real testimony from over 30 oral history interviews, “Wild Fire” honors real stories from our neighbors and friends — with urgent relevance to events happening across the country.

The production will perform a statewide Colorado tour Aug. 16-29, 2021. It will play at some of Colorado’s most celebrated outdoor venues, including Crested Butte Arts Center, Dillon Amphitheatre, Levitt Pavilion (Denver), Rendezvous Events Center (Winter Park). Audience capacity will depend on public health guidelines, but we expect a minimum of 10,000 audience members for the live performances. In addition, we plan to stream a multi-camera recording of the production for a virtual audience around the one-year anniversary of the East Troublesome Fire in October 2021. Note: No roles will be understudied.

• Company: Denver Center for the

Performing Arts. Staff: Jessica Kahkoska, playwright; Chris Coleman, dir.; Mark Meadows, music dir.; Grady Soapes, CSA, casting.

• Rehearsals begin July 19; tech begins

Aug. 5; runs Aug. 16-Aug 22 or 30, 2021) in Denver, CO. Note: Sunday(s) is typical day-off.

• Seeking—Fire Marshall: male, 40-59,

generous, rational, and grounded-someone who thinks before he speaks; has an air of authority (and a dry yet blue-collar sense of humor); people naturally respect him. Reporter: 20-29, sensitive yet tough, green, heart-forward; Reporter is on her first jobout of college and relatively new to the community; leads Golden Age. Park Ranger: male, 20-39, an interpretation ranger at a national park; adventurous, an“entertainer” -- don’t get him started talking about geology or bugs.

Principal: female, 30+, principal of the local high school; devoted, fierce, intelligent-- an operations whiz who will do whatever it takes for her students.

Historian: male, 50-69, a retired veteran who recently built his dream cabin in the mountains; sweet, soulful; madly in love with his wife, the Pastor. Pastor: female, 50-69, faith leader in the community, launches and runs the distribution center and leads services. Intuitive yet down to earth; married to Historian.

Kid: female, 18, Latinx; a local high schooler: sarcastic, ambitious, and opinionated; covers her true feelings with jokes. Rancher: male, 30-39, a man of few words who is genuinely moved when his community shows up to help him and the herd during the fire.

• Seeking submissions from CO. • Starting at 9 a.m. MDT on June 2, visit

denvercenter.org/casting, where a link will provide instructions on how to request instructions to submit a virtual audition. After submitting a request

06.03.21 BACKSTAGE

casting National/Regional through that link, actors will receive an email confirmation with details on how to submit their audition. The link to request submission information will only be active from 9 a.m.-5 p.m. MDT on June 2 but auditions may be submitted through June 7, 2021. Actors should prepare one of the sides found at denvercenter.org/casting, as well as a folk song, for which they should accompany themselves on one of the following instruments: Guitar, violin/fiddle, upright/electric bass, auxiliary guitar 2 (banjo/mando/uke), drums/percussion, cello, keyboards/organ. All characters are based on real people and interviews in Grand County, Colorado. Gender and age descriptions below are not physical identifiers, but rather reflect the individuals and conservations the characters are inspired by. All roles will need to sing and proficiently play an instrument(s) to be considered. Actors should be prepared to sing and accompany themselves (from the instrument list below) a folk song in addition to a provided side. Instrument needs: Guitar, violin/fiddle, upright/electric bass, auxiliary guitar 2 (banjo/mando/ uke), drums/percussion, cello, keyboards/organ, vocalist. The Denver Center does not believe in discrimination based on color, race, religious affiliation, sexual orientation, disability, gender, or otherwise. All performers, including those of color, seniors, women, and performers with disabilities, are strongly encouraged to audition and will be given full consideration.

ography shown and taught at https:// www.pittsburghclo.org/about/cloauditions. You may also choose to submit a singing video (see “Singers” above) in addition to the choreography. Seeking strong singers and dancers for the ensemble in PittsburghCLO’s production of the Wizard of Oz. All genders, types and ethnicities encouraged to submit. Equity Performers of all racial and ethnic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition. “The Wizard of Oz” will be performed outdoors at Heinz Field (stadium) in Pittsburgh, PA.

Audiobooks & Podcasts

Agreement.

on tour. Equity LORT Non-Rep Agreement.

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

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, 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, 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, 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, the parent who carries all the weight of her teenage twins and alcoholic husband, all behind a full face of makeup and well-tailored 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, precious guppy in a sea of sharks. Collin is Adrian’s assistant, perfect at his job, and privately comfortable blurring the lines of professionalism. Theodore Ellis: male, 16-18, (17) 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, 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 aggres-

• Pays $926/wk. Per diem provided when

• Pays $1,168/wk. Equity RMTA

Online Commercials & Promos ‘Camping With Style’

• Casting “Camping With Style,” a camp-

ing gear demonstration and promotional video.

• Company: Hivemind. Staff: Kelly Pratt

and Andrea Dondanville, prods.

• Shoots June 14-15 in South Lake Tahoe,

CA.

• Seeking—Male Camper: male, 25-35,

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

• Must be comfortable with the out-

Chorus Calls

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

• Pays $200/day with meals provided.

‘The Wizard Of Oz’

Short Codes, CTIA

“The Wizard Of Oz.”

for web and social.

• Casting Equity singers and dancers for • Company: Pittsburgh Civic Light Opera.

Staff: Glenn Casale, dir.; Gerry McIntyre, choreo.; James Cunningham, music dir.; JZ Casting, casting; Billy Mason, producing assoc.; Olivia O’Connor, development dir.

• Rehearsals begin July 1, 2021; runs

through July 10 2021 (possible July 11, 2021 rain date) outdoors at Heinz Field (stadium) in Pittsburgh, PA.

• Seeking—Equity Singers And Dancers:

18+.

• Seeking submissions from PA. • Submissions deadline is June 8, 2021 at

11 p.m. Information and submission instructions can be found at: https:// www.pittsburghclo.org/about/cloauditions. Singers: submit a video of you singing 16-32 bars of a traditional musical theater song (ballad or uptempo).

No pop rock. As an alternative, you may choose to sing one of the provided 16 bar cuts available at https://www.pittsburghclo.org/about/cloauditions.

Choose the cut most appropriate for your vocal range (high or low). You may also choose to submit a choreography video (see “Dancers” below) in addition to your song. Dancers: submit a fullbody video of you executing the chore-

BACKSTAGE 06.03.21

• Casting “Short Codes,” a commercial • Company: Paladino Casting. Staff: K.

Paladino, coord.

• Shoots June 9 in the Washington, D.C./

Virginia area.

• Seeking—Office Employee #1: male,

40-55, all ethnicities, mid-level office employee. Reference: Dwight or Toby from “The Office.” Background in comedy/improv is preferred. Office Employee #2: female, 30-45, all ethnicities, confident, knowledgeable, unfazed by the developments taking place around her. Background in comedy/improv is preferred.

• Seeking submissions from DC, VA, MD

and PA.

• Send submissions to talent@paladino-

casting.com.

• Session fee: $1,000/10 hrs. Usage fee:

$1,000. Agency fee: +10%. Project type: Commercial/Internet. Usage: 6 months, Web/social media/YouTube archival.

Conflicts/Exclusivity: None. Prefer local talent to self-report. Rate includes any travel expenses.

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

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.

sively nice to Adrian. Justine: 30-45, 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.

remotely.

productions.com.

‘Sponsor’

• Casting “Sponsor,” an irreverent

• Company: Tandon Productions.

• Rehearses and records June-August

• Seeking—Sam Golden: male, 35+, (45),

30

• Seeking submissions worldwide.

• Send submissions to casting@tandon-

• For consideration, visit tandonproduc-

tions.com/sponsor-casting.

• Pay provided.

Stage Staff & Tech Alley Theatre 2021-22 Season, Stage Manager

• Seeking stage managers for the Alley

Theatre 2021-22 season. Season includes: “Sweat” (Lynn Nottage, writer; Rob Melrose, dir. Hubbard Theatre [LORT B]. Rehearsals begin Aug. 31; runs Oct. 1-24), “72 Miles to Go” (Hilary Bettis, writer; José Zayas, dir. Neuhaus Theatre [LORT C]. Rehearsals begin Sept. 14; runs Oct. 15-Nov. 14), “Charles Dickens’ A Christmas Carol” (Doris Baizley, adaptation; Brandon Weinbrenner, dir. Hubbard Theatre [LORT B]. Rehearsals begin Oct. 26; runs Nov. 19-Dec. 29), “High School Play: A Nostalgia Fest” (Vichet Chum, writer; Tiffany Nichole Greene, dir.

Hubbard Theatre [LORT B]. Rehearsals begin Dec. 21; runs Jan. 21-Feb. 13, 2022), “Amerikin” (Chisa Hutchinson, writer; James Black, dir. Neuhaus Theatre [LORT C]. Rehearsals begin Jan. 11, 2022; runs Feb. 11-Mar.13), “Sense & Sensibility” (Kate Hamill, writer; Jane Austen, novel; Adriana Baer, dir.

Hubbard Theatre [LORT B]. Rehearsals begin Feb. 1, 2022; runs Mar. 4-27), “Dead Man’s Cell Phone” (Sarah Ruhl, writer; Brandon Weinbrenner, dir.

Hubbard Theatre [LORT B]. Rehearsals begin Mar. 15, 2022; runs Apr. 15-May 8), “Born With Teeth” (Liz Duffy Adams, writer; Rob Melrose, dir. Neuhaus Theatre [LORT C]. Rehearsals begin Apr. 5, 2022; runs May 6-June 5), and “Noir” (Duncan Sheik, music; Kyle Jarrow, book; Kyle Jarrow and Duncan Sheik, lyrics; Darko Tresnjak, dir. Hubbard Theatre [LORT B]. Rehearsals begin May 3, 2022; runs June 2-July 3).

• Company: Alley Theatre. Staff: Brandon

Weinbrenner, assoc. prod.-casting dir.

• Season rehearses and runs in Houston,

TX.

• Seeking—Stage Manager: 18+.

• Seeking submissions from TX. • Stage Manager and Assistant Stage

Manager positions are available for “Noir,” which will begin in-person rehearsal in New York before traveling to Houston. Submissions will also be accepted for future consideration.

Email your resume to auditions@alleybackstage.com

National/Regional casting

theatre.org to apply. Submissions will also be accepted for future consideration. Deadline for submissions is June 10.

• 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.

• Equity LORT B Non-Rep Contract until

Feb. 13, 2022: $1,008/wk. min. Equity LORT C Non-Rep Contract until Feb. 13, 2022: $926/wk. min.

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. • Send submissions to auditions@fords.

org.

• 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.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,202/wk. Equity LORT B Non-

Rep Contract.

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+.

backstage.com

‘Summerfield Estates,’ Stage Manager

• 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.

• Seeking a stage manager for

“Summerfield Estates.”

• Company: Portland Center Stage. Staff:

Ashley Mellinger, lead artist-co-writer; Joseph Bowden, co-writer-dir.; Chip Miller, assoc. artistic dir.

• 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.

• Rehearses June 15 (9 a.m.-5 p.m. PDT),

June 16 (12-8 p.m. PDT), June 17 (9 a.m.-5 p.m. PDT), June 18 (12-8 p.m. PDT), June 19 (9 a.m.-5 p.m. PDT), June 20 (9 a.m.-5 p.m. PDT); tech June 22-24 (12-8 p.m.

PDT); runs June 25 (7:30 p.m. PDT), June 26 (2 p.m. PDT and 7:30 p.m.), and June 27 (7:30 p.m. PDT) in Portland, OR.

• To that end, we are seeking a diverse

• Seeking—Stage Manager: 18+.

• Seeking submissions from OR. • Equity stage managers for workshop of

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.”

Summerfield Estates, an original, interactive sci-farce. It will be performed in person at • Portland Center Stage and streamed

live on their platform. There will be no in-person audience. If you submit, you must be able to film in person in Portland, OR. This piece is being developed as a part of their PCS Remix: Original Works series. To learn more about the program, visit www.pcs.org/ originalworks.

• Equity’s contracts prohibit discrimi-

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

• For consideration, submit resume and

• Pays $1,202/wk. Equity LORT B Non-

Rep Contract.

• Seeking Equity stage managers for

future consideration and assistant stage managers for the Shakespeare Theatre Company 2021-2022 Partial Season. Season includes “The Amen Corner (Sidney Harman Hall. James Baldwin, playwright; Whitney White, dir. Rehearsals begin Aug. 31; tech begins Sept. 9 or 10; runs Sept. 14-26, 2021), “Our Town” (Sidney Harman Hall. Thornton Wilder, playwright; Alan Paul, dir. Rehearsals begin Jan. 18, 2022; tech begins Feb 11, 2022; runs Feb. 17-Mar. 20, 2022), and “Red Velvet” (The Klein. Lolita Chakrabarti, playwright, Jade King Carroll, dir.

Rehearsals begin May 17, 2022; tech begins June 10, 2022; runs June 16-July 17, 2022.).

Non-Rep Contract.

Walnut Street Theatre Company 2021-22 Season, Stage Manager

ASMs: 18+.

• Seeking submissions from DC. • Seeking Assistant Stage Managers for

• Seeking an Equity Stage Manager for

“The Amen Corner,” “Our Town,” and “Red Velvet.” All Stage Manager positions for the season have been filled, but SMs may submit for future consideration. Send resume for consideration to employment@ shakespearetheatre.org by June 10, 2021.

the upcoming Walnut Street Theatre Company 2021-2022 season. The fulltime schedule includes nights, weekends, and some holidays. Stage Manager supervises all rehearsal and onstage activities for a five-show mainstage season which includes “Beehive the Musical,” “The Little Mermaid,” “Blithe Spirit,” “The Adventure of The Speckled Band,” and “On Your Feet.” Stage Manager will be assigned both SM and ASM duties. Candidates should have extensive experience working in profes-

• Pays $1,224 /wk. (LORT B+

-Shakespeare Theatre Company’s Sidney Harman Hall.) Pays $1,020 weekly minimum (LORT B - Michael R. Klein Theatre.) Equity LORT Non-Rep Agreement.

31

PA.

• Seeking—Stage Manager: 18+.

• Seeking submissions from PA. • Interested candidates should submit a

cover letter, resume, and references to Siobhan Ruane, Director of Production, at wstproduction@gmail.com.

Submissions deadline is Aug. 17.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,752/wk. Equity LORT A Non-

Rep Contract.

Round House Theatre 20212022 Season, AEA Stage Manager

• Pays $2,016 ($168/day). Equity LORT

• Season runs in Washington, DC. • Seeking—Equity Stage Managers/

• Season begins Aug. 31 in Philadelphia,

Portland Center Stage does not discriminate in employment based on race, color, religion, sex or national origin. Qualified applicants are considered for all positions without regard to age, marital status, sexual orientation, or the presence of a nonjob-related medical condition or handicap. Company states: “We are committed to identifying and interrupting instances of racism and all forms of oppression, through the principles of inclusion, diversity, equity, and accessibility (IDEA). To learn more, visit www.pcs.org/idea.” nation. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

Company. Staff: Simon Godwin, artistic dir.; Chris Jennings, exec. dir.; Carter Wooddell, resident casting dir.

Company. Staff: Siobhan Ruane, dir. of production.

Film & TV Crew

• Equity’s contracts prohibit discrimi-

• Company: Shakespeare Theatre

• Company: Walnut Street Theatre

cover letter to katien@pcs.org.

Submissions deadline is June 5.

• As an Equal Opportunity Employer,

Shakespeare Theatre Company 2021-2022 Partial Season

sional theaters and/or tours. Ideal candidates should show outstanding interpersonal skills, flexibility, and proficiency in tech and running largescale musicals and plays.

• Seeking Equity stage managers for

the Round House Theatre 2021-2022 Season. Season includes “Quixote Nuevo” (Octavio Solis, playwright; Lisa Portes, dir. Rehearsals begin Aug. 3; tech Sept. 1-4; runs Sept. 8-Oct. 3), “The Great Leap” (Lauren Yee, playwright. Rehearsals begin Oct. 5; tech Nov. 3-6; runs Nov. 15-Dec. 5), “Nine Night” (Natasha Gordon, playwright; Timothy Douglas, dir. Rehearsals begin Nov. 30; tech Dec. 28, 2021-Jan. 2, 2022; runs Jan. 5-30), “it’s not a trip, it’s a journey” (Charly Evon Simpson, playwright; Nicole A. Watson, dir.

Rehearsals begin Feb. 22, 2022; tech Mar. 22-26, 2022; runs Apr. 5-May 8), and “We Declare You a Terrorist” (Tim J. Lord, playwright; Ryan Rilette and Jared Mezzocchi, co-dirs. Rehearsals begin Mar. 1, 2022; tech Mar. 29- Apr. 2, 2022; runs Apr. 7-May 8, 2022.).

• Company: Round House Theatre. Staff:

Ryan Rillette, artistic dir.; Agyeiwaa Asante, casting dir.

• Season runs in Bethesda, MD. • Seeking—Equity Stage Manager: 18+.

• Seeking submissions from MD. • Stage managers from the DC/MD/VA

area are encouraged to submit. For consideration, submit resume and cover letter to casting@roundhousetheatre.org. Submissions deadline is June 4.

• Pays $1,029/wk. (LORT D). Equity LORT

Non-Rep Agreement.

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

06.03.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q:

If there’s a project in preproduction you want to join, but you don’t know if they’re casting, should you ask your rep to keep an eye out, or leave it and let them do their job?

—@Meowforum, Backstage Community Forums

Our Expert Matthew Del Negro is an actor.

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

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

BACKSTAGE 06.03.21

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; DEL NEGRO: COURTESY MATTHEW DEL NEGRO

The short answer is: Yes! While this question is very specific, I think there’s an underlying lesson here that applies to your career as a whole: You are the person most responsible for your destiny. Yes, you’ll absolutely need to rely on outside help and should be seeking it out, but you need to be the one steering the ship. Recently, I was speaking with young students at a New York City drama school, and many of the questions revolved around this same theme. I told them repeatedly, “You have more power than you realize.”

Because our industry is set up in a way that requires many people to compete for few opportunities, young actors tend to forget that their representatives are working for them, not the other way around. Those representatives only make money when their clients make money. Imagine if you hired someone to buy paintings to hang on your walls, but they would only be paid if they found something you actually bought and hung up.

Wouldn’t they need to know if you didn’t want any red paintings? Conversely, what if you only wanted blue paintings, and a friend happened to tell you there was a sale where all of the paintings were blue?

Don’t you think it would be smart to tell the person working for you about the sale? If you didn’t, they could potentially spend time searching for the wrong kind of paintings— ones you’ll never buy; and they won’t make a dime through you. If you never tell them what you want because you’re afraid to bother them, they’re going to forget about you and your blue paintings, because their job involves finding paintings for many other people aside from you. Help them help you. Remember, they’re busy. You can’t just bug them for the sake of bugging them. Instead, respectfully give them as much specific information as you have about a project you’d like to join to make it as easy as possible for them to help you make it happen.

S:10.25”

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

Visit StandUpToCancer.org/AmericanAirlines to learn more.

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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.

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