Backstage Magazine Digital Issue: June 24, 2021

06.24.21

BACKSTAGE.COM

The 2021

Issue

From booking your first gig to landing a talent agent, this special edition breaks down everything you need to know about commercials, digital campaigns + brand content

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Contents Cover Story

Commercials Featuring specialized commercial coverage that will have you booking work in digital campaigns, brand content, and more

vol. 62, no. 19 | 06.24.21

The Green Room 4 How COVID-19 has

changed entertainment

5 This week’s roundup

of who’s casting what starring whom

6 Neil Patrick Harris on “It’s a Sin” and being yourself

Advice

11 IN THE ROOM WITH Caitlin D. Jones and Sunday Boling

12 SO YOU WANT TO BE A

COMMERCIAL ACTOR? From audition copy to proper eyelines for self-tapes, here’s what you need to know to get started

13 SELLING THEMSELVES

FOR THE LONG HAUL Every acting career starts somewhere, and for these A-list talents, it was commercials

9 CRAFT

Tips for acing your commercial audition

10 #IGOTCAST

Carson Grant

14 ADVERTISING’S

10 SECRET AGENT MAN

What makes a real actor?

Features 3 BACKSTAGE 5 WITH...

Dean Winters

ALLYSHIP ARMY How Palette Group is leading the charge in diversity and inclusion initiatives for branding and marketing campaigns

15 ADVICE FROM

16 KEEPING THINGS LIVELY This tech startup for hearing aids used Backstage to cast its recent ad campaign

17 SIGNED WHILE SELLING A3 Artists Agency’s new head of commercial and endorsements on the changing faces of mainstream advertising

24 ASK AN EXPERT

Bill Coelius on meeting with a commercial agent

Casting 18 New York Tristate 19 California 20 National/Regional Cover background image: Kasha Malasha/shutterstock.com. Cover designed by Ian Robinson.

THE SOURCE Digital content creators share what they look for when casting

8 MEET THE MAKER

Kim Lowe, commercial director

9 THE ESSENTIALISTS

Luke McCain, commercial producer

The 2021

Issue

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06.24.21 BACKSTAGE

Backstage was founded in 1960 by Ira Eaker and Allen Zwerdling

CHIEF EXECUTIVE OFFICER

Joshua Ellstein

PRESIDENT

CHIEF TECHNOLOGY & PRODUCT OFFICER

Michael Felman CHIEF FINANCIAL OFFICER

James G. Reynolds

CHIEF MARKETING OFFICER

VICE PRESIDENT, CASTING

David Grossman

Luke Crowe

Michael Madia

Editorial

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Casting

Product

Advertising Sales

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DESIGN DIRECTOR

MANAGING CASTING EDITOR

DIRECTOR OF ENGINEERING

EXECUTIVE DIRECTOR, MEDIA

MANAGING EDITOR

ART DIRECTOR

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LEAD PRODUCT DESIGNER

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AWARDS EDITOR

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CUSTOMER SERVICE ASSOCIATE

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CASTING EDITORS

TECHNICAL LEAD, PAYMENTS

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BACK-END ENGINEER

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OFFICE EXPERIENCE + PEOPLE MANAGER

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BACKSTAGE, vol. 62, no. 19 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Backstage 5 With...

Dean Winters

By Allie Volpe

Although his face is arguably one of the most recognizable in the country thanks to over a decade of Allstate commercials (playing the devious character Mayhem), Dean Winters has only ever been in one other commercial, in the mid-1990s. Winters’ career has taken him from drama with “Oz” and “Rescue Me” to comedy with “30 Rock” and now, “Girls5Eva.” Here, Winters discusses how commercial work changed his career and how he almost bailed on his audition for Tina Fey.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: RON ADAR/SHUTTERSTOCK.COM

What came first for you: commercials or TV? I was cast in a Colt 45 commercial back in 1995, and I got my SAG card doing that. That was the only [other] commercial I ever did in my whole career.

Center for the audition, and when I go into the room, I see 20 guys. I recognized all of them; they were all comics. They were famous guys. I was a drama guy. I’m like, What am I doing here?

I signed the list, I sat down, looked around the room, and I’m like, I don’t have a shot in hell. And I got up and I left. I walked to Central Park, and there was a guy selling beer, so I ordered two Buds and sat down, enjoying my day. My phone rings. My agent was in Europe, but his assistant was covering the audition, and he goes, “If you don’t go back there, we’re going to drop you.” On the walk there from the park, I figured out how to do the audition. The way that I played it apparently was different from the other 20 guys that had gone in. The way I played it was exactly how they wanted it, which was: This guy believed in everything that he said, no matter how audacious it was, and [he said it] with a straight face. So that’s how I got the job, and three episodes became seven years. That was a little gift.

What advice would you give your younger self? You’ve got to keep your eye on the prize. You’ve got to stay focused, because you are going to get knocked down so many times that it’s almost laughable. You just can’t sit around and rest on your laurels. You’ve got to attack it. It’s really survival of the fittest. If you’re not doing your best, there’s somebody right next to you that’s going to lap you.

What’s your worst audition horror story? I had an audition very early in my career that I worked on for a couple of days.

I was in there with the producer, casting director, and the director. I remember the director, while I’m reading and I’m being taped—I was off-book on five pages of lines, doing my best—and this guy is in the back on his phone, texting [and] eating a sandwich. I remember taking my script and throwing it at him, hitting him in the face. I walked out of the room. I didn’t get that one.

What performance should every actor see and why? It’s really the obvious answer, but I don’t think it gets much better than Al Pacino in “Scarface.” If you watch that performance, I dare you to show me that Al Pacino is Tony Montana. There’s nothing about Al Pacino that’s in that character.

What’s the wildest thing you ever did to get a role? I get a call from my agent that “30 Rock” is looking to cast this guy for a couple episodes—Liz Lemon’s ex-boyfriend. I go to Rockefeller

“I try to make every spot a little bit different than the other one. That’s the challenge.”

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06.24.21 BACKSTAGE

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

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Industry

How COVID-19 Has Changed Entertainment Consumption

Among the lasting impacts of the pandemic? American viewing habits

By Diep Tran

BACKSTAGE 06.24.21

the people surveyed, 84% said they increased their consumption of entertainment during the pandemic. Seven in 10 people explored new storytelling genres, formats, and platforms, indicating that audiences have experimented with where they get their entertainment.

According to the study, 56% subscribed to a new video streaming platform during the pandemic, with Apple TV+, Netflix, Disney+, Hulu, and Amazon Prime all seeing an increase in subscribers.

Consumers are also exploring a wider variety of storytelling, with a 40–51% increase in people

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listening to podcasts and audiobooks, watching live sports and online videos, and playing video games. One in four people began consuming an entertainment format that they didn’t before the pandemic.

The study also found that 67% of audiences plan to keep up those new consumption habits after the pandemic; 71% intend to continue to use multiple video streaming platforms.

There is also a demand for more diverse and socially relevant stories. One in three consumers sought out international content and stories with diverse voices. Though

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VANTAGE_DS/SHUTTERSTOCK.COM

COVID-19 HAS CHANGED many things—including American viewing habits, according to a new study from United Talent Agency. “Forever Changed: COVID-19’s Lasting Impact on the Entertainment Industry” found that audiences consumed more entertainment in a wider variety of ways than they did pre-pandemic. The pandemic has also increased the prevalence of fandom culture, and audiences are now more inclined to pay for exclusive content from celebrities and influencers they follow.

The study surveyed 1,000 American adults aged 18–54. Of

two in five consumers said they looked for stories that offered them a mental escape from the world, one in four are seeking educational content, and one in three are more interested in seeing content that addresses social and cultural issues.

COVID-19 has also led to a growth in fandom culture: One in three people took up a hobby inspired by a piece of content that they watched—such as the rise in chess playing after the release of “The Queen’s Gambit” on Netflix.

This trend also bodes well for influencers, with one in five people saying they would join a website centered around a celebrity, influencer, or entertainment property. One in five people want exclusive content around the celebrity or influencer they are following, and are willing to pay for it. That means there are more than 30 million people that content creators can engage with as fans—showing that platforms like Patreon, OnlyFans, Cameo, and social media will be important avenues of monetization for content creators going forward.

The UTA study concludes that the chances of creators finding an audience for their content is greater than ever: “Going forward, creators, producers, and distribution platforms have the benefit of a larger pool of consumers interested in engaging with their content than they had previously, as well as an audience willing to spend more time doing so,” the study reads. “In other words, the entertainment pie has expanded during the pandemic, and opportunities to find and attract audiences have never been more ripe.”

MARGAUX QUAYLE CANNON

@BACKSTAGE

meme-ified term that’s used to relay news of often unbelievable stories from the Sunshine State as its starting point, the Jason Bateman–produced series will show the dark side of the titular figure. “Florida Man” will follow an ex-cop chasing down a Philadelphia mobster’s girlfriend who has run away to Florida, which is the protagonist’s home state. Coming back, however, presents its own challenges, as he gets pulled along a dark path full of family secrets. Ronna Kress is casting the project, created by Donald Todd, which recently announced Edgar Ramírez as its star. The production will head to Wilmington, North Carolina, in mid-August to start shooting its eight episodes.

What’s Casting

and her friends as they navigate life and love in the digital era.

Hilary Duff will lead the series, which has received a 10-episode order, and Seth Yanklewitz is attaching the rest of the cast. No other talent has been announced for the project, co-created by Isaac Aptaker and Elizabeth Berger. Production is set to start at the beginning of August in Los Angeles.

Not Just Another Love Story “How I Met Your Father” finally starts casting

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!

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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

Get cast!

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

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the latest news on project development during this time.

“Florida Man” Netflix is looking to rebrand the Florida Man. Taking the

“How I Met Your Father” A fan favorite is finally getting its long-awaited sequel from Hulu. “How I Met Your Father” won’t be reviving past characters from its predecessor, CBS’s “How I Met Your Mother”; rather, it will establish a completely new love story. The series will follow Sophie, a woman recounting the events that led to her meeting her teenage son’s father.

The flashbacks, set to start in the year 2021, make up a majority of the series, following Sophie

FILM

A Starry New Project for Todd Haynes

By Casey Mink

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“One True Loves” “Hamilton” alum Phillipa Soo will play a woman facing a difficult decision in the upcoming film “One True Loves.” The project, based on the Taylor Jenkins Reid novel of the same name, will find a would-be widow trapped in an impossible situation when, after finding new love with her fiancé, the husband she believed to be dead for years returns alive. Joining Soo in the drama are actors Simu Liu and Luke Bracey.

Sarah Finn is casting the film from director Andy Fickman.

Production on the literary adaptation is set to start in early September in Massachusetts.

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

TODD HAYNES IS REUNITING WITH A tried-and-true muse—and is gaining a new one, too. The filmmaker and Oscar winner Julianne Moore will reteam for “May December,” which Haynes plans to take to Cannes. Fellow Academy Award winner Natalie Portman will also star in the film, collaborating with Haynes for the first time. The film, a psychodrama featuring a screenplay

by Samy Burch and a story by Burch and Alex Mechanik, is slated to begin principal photography next year.

06.24.21 BACKSTAGE

Neil Patrick Harris gonna bring another level to it, and I’m gonna change it up.

I try to think, How can I serve the written word as best [I can] as it has been designed?”

Backstage Live

historical ’80s [series and] that it’ll be sexy but pivotal—I was extra curious [about the fact] that he wanted me to do it. I was so appreciative to be able to do this specific role and this specific piece.”

One in a Million

Neil Patrick Harris says the secret to success is recognizing your actual self

The actor prioritizes the text itself, then looks for outside resources, when he’s diving into a character.

“I tend to look at the script as the bible, and that the word itself is where it all needs to start and end. So I don’t think, This is how it’s written, but I’m

By Liza Rash

The following interview for our spring 2021 BackstageFest, a virtual celebration of the year’s best and buzziest TV, was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.

BACKSTAGE 06.24.21

as well as his personal road to success and his best advice for prospective TV actors.

Harris is grateful for “It’s a Sin” creator Russell T. Davies, who tapped him to portray a dynamic, AIDS-stricken man named Henry.

“Most actors can trust that whatever Russell’s writing is going to be effective. It didn’t matter to me what the context was. Once he told me the stakes—that it was this

TELEVISION

Cannavale + Watts Pair Up for a Nightmare

By Casey Mink

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

BOBBY CANNAVALE AND NAOMI Watts have signed on to a dreamy new project that’s based on a nightmare. The duo is set to lead Netflix’s “The Watcher,” a limited series from Ryan Murphy and Ian Brennan.

Based on a 2018 New York Magazine article, the project will follow a New Jersey family that is terrorized by an anonymous figure. This is the second joint project for Cannavale and Watts, who will also both star in the upcoming James DeMonaco feature “Once Upon a Time in Staten Island.”

backstage.com

MARK VELTMAN

IF THERE IS ONE WORD THAT describes Neil Patrick Harris, it’s “versatile.” As an actor, singer, comedian, writer, producer, and TV host, Harris’ career knows no bounds. Best known for his work on “How I Met Your Mother,” “A Series of Unfortunate Events,” “Glee,” and, of course, “Doogie Howser, M.D.,” the Emmy and Tony winner recently joined us as part of the first-ever BackstageFest to talk about his standout work on British drama series “It’s a Sin,”

Being confident in your own identity is the key to getting cast.

“The more you can recognize your actual self, who you actually are, you will stand taller and send off more energy that will get more work. My younger self was trying to be someone and didn’t want to just be myself. Now that I’m [48] and I’ve played a bunch of different parts, I’m more forthcoming with my private world, [and] I’m getting to work as much, if not more, than ever. Some of that has to do with just being cool with it all. As actors, we’re rejected so much of the time by design, by structure. There [are] casting directors who bring in 100 people to hire one. That’s how it works; 99 people fail. I’ve hosted awards shows where only 10% of [the nominees] win anything…. [Losing] is kind of constant, so you have to have a sense of: This is who I am. If you wanna hire me, I’m happy to show you what I’ll do. If you don’t want to hire me, that’s cool. I’m sure whoever you hire will be good.”

In The Envelope The Actor’s Podcast

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

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

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Meet the Maker

Kim Lowe, commercial director

BACKSTAGE 06.24.21

because I’m also so friendly.”

For Lowe, who studied advertising in college before starting her career in Boston, fostering that inclusive energy on set works in two ways.

For one, Lowe specializes in advertisements that center kids and families, and it’s crucial, she says, that the children on her set feel a certain sense of safety: “If anyone’s got something going on or is just bringing a negative energy onto the set, that child is going

“You have to really be open, and just constantly absorb. Everything you do, you’re going to learn something new, and it’s going to shape how you shoot something in the future.”

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to pick up on it, and I’m going to pay for that in the end.”

But Lowe also finds that a collaborative shooting environment almost always leads to better work from all members of the production, both in front of and behind the camera. Problems often arise on set, she says, and you never know which team member might have the solution.

“I just remember [on a shoot,] we were trying to capture a child on a swing, and it was actually someone totally unexpected that came up with a great idea of how we should rig something to the swing,” Lowe recalls. “And you know, if you don’t ask people to bring that to the table, they’re not going to.

Because they don’t think they have that opportunity.”

It’s especially vital to come up

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COURTESY KIM LOWE

IF YOU WERE TO WALK ONTO one of Kim Lowe’s sets, you might not even realize she’s the one in charge. That’s not because Lowe lacks experience; the commercial director has worked in the advertising world for years, first as an art director, then as a photographer, and now as a director, with clients that have ranged from Royal Caribbean International to Hasbro. No, what’s most striking about Lowe is the way she runs her sets: Above all else, she leads with kindness.

“I’m very much a people person,” Lowe says. “So the first thing that I always do: I get in there and I make sure that I’m saying hello to everybody. And a lot of the time, people don’t even know I’m the director. Not just because I’m female, but

with creative solutions when working on commercial shoots, in which the director must find the sweet spot of knowing what you need to capture while also allowing for the serendipity of performance. “I still have to have a little miniproducer in me,” she explains. “You have to be able to juggle the fact that a client is talking to you, wanting a very specific shot and asking for more energy, at the same time that you’re hearing a producer say, ‘Look, we’re 10 minutes behind; we need to get this moving.’ ” When it comes to casting her projects, Lowe describes the process as “being a fly on the wall at speed dating.”

The actors may never have met one another before they show up on set, and Lowe has to instantly make them feel like family, literally—helping to generate the bond between a mother and child, for instance. And that’s where Lowe frequently uses her own experience as a mother to create the “synergy” needed to capture the magic she and her clients are looking for.

No matter what she’s working on—print shoots, 30-second spots, eight-second internet ads—Lowe says the core tenets of storytelling remain. And she says the one thing that unites all forms, be it feature films or television commercials, is emotion.

For those looking to get into commercial directing, Lowe suggests young creatives practice flexibility above all else: “You have to really be open, and just constantly absorb.

Everything you do, you’re going to learn something new, and it’s going to shape how you shoot something in the future.”

COMMERICAL AUDITIONS: MATCH/MAXIMUM EFFORT; MCCAIN: LUKE MCCAIN/PURE CINEMA

By Matthew Nerber

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Spotlighting the people and projects you need to know

Craft

THE ESSENTIALISTS

LUKE MCCAIN

Tips for Acing Your Commercial Audition

commercial producer When LUKE MCCAIN discovered Backstage, it completely changed the way he went about casting projects for his commercial production company, Pure Cinema (for the better, of course). Here, McCain tells us about a recent project he cast using Backstage, and how our platform helps him find quality talent all across Los Angeles.

COURTESY KIM LOWE

COMMERICAL AUDITIONS: MATCH/MAXIMUM EFFORT; MCCAIN: LUKE MCCAIN/PURE CINEMA

By Natalie Roy

COMMERCIAL AUDITIONS, while similar to film and television auditions, can often feel like foreign territory for many actors. Some differences include that the office or Zoom room can be filled with many more bodies, and a key aspect of commercials is often pairing up with strangers to play friends or family members.

You often only receive scripts once you arrive or shortly beforehand, and there tends to be more improvisation in commercial rooms. As you move into callbacks and later stages of the audition process, it’s common to find the room (or online audition room) filled with many new faces. Those are the producers or executives who join to weigh in on the decision-making process.

So while commercial auditions can be very playful experiences and can lead to lucrative gigs, they can also be quite nerve-wracking. Here are some tips to keep in mind that have helped me book several commercials over the past few years, including my latest set of viral commercials for Match.

Always play for the product.

Be mindful of what the commercial is selling. As an example, the Match spot I mentioned, which was written

by Ryan Reynolds, featured a woman who personified the year 2020 falling in love with the Devil. The spot boasted that Match is a great service that anyone can use to find love. It would have been easy to pick up the script and play the circumstances of what an awful year 2020 was; yet in reminding myself to play for

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the product, I kept my focus on playing a girl who was deliriously happy and falling in love.

The comedy was born out of the context and circumstance, but I had to honor the product above all else as the actor hired. Whatever the product is, remind yourself that you’re there to show the audience how amazing that product is and how incredible your life has become from experiencing it.

Make the product the star.

If you’re using the product in the commercial, be more focused and mindful of displaying the product than yourself.

If you have to take a drink, for example, try not to focus on what you look like drinking the product, but rather the wonderful experience you’re having while engaging with it.

The camera and audience want to see how that drink is experienced through you. This will make us want one, too!

Be a team player.

There are many people who will be watching tapes and performances and signing off on choices. Show up to your audition ready to help out the team in any way you can without making the process about you.

How can you support the story the clients are trying to tell?

How can you support the casting director who has so many people to juggle? How can you support the product so it gets into the world of the audience?

Give yourself permission to decline auditions for products you don’t feel aligned with.

You don’t want your career to feel motivated by desperation or a lack of integrity. If something doesn’t feel congruent with

Casting a commercial?

Start here.

“When we came across Backstage a couple of years ago, we noticed that we were getting a plethora of really, really solid submissions, and the talent had rates that

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By Backstage Staff were pretty affordable for us. Plus, one of the biggest things we learned was that a lot of L.A.–based talent would be willing to come down to San Diego. We found out that people are hungry out there.”

Find the best actor for your project every time.

“We did a commercial for a local music subscription brand that services DJs called BPM Supreme…. It was a big one in terms of casting, because we weren’t just going to have two people; it was going to feature a primary cast in each decade, plus background actors, so

your values or what you would choose to be in company with, it’s best to give your agent that information in advance so they

it was one of our larger projects. It was great to know we could easily put a casting call out.

We really like how, when people submit, they can write us a little personal note. That is super helpful as we’re scrolling [through] the website.

We can see which people are very passionate about a role and which people have certain experiences.”

can help navigate that with you.

Roy is an actor and Backstage Expert.

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culture +

Spotlighting the people and projects you need to know Secret Agent Man

#IGOTCAST.

What Makes a Real Actor?

Carson Grant

By Jalen Michael

BACKSTAGE 06.24.21

Securing professional representation is most definitely an accomplishment, but that’s a vague milestone at best.

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Backstage has remained the actor’s best friend for decades.

“In 1970, I moved to NYC from Rhode Island to study with Lee Strasberg and discovered [the] Backstage newspaper on the newsstands. At auditions, actors would tell me Backstage had the most legitimate auditions, because their office verified the source posting the casting.”

Don’t be scared of failure—learn from it.

“Even if I really want the role and don’t get it, I let myself feel the disappointment for about five minutes while reviewing all my audition decisions. Then, I move on to the next audition having more [knowledge] about myself, the performer.”

“The wanting is the doing.”

“My best advice to anyone exploring your performance hunger is to attend as many performance events as possible, uncover what burns your heart with passion, and [don’t] be afraid to test new waters. Flex. The wanting is the doing.”

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

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RAQUEL APARICIO

about it. Was she right? Does signing with your first agent make you a “real actor”?

Let’s unpack this. Securing professional representation is most definitely an accomplishment, but that’s a vague milestone at best. Let’s say the agent ends up dropping you.

Does that mean you’re not a real actor anymore? And what about the size of the company? Does signing with CAA make you more “real” than signing with a boutique agency?

Finding representation might not be the answer here, so let’s move on to one of my favorite topics: money. Is getting paid to

CARSON GRANT has been a working New York actor for more than 50 years—and Backstage has been with him every step of the way!

ILLUSTRATION: SPENCER ALEXANDER; GRANT: ALFONSO DILUCA

THIS IS THE TIME OF YEAR when agents descend like sharks on the pool of recent college grads. It’s a feeding frenzy, as we all try to find the next big thing.

Some of us score; most don’t.

That’s the nature of the hunt.

I got lucky this year and beat out several larger companies for the privilege of signing a young lady from NYU. The two of us just clicked. I’m looking at her picture right now, and I’m more excited than the time I bumped into Robert Downey Jr. and Scarlett Johansson at the same party.

Now, here’s what I found intriguing about this new client: After we agreed to work together, the young lady from NYU smiled and said, “I guess I’m a real actor now.” I agreed, because agreeing with clients is a default setting for guys like me. But then I started thinking

act a sign that you have finally arrived? And does the size of the check matter? Let’s say you book your first TV job, and it’s a one-line role on a procedural.

Your pay is just over $1,000 for the day. Is that enough to make you a real actor? Or does it need to be more?

I would argue that using a monetary figure to validate your career is the wrong way to go, too. So what does that leave us? Oh, I know! Maybe your ascension to realness can be determined by the first time someone recognizes you in public, or the first time you receive a round of applause onstage from a paying audience. Or maybe it’s the day you pay your parents back all the money you’ve borrowed. But now that I think about it, none of those sound right either.

So we’re back to square one: What makes you a real actor?

The truth is that there’s no universal bar. There’s no invisible threshold you have to cross.

Everyone is different. That means you must choose your own milestones. Nobody gets to decide when you’re a so-called real actor except you.

And you should never, ever compare your progress to others’, because that’s a tough way to live. Some actors are in the fast lane; others are stuck in the slow one. But, hey, none of that matters. Both groups will reach their destinations eventually.

I have a close friend who has been an absurdly successful attorney for over 10 years. This woman is a fierce litigator, and she has won more cases than she’s lost. A few months ago, my friend finally made partner at her firm, and you know what she said to me? “Now I’m a real lawyer.”

I should tell her to read my column.

culture +

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

Caitlin D. Jones and Sunday Boling

The CSA board members decode the newest addition to the organization: commercial CDs

By Elyse Roth

television, and also for commercials. That very specific and unique relationship is an exciting driving factor. Also, we’ve been around longer. It’s about growing together and seeing where we can work together.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; GRANT: ALFONSO DILUCA

COMMERCIAL CASTING DIRECTORS ARE SOME OF THE FIRST CDs many actors will audition for. They have keen eyes that can identify (and employ) promising talent before their résumés are full of professional work. While narrative casting directors might spend weeks or months assembling the cast of a television show or a film, commercial CDs often have 24–48 hours to find the star of a spot, often from among dozens of auditions in one day. Actors might not be able to win an Oscar for their role in a commercial, but that work can launch a career—not to mention pay the bills. For those reasons and more, in 2021, Casting Society of America finally began welcoming commercial casting directors for the first time. Board members Caitlin D. Jones and Sunday Boling shared why they made the change and why it benefits actors to audition for a CSA member.

What went into the decision to add commercial CDs to CSA? Caitlin D. Jones: I saw Angela Mickey, a mentor of mine at Liz Lewis Casting, try to join CSA, but they didn’t recognize the 16 years of commercial casting she did. That struck me as really unfair. I had a quiet goal

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to change that. Now, with the help of the whole commercial committee, we did it. It’s been an overwhelming success to bring in fresh voices and perspectives.

Reality and commercial casting are more accessible fields to get started in, so there are more people of color in those genres. The

more voices we have, the stronger our voice as a profession will be. That’s the goal: to position casting in a place where we are not forgotten, we get credit, and we get respect.

What benefits are there for commercial CDs in CSA? CDJ: Out of respect for the Commercial Casting Directors Association, we kept them in the loop. You can be a member of CCDA from anywhere, but it only has events in Los Angeles, and there are commercial casting directors all over the globe. So a large chunk of that membership was being underserved. The other thing is that CSA also has a relationship with the Teamsters, who negotiate our contracts for film and

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What are the benefits of this new development for actors?

Sunday Boling: We discuss actors we like within our community. We have a relationship with IMDbPro where we feature an actor of the month.

Through social media, we’re highlighting actors who really stand out as we hold open calls and events. We record those open calls; we make those lists available to our members—and only our members. We are a community that talks to one another. So when an actor comes in that we love or I can’t find a particular thing, I put it out to my community of CSA members. Often, people have recommendations that come back my way. It’s a way for more people to know who you are, if your work really stands out and is special. Sometimes, if someone loves a play, someone will say, “Don’t miss this play.

Don’t miss this event. This actor is so amazing.” CDJ: The databases we compile through our Equity in Entertainment Committee alone are a benefit to actors auditioning for a CSA member. Commercial casting directors now have more direct access to the latest information from SAG-AFTRA, and that is only in place to protect and help the actors.

Want more?

Read the full interview at backstage.com/magazine

06.24.21 BACKSTAGE

So You Want to Be a Commercial Actor?

From audition copy to proper eyelines for self-tapes, here’s what you need to know to get started

there. Don’t worry so much about the lines.”

To Prop, or Not to Prop?

By Rebecca Aizin WHILE MOST PEOPLE WERE BAKING BREAD AND BINGEwatching TV during the pandemic, actor Emily Nash started her own commercial coaching business. She’s appeared in dozens of commercials, including national spots for Google Maps, Chase, Panera, Facebook, and more, as well as in plays and musicals OffBroadway and around the country. Now, she’s helping Backstage actors—as part of our monthly Actor’s Toolkit series—understand how to put their own stamp on commercial audition copy.

The Commercial Commandments

First and foremost, appropriate realism is one of the most vital factors of making a commercial audition successful. Nash emphasizes the importance of speaking the way you speak in real life, understanding the style and tone of the spot, and being prepared to improvise.

She also urges actors to remember that they are the product. Understand which archetype you’re playing—so if you are supposed to be the “young mom,” lean into that; and of course, have your lines memorized. Finding a “button”—a short line that’s three words or less, or even just a pointed look at the end of the scene—gives the casting director a reason to remember you.

Finally, research the brand and get a sense of its vibe.

This will help you find your pacing, as commercial spots are typically 15–30 seconds, and finding the right notes to hit will help you be memorable.

the actor’s personality to come through, she says, and that’s what casting directors want to see.

“Bring yourself to the table and have fun with it,” Nash says. “Put yourself in the circumstances of the scene, because we’ve all been

Emily Nash

■ Commercials value ex-

pressiveness; so if you’re a theater major worrying you’re going to be too big for the camera, just ask yourself if you’re being specific enough. Does this performance feel true to the nature of the spot?

And always remember to communicate with the person behind the camera or your scene partner.

■ Depending on the spot,

the actor’s eyeline may differ. It’s important to discern who you’re talking to, how many people you’re talking to, and from where—then decide where to look. Use the eyeline that makes the most sense for the scene.

■ When slating, make

yourself as comfortable as possible: Pretend you are sitting with a friend at a dinner table to make it casual. It can help to put a picture of someone you know next to the camera and pretend you are talking to them.

■ For commercials with little

copy, bring yourself to the experience that you are portraying. Think about how you would do what the scene is describing in real life, and keep up an internal dialogue about it.

■ When starting out in

commercials, watch a lot of them. See what works and how personalities in commercials shine through.

Acting and improv classes are also very helpful for those just starting out.

■ Don’t overprepare! It’s OK

Keep It Natural

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SUB/URBAN PHOTOGRAPHY

if things happen that aren’t planned. You want to be able to follow your impulse, rather than be inhibited by your preparedness. “Leave room for inspiration to strike in the moment.”

It’s easy to receive audition copy and get bogged down by the stiffness of the script. Nash encourages actors to have fun and add some improv to make it feel more lively and natural.

Improvisation allows more of

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The addition of a prop can elevate your audition technique by giving you something to anchor yourself to within the world of the commercial. “It’s smart to interact with a prop, because it grounds you in the relationship— not just with the people you’re speaking to on camera, but the relationship you have with the people you’re sharing the screen with,” Nash says. Just be sure to give the casting director options: It’s recommended that you send one self-tape with the prop and one without to show that you can do both. But always let the casting director choose what they prefer. And if there’s no prop in the actual copy, it’s fine to experiment!

Tips for the Technicalities

Ben Affleck

Sarah Michelle Gellar

We all know Gellar’s past contains vampire slaying, but did you also know it includes educating consumers on how Burger King is the superior fast food restaurant in 1981?

Anne Hathaway

The former princess of Genovia was once dreaming a very different dream: that her neighborhood sweetheart wouldn’t have to move in a 1997 Better Homes and Gardens real estate commercial.

Jennifer Lawrence

Selling Themselves for the Long Haul Every acting career starts somewhere, and for these A-list talents, it was commercials

By Lauren LaMagna MORE THAN YOU MAY EVEN BE AWARE, COMMERCIALS ARE THE starting point for countless working actors. The reasons are simple: A commercial is a reputable credit actors can put on their résumés, it provides on-set experience, and it can offer legit networking opportunities and cash. It isn’t surprising, then, that many of today’s most successful stars got their start shilling products in 30-second spots. From hawking burgers to shampoo to Preparation H, here’s a peek at 17 actors’ pre-fame commercial pasts.

Ben Affleck

The “Justice League” star got an early career break with a 1989 Burger King commercial.

(Safe to say the fast food joint wasn’t part of his Batman regimen, however.)

COURTESY BURGER KING

Drew Barrymore

You probably know that Barrymore got her break very young, but she started in commercials even before “E.T.” She can be seen all the way back in a 1979 spot for Pillsbury.

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Steve Carell

Prior to his days on “The Office,” Carell was a peppy employee at a different sort of business, as evidenced by his 1989 commercial for Brown’s Chicken.

Courteney Cox

Before she was a friend on “Friends”—with the best apartment in New York City— Cox was selling Tampax in 1985.

Bryan Cranston

He’s known as the one who

knocks on “Breaking Bad,” but Cranston started out as the guy in the 1980s Preparation H commercials.

Geena Davis

Long before this Oscar winner was a beloved baseball star (“A League of Their Own”) or having a girls’ weekend with her BFF (“Thelma & Louise”), Davis was the face of Chicago radio station WMET.

Leonardo DiCaprio

Even though DiCaprio’s journey to fame was an accelerated one, he still did his fair share of commercials before his days of international stardom. For example, a little Leo can be seen selling Bubble Yum bubble gum in 1989.

Morgan Freeman

Freeman is basically the closest thing Hollywood has to God—and it should not be shocking that even he once sold Listerine, back in the late 1970s.

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It’s hard to imagine the last decade of film without Lawrence.

But before the Oscar winner was an “it” girl, she was advertising an upcoming season of the MTV reality show “My Super Sweet 16” in 2005.

Matt LeBlanc

While his “Friends” character has a sordid commercial past, LeBlanc’s own commercial history is much less embarrassing: a 1988 spot for Cherry 7UP.

Demi Moore

Of course the coolest chick of the 1990s starred in a minute-long Diet Coke commercial in 1988.

Brad Pitt

Before he won over all of Hollywood (and won an Academy Award), Pitt was already winning hearts in a 1989 spot for Pringles.

Keanu Reeves

Prior to being the chosen one, Reeves showed off his many talents in a 1986 Corn Flakes commercial. (His dancing skills were an obvious harbinger of the stunt work that would come to define his career.)

Paul Rudd

Everyone’s favorite age-defying superhero got some practice saving the world in an early ’90s Super Nintendo commercial!

Sharon Stone

In the days before she shocked audiences in “Basic Instinct” and “Casino,” Stone was the perfect spokesmodel for Finesse Shampoo, with that lush 1980s hair.

06.24.21 BACKSTAGE

Advertising’s Allyship Army How Palette Group is leading the charge in diversity and inclusion initiatives for branding and marketing campaigns

By Jalen Michael THE ENTIRE MEDIA INDUSTRY WAS SHAKEN UP IN THE WAKE OF George Floyd’s murder last year. Amidst the wave of protests and activism that took over the news and social media, many companies offered their solidarity through press releases and posts of black squares. Two members of Palette Group, a Brooklyn-based creative agency and production company, felt that this wasn’t good enough; so they decided to do something about it. Nate Nichols, the founder and creative director of Palette Group, and Steffi Behringer, a partner at the agency, co-founded the Allyship and Action summit, which aims to address the role the advertising industry plays in perpetuating systemic racism and create foundations to effectively hold the industry accountable. We recently hopped on a call with Nichols and Behringer to discuss how they are using their platform in commercial branding and advertising to uplift disenfranchised voices, and to establish transparency and accountability within the space.

How does Palette Group typically go about casting commercial projects?

NATE NICHOLS: I think it depends on the project. It’s communitybased outreach—elevation of locals in a pocket that we want to represent in a project. Within our network, we go through talent scouts or agents, as well.

So we have a network of agents, like the Collective Speakers— they’re a great organization we constantly go to. They represent marginalized communities, from people who are in wheelchairs to, like, Ice-T. And then Backstage— Backstage is something we’ve been using for years.

How did Allyship and Action come together, and what sort of influence did you see advertising playing in systemic racism as a whole?

NN: When George Floyd was murdered last year, a lot of companies put out these press releases; they said a bunch of things. And we exist in their

Nate Nichols

machines, exist in their culture; we exist in the systems that they have enabled and perpetuated for decades, and we don’t feel safe. You expect us to believe that press release? You expect us to believe that black square?

So we wanted to get down to the bottom of what they meant by that black square, what they meant by that press release. You know, there are companies like WPP that have stated, “We’re going to grant $30 million to Black-owned and -operated companies over the next [three] years.” We had a conversation with the CEO of WPP, and we were like, “What does that actually mean?”

SB: And not even just, “What [do] you mean,” but, “What do you do?”

NN: Right, “What are the actions?” And so that’s really what it was birthed by. We just decided to do it. And a week after

we partnered up with some folks, 2,500 people showed up to the first event. Then we did two more for the rest of the year. And we have brands like Nike and Spotify, agencies like WPP. Just amazing, provoking conversations and workshops. All these people are like, “I want to be an ally!” But how do you define your role as an ally? And so our vision and goal was to develop systems for us to elevate marginalized voices, people, and communities by enabling allies to understand what we need and give them systems to design allyship.

SB: And over the course of the year, we gained this community of individuals that really wanted to be productive. They didn’t want to wait for their leader and CEO to finally understand what needs to change. And so we have a Slack channel with over 600 humans who are eager to work on new systems, on new policies. And that’s how we understood that we also can’t wait for the C-suite.

We call it the Allyship Army. So [there are] 600 humans and more—whoever wants to jump on the train and just do the work. We are building this groundswell that slowly comes up and erupts like a volcano. That’s how we, hopefully, put enough pressure on the industry and on leaders to then finally make change. We want to change our approach from [the] top down; we now go from the bottom up.

Steffi Behringer

BACKSTAGE 06.24.21

RICHARD BARANYAI

STEFFI BEHRINGER: Yeah, Backstage has been such a helpful tool—the way all the functions allow you to really be specific but also keep it open. It has all the possibilities, and it’s just so clean and easy to use that you will get amazing talent. Like, we sometimes put up a posting and get 300 submissions within, like, three hours. It’s wild! And there’s amazing talent on it. So we are super grateful that this Backstage tool exists.

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backstage.com

Advice From the Source

Digital content creators share what they look for when casting

By Jalen Michael

ACTORS SHOULD NEVER HAVE TO APPROACH AN AUDITION blindly. Of course, that’s easier said than done. With so many different requirements and expectations, it can be tough to know the right approach to take for any given audition, especially one for a commercial or brand content campaign. To help clear things up, industry professionals working in the brand space share what they look for when casting their projects to help you get that much closer to booking your next—or first!—brand content gig as a multifaceted ambassador, influencer, and content creator.

GCAPTURE/LIGHTFIELD STUDIOS/SHUTTERSTOCK.COM

Follow instructions.

“The main factor is that someone can take a brief and work on the projects remotely. I have been making use of video conferencing software to talk things through, which has been really helpful.”

—N.G.K., N.G.K. Media

Be yourself.

“What we are looking for in talent really varies depending on the project. Overall, we like people who are engaging and have an interesting or unique perspective

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to offer. Some projects require talent to have certain backgrounds or skills, but it really does vary [by] project.” —Martin Hardy, Paired Up Media

It’s about more than just on-camera talent.

“In order to create eye-catching UGC [user-generated content], you are going to need some very well-versed talent. We essentially need to find people with two fairly different skill sets. We are looking for people who are great

on camera who know how to present this style of content, but we also need people who can produce the actual video themselves.” —Chris King, Bamboo

Don’t try to guess what casting wants.

“A general thing I look for is someone who knows who they are and isn’t afraid to own it.

We are looking for people who are interesting to watch, are engaging, and don’t care what other people think about their larger-than-life personality. We also are looking for people who are memorable, whether that’s for better or worse. We like to find people who aren’t overly saturated in auditioning for different projects. We want real people who legitimately fit the molds of what we’re asking for, not someone to act out each of those asks.” —Sabrina Safran, Hearst

You don’t have to be a seasoned actor to get cast.

“We do a lot of real stories, narrative video, and content for moms, so when we can use real people with good stories, it’s ideal for us. When we need to use models or actors, we start with a discovery process with our clients based on their brand.

How do we ensure we reflect

15

the brand’s audience? What’s important for our talent to know?

We then begin looking for them and doing individual outreach, which we find is more effective than a blanket casting post.”

—Heather Freiser, Likeable Media

Get creative, and do your research.

“I’m always looking for versatility and eagerness. I love models who are not afraid to try new things and do the research to deliver on any given project.

Some models get too wrapped up in having ‘the look’ and don’t spend enough time actually learning the product. It puts a smile on my face when I know a model has looked into our company and the product before showing up.” —Deandre Moore, Thrasio

Take advantage of your surroundings.

“It really comes down to the project. [When we’re working on a remote shoot,] it’s definitely more helpful for couples, families, and roommates. Many clients aren’t looking for just one person when they’re putting together a commercial or photo shoot, so the more the merrier— if something is being shot at home, you can build a whole ‘cast’ with a full house.” —Colin Olsen, South James

06.24.21 BACKSTAGE

Keeping Things Lively This tech startup for hearing aids used Backstage to cast its recent ad campaign

By Melinda Lowenstein THE NEED FOR MODELS AND ACTORS IN NONTRADITIONAL ACTING jobs has grown exponentially in recent years—often, you don’t even need an agent, manager, or union status to get them. Nicole Cadoret, co-founder and head of design at Lively, an app that sells hearing aids and audiology care online, had such a need, and she turned to Backstage to cast. Here, she shares tips for casting models for digital tech companies.

Experience isn’t everything.

Since the Lively app is selling hearing aids, Cadoret was looking for very specific types of people in order to appeal to that market.

“I needed someone with short hair; I needed someone with long hair. Just to make sure that people don’t think, Oh, you’re showing me someone who it’s very obvious they don’t have hearing aids, because they have hair covering them up,” she explains. While she notes that it could have helped to look at résumés, she based her decisions on finding the looks she needed.

Know how to take direction.

Although Cadoret hired models, she says that, since she found them through Backstage, their acting chops were a bonus; the

models she hired were able to easily adapt to direction. “We were doing a lifestyle shot of a brunch and we were in a kitchen, and I told them to look like they were cooking,” she says. “We took still photographs but were also taking B-roll video, just to have that in our back pocket. They were convincing, and in that way, I hired models, but kind of got actors.”

Cadoret says she also learned more about the type of direction she needed to give as she worked.

“I didn’t realize that when I had people looking at their phone or looking at their screen, it appeared like they were asleep because their eyes were downcast,” she recalls. When it came time for the second photo shoot, she knew to give more specific directions, like: “You kind of have to be looking

vaguely in the direction of your phone, but open your eyes wider.” Having professional models who were comfortable taking acting directions was essential for the process.

Make your availability clear.

(It could get you the job!)

Cadoret didn’t have a casting director to juggle actors’ schedules for her, making availability one of the hardest parts of her casting process. “We would lock down a date and then get nervous that we wouldn’t find somebody, and at the last minute, a new option would pop up on Backstage. Ultimately, we felt really good about who we booked,” she says.

Everyone must be willing to adapt.

Be ready for a startup mentality.

“I liked that I was able to get a variety of different types of people,” Cadoret says. She also appreciated their enthusiasm.

“They were excited to come in and learn about hearing aids.” She notes that this was important, because “we were

going to make stuff up as we [went] along. It’s very much a startup mentality. We want to get things that work really great, but we’re also not going to be overly precious. There’s a certain amount of time we have to get this done, and then we’re going to see how the market evaluates it, and then we’re going to do it again. It’s much more of an ongoing process for us.”

Flexibility is important for talent, but also for casting directors.

Cadoret learned a lot on her first photo shoot, and for the second shoot, she hired a cinematographer to get more of the B-roll that she wanted. She has her team visualize what shots they need so they don’t have to make decisions on the spot. “We always have a very clear shot list,” she says. She also explains that having a stylist on set was important to ensure there is “someone who is looking at all the details, because I can’t.”

Nicole Cadoret and scenes from Lively advertisements

COURTESY LIVELY

BACKSTAGE 06.24.21

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backstage.com

Signed While Selling

Gabriel Rush in Tide’s Super Bowl LV commercial

A3 Artists Agency’s new head of commercial and endorsements on the changing faces of mainstream advertising

By Benjamin Lindsay THE COMMERCIAL AND BRANDING SPACE FOR ACTORS HAS never looked more like the real world than it does today. Demands for authenticity and diversity across all identities and walks of life have resulted in a more diverse crop of actors booking work—and landing representation. That’s where professionals like Ashley Partington come in. As A3 Artists Agency’s new head of commercial and endorsements, Partington does everything from working with first-time commercial actors to securing celebrity endorsements, like Jason Alexander’s recent Super Bowl spot for Tide. Speaking with Backstage, she breaks down her casting process, how the face of commercial acting has changed over the years, and what you need to know to get signed by talent agents like her.

COURTESY A3 ARTISTS AGENCY

There’s a bubbling demand for authenticity in the commercial space. How do you negotiate that with actors and brands?

And considering your 15 years in the industry, how have you seen that conversation shift?

First of all, in general, authenticity is our favorite word, whether you’re a brandnew actor or an actor who has been doing it for a long time.

You just want to make sure that you’re doing something that feels authentic to you. It’s been a major shift since I started.

When I started in commercials, we were still [doing] that kind of classic, old school–type commercial, where you’re holding up a product and smiling and selling it. Over the years, it’s changed quite a bit.

Commercials are very reflective of the times, and they need to be, because they need to appeal to the market that’s buying them.

If you’re selling an Apple iPhone and highlighting how awesome it is for gaming, you’re not going to have a 1950s housewife selling

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that product—that wouldn’t make sense.

Definitely over the past few years, there’s a lot of multiethnic talent that we’re seeing getting cast. A lot of the descriptions we see are [for] “real-looking” talent that look like you and me, which is nice. Back in the day, [commercial actors were] very tall, waiflike, beautiful men and women, and now you turn on the television, and you see yourself reflected back.

With that in mind, you might also be fielding submissions from unrepresented talent new to the field entirely.

What does that process look like, and what are you looking for when you’re building your roster?

We definitely look at résumés, but we also love people who are just starting out; we love to be part of their growing process, to help them pop and expand.

We’re always excited to see newer faces, and we want to be able to introduce newer

faces to the market as well. But, you know, [education] is super important. So even if you don’t go to a big, fancy school, still taking classes and [having] just a little bit of experience as to what we’re going to expect of you really puts you ahead of a lot of people that haven’t had that opportunity.

I always recommend, if you have a friend that has an agent or manager, ask them to pass your materials on. I’ll always look at a referral. I’ll always take it much more into consideration.

And Backstage is such a useful tool. There are incredible listings for nonunion opportunities, as well as immediate opportunities.

And when you’re just starting out, it’s OK to be doing nonunion stuff. That’s where you’re going to get your

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experience. Everybody has to start somewhere. Just selfsubmitting and getting those little opportunities and getting a feel for what it’s like will make a big difference in the long run.

What qualities make an actor good for commercials?

It’s confidence. Look, you’re not going to have time to develop a character; you’re not going to get scripts ahead of time, days in advance, to really properly prepare; it’s not going to be a big monologue of dialogue, if there is dialogue. On the commercial side, [you should] walk into the room, be your best self, and just be excited and confident that you’re there because you are supposed to be there. And just have fun with it and run with it. Don’t be afraid to make a mistake.

06.24.21 BACKSTAGE

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

Submit a Notice |

New York Tristate

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.

Descent.

Plays

org/submissions-requested-havingour-say. Prepare each side you would like to be considered for and send files as an attachment or a link to a sharing platform. Submit video audition, headshot and resume to casting@ivorytonplayhouse.org. Submissions deadline is June 25.

‘A Sherlock Carol’

Agreement.

• Casting Equity actors for “A Sherlock

Casting picks of the week

• Seeking submissions from CT. • For sides visit www.ivorytonplayhouse.

BY LISA HAMIL

stage

‘Having Their Say’ Amplify your voice in this Equity production in CT

• Pays $1,000/wk. Equity SPT

Carol.”

• Company: Fat Goose Productions.

Staff: Mark Shanahan, writer-dir.; Fat Goose Productions, prod.; Showtown Theatricals, general management; Claire Burke, CSA, casting.

Musicals

2021-Jan. 2, 2022 in Cold Springs, NY.

actors for roles in The Public Theater’s “Suffragist,” a new musical by Shaina Taub (she/her). Synopsis: A new & completely sung-through musical about the women’s suffrage movement in America.

• Rehearsals begin Oct. 11; runs Nov. 11, • Seeking—Sherlock Holmes: 30-59.

Ebenezer Scrooge: 60-79. Actor One: 18+. Actor Two: 18+. Actor Three: 18+.

Actor Four: 18+.

• Seeking submissions from NY. • Select one or two sides from the below

Dropbox link to tape (https://www. dropbox.com/sh/86cqufqywudu16x/ AACBmPnHVvts_hVMVD9PfGb7a?dl=0).

If you do not have access to someone who can act as your reader, you may tape a monologue of your choosing in the style of the show. In your tape, slate your name and the role for which you are auditioning. Have the camera focused on you and have your reader stand/sit out of frame. Submit through the following form: https://forms.gle/ JtmqaUoVSzFaStym8. Submissions deadline is June 29.

• Pays $1,182/wk. plus media fee. Equity

Off Broadway (Category E) Agreement.

‘Having Their Say,’ Equity Video Submissions

• Casting Equity actors “Having their

Say,” for the role of Sadie.

• Company: Ivoryton Playhouse

Foundation, Inc. Staff: Todd Underwood, dir.; Jacqueline Hubbard, artistic dir.

• Rehearsals begin July 27; runs Aug.

11-Sept. 5 in Ivoryton, CT. Performance schedule: Wed. and Sun. at 2 p.m./ Wed. and Thurs. at 7:30 p.m./ Fri. and Sat. at 8 p.m.

• Seeking—Miss Sadie Delany: female,

18+, Black / African Descent, female, 103 year old; African-American woman, a retired high school teacher; she has a sweet disposition but gets her point across clearly; ethnicity: Black / African

BACKSTAGE 06.24.21

film

1920s Hollywood Feature Film Relive the original roaring 20s in Los Angeles, CA

‘Suffragist’

• Seeking video submissions from Equity

musical

‘Suffragist’ Rock the vote at NYC’s iconic Public Theater

• Note on Content: As a completely sung-

50-69. Mollie Hay/Ensemble: 40-59.

Mary Church Terrell/Ensemble: 40-69, Black / African Descent. Phyllis Terrell/ Ensemble: 20-29, Black / African Descent. Warden Whittaker/Maud/ Ensemble: 30-69, White / European Descent. Harry Burn/Crystal/ Ensemble: 20-49.

• Seeking submissions from NY. • For consideration, submit audition

video at https://airtable.com/shrCEDKOO78fkqC1F. Submissions deadline is June 30.

• Instructions: Prepare either a short

song (two minutes or less) sung with either live or recorded accompaniment (not a cappella) that shows who you are and that is either contemporary to today or of the 1910’s era. We are interested in all vocal ranges and types; the common thread for all parts is a high level of musicianship and intricacy of lyric, rhythm, and harmony. Or: A oneminute cut of “How Long.” Materials available at https://drive.google.com/ drive/folders/1paIazgRX0OaszCY7gehs bMrk_EJt8KaX?usp=sharing.

• A Note of Intent for the Casting

through musical, “Suffragist” employs multiple stylistic devices such as satire, parody, and vaudeville pastiche to explore difficult subject matter. In order to portray the historical challenges and struggles faced by the Suffragists, this musical includes depictions of: sexism and misogyny, racism and xenophobia, and violence and physical abuse, which may be triggering to some individuals.

The creative team is committed to exploring this content in ways that are safe and supportive for the entire company.

stage

‘King Of The Kosher Grocers’ Shop ’til you drop in this St Paul, MN Equity show

film

‘A Look in the Rear View’ Revisit your past in this Northern VA feature

• Company: New York Shakespeare

Festival. Staff: Shaina Taub (she/her), writer; Leigh Silverman (she/her), dir.; Andrea Grody (she/her), music dir.; Jordan Thaler, Heidi Griffiths (she/her)/ Kate Murray (she/her), casting; Lori Parquet, assist. dir.; Mimi Lien, set designer; Toni-Leslie James, costume designer; Jen Schriever, lighting designer; Palmer Hefferan & Kai Harada, sound design; Chalin Tulyathan, casting assoc.

and COVID-19 Compliance team in ongoing dialogue with those with expertise in institutional infection control practices, infectious diseases, and community health. Safety measures may include but are not limited to social/physical distancing per CDC recommendations, mandatory COVID-19 testing at regular intervals, daily asymptomatic screening, mandatory use of PPE per CDC recommendation and an agreement to abide by community health pledge for the duration of the development.

• Runs Aug. 30-Sept. 26 in person in NYC.

The Public Theater is committed to ensuring a safe return to theatrical production and to complying with state and local guidelines in addition to sector-specific parameters. The health and safety of all of our artists, staff, audiences, and the city is paramount to The Public. Safety guidelines have been developed by the Public’s Onsite Safety

• Seeking—Ruza Wenclawska/Uncle

Sam: 20-39. Doris Stevens/As Cast: 20-39, all ethnicities. Dudley Malone/ As Cast: 20-49, all ethnicities. Alva Belmont/Phoebe Burn/Ensemble:

18

Process from Author Shaina Taub and Director Leigh Silverman: White suffrage leaders perpetrated racism in their struggle for the vote. They segregated various suffrage events, used racist arguments to mollify white supremacist politicians’ concerns about women’s enfranchisement, and continually prioritized political expedience over intersectionality. Our show seeks to honestly depict this racism without perpetuating it in our production. How can we dramatize the ugly truths of the movement while also building an ensemble that embodies the inclusivity the suffragists failed to achieve? We’re approaching casting in a way we hope honors the complexity of this question. This musical depicts a range of historical and fictional characters of many races, ethnicities, and nationalities. We intend to cast a diverse company of actors, each of whom will play a variety of roles to which they can bring their own lived identity, while also portraying characters outside of it. However, each character who was historically a person of color will be played by an actor whose racial identity aligns with that of the character. Every actor in the cast will play characters who are women, as well as characters who are men, throughout the show. We’re committed to creating a company of actors inclusive of diverse gender backstage.com

California casting

identities, including all women, nonbinary, gender non-conforming, and genderqueer actors. This piece is still in development. We don’t pretend to have all the answers or to have worked out every nuance of our casting practice. But we’re committed to the rigorous, respectful process necessary to figure it out. We also acknowledge that we’re two white, cisgender women at the helm of this project, and we’re not always going to get it right. For the past seven years of bringing this show to life, we’ve been collaborating with scholars and artists of color and will continue this engagement all the way through.

We’re passionate about cultivating a culture of communication and transparency in our rehearsal room and will facilitate on-going open dialogues with the whole cast and team. We want every actor to bring their own perspective to the process and to hold us accountable as we continue to work toward these goals. We hope you’ll consider joining us in the journey.

• Pays $575/wk. Equity Off Broadway

(Level 3 Development) Contract.

Chorus Calls ‘Diana,’ B’way

• Casting Equity singer/dancers for cho-

• Seeking—Tennis Lover: 10+, a variety of

characters- all ages, types, levels of tennis, etc.

• Seeking submissions from NY and NJ. • For consideration, email your full name,

social media link, a bit about your love to tennis, contact info and relevant photos to castingbymar@gmail.com with subject line “Tennis Commercial.”

No professional headshots upon submission please-- the more natural / simple the better.

• Well paid. Rate depending on role and

Stink Digital USA Commercial • Casting a non-speaking role for an

• Pays $1,202/wk. Equity LORT Non-Rep

actor with a disability in a Commercial for Stink Digital USA.

Agreement.

• Company: Stink Studio Productions.

• Shoots July 7 or July 8 in Brooklyn, NY. • Seeking—Customer at a Retail Store:

Southern California

female, male, 25-45, all ethnicities, non-speaking actor with disability.

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

• Pays $250/12 hrs. Usage is all platforms,

all media, worldwide, in perpetuity.

begins Nov. 2; opening Nov. 17 on Broadway in NYC.

Sherlock Carol.”

• Rehearsals begin Oct. 4, 2021; run

• Seeking—Paul Burrell/Male Ensemble:

male, 20-49, all ethnicities. Female Ensemble Dancer/Singer, U/S Camilla: female, 30-39, all ethnicities. Male Swing U/S Prince Charles: male, 30-39.

• Seeking submissions from NY. • Material and instructions on how to

submit, available at https://tinyurl.com/ DianaBroadway. Submissions deadline is June 28.

• Pays $2,323/wk. Equity Production

(League) Agreement.

National Commercials Tennis Commercial

• Casting tennis lovers/enthusiasts/play-

ers of all ages, sizes, types and levels for a major sports channel advertisement. Seeking individuals with a lot of character who play on any level; does not have to be a pro.

• Company: Memoria Di LLC. Staff:

Marissa Baklayan, casting dir.

• Shoots late June (exact dates depend-

ing on role) in NYC. backstage.com

• Casting an online commercial/promo

workplace. All Equity members must be fully vaccinated and follow safety plans provided by the theater. Geva is committed to upholding the principles of equity, diversity, inclusion and anti-racist theater in recruitment of staff in all departments. We actively encourage applications from women, persons of color, LGBTQ individuals, and individuals with disabilities. Geva Theatre Center is an equal opportunity employer. All are welcome here.

Online Commercials & Promos

Stage Staff & Tech

at https://gevatheatrecenter.formstack. com/forms/geva_application_for_ employment. Include a cover letter, resume and references with the application form by June 30.

• Geva is committed to a COVID safe

buyout.

Grove Entertainment, Frank Marshall & The Araca Group, prods.; Christopher Ashley, dir.; Kelly Devine, choreo.; Joe DiPietro, book; David Bryan, music-lyrics; Ian Eisendrath, music supervision by; The Telsey Office, casting.

Online Promos & Commercials

• Complete the online application form

Feature Films

rus parts in “Diana.”

• Company: Diana Broadway LLC. Staff:

practices. Candidate must be self-motivated, organized, collaborative, positive and professional. This position will be on a LORT B Equity contract. Successful candidates will be asked to return for upcoming work in our 21-22 season.

1920s Hollywood Feature Film, Extra, Los Angeles Local Only

• Casting Los Angeles locals for extra

roles on a 1920s Hollywood feature film with Oscar-winning director and cast.

‘A Sherlock Carol,’ Stage Manager

• Company: Sande Alessi Casting. Staff:

Sande Alessi, CSA, Shayne Hartigan, casting dir.; Andrea Mendoza, casting assist.

• Seeking Equity stage managers for “A • Company: Fat Goose Productions.

Staff: Mark Shanahan, writer-dir.; Fat Goose Productions, prod.; Showtown Theatricals, general management; Claire Burke, CSA, casting.

• Shoots June-November, 2021 in Los

Angeles, CA. Note: You must be local to Los Angeles to be considered. If you are in any location other than LA, do not submit as you may not work on this project.

• Rehearsals begin Oct. 11; runs Nov. 11,

2021-Jan. 2, 2022 in Cold Springs, NY.

• Seeking—Equity Stage Manager: 18+.

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

• Seeking—Medieval Soldier: male,

18-55, Asian, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, must be within the following measurements: height, 5’8”-6’2”; chest, 38-44; waist 30-38; and shoe, 9-12.The scene shoots at Lake Piru in Santa Clarita.

The rate is non-union extra rate at $120/8 plus an additional $15 for gas.

To accept this work you will need to be able to run and walk on some uneven terrain.

info@showtown.nyc. Submissions deadline is June 29.

• Pays $1,182/wk. plus media fee. Equity

Off Broadway (Category E) Agreement.

‘Ring Of Fire,’ Equity Stage Manager

• Seeking Equity stage manager for “Ring

Of Fire.”

• Company: Geva Theatre Center. Staff:

Mark Cuddy, artistic dir.

• Position runs July 6-Sept. 12, 2021 in

Rochester, NY.

• Seeking submissions from CA. • Send submissions to sandecast@aol.

• Seeking—Equity Stage Manager: 75+.

• Seeking submissions from NY. • Geva Theatre Center, a LORT B&D

com.

• Pay provided.

regional leader in Western New York, seeks applicants for our outdoor Summer production of “Ring of Fire.”

Candidates must possess good computer skills and prior experience/training in Stage Management procedures/

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

19

Phone Case & Accessories Promo Video for a phone case and accessories.

• Company: BTS TV Media. Staff: M.

Duclos, coord.

• Shoots June 26 in San Diego, CA. • Seeking—Antonia: female, 20-35, hip

and artistic. She likes to hang out in coffee shops and the Blick Art Materials store. Went to school for fine arts and minored in environmental design. She expresses her sustainable side through a 3D art series of “everyday-use objects” sculpted from all recycled materials. Her outfits are tastefully hip. Color choices are expressive and earthy. She would wear overalls or some sort of colored corduroy with New Balances or ecofriendly canvas shoes.

• Seeking submissions from CA. • For consideration, submit your avail-

ability and sample(s) of your work to admin@btstvmedia.com.

• Potential to continue as this character

in a series as decided by the client.

Cabaret & Variety Party Tyme TV, Singers

• Casting singers for Party Tyme, a sing-

ing contest at a pool party in Malibu.

• Company: Sybersound.

• Shoots Aug. 21 (9 a.m.-6 p.m.) in Malibu,

CA.

• Seeking—Singers: female, male, 18-80,

all ethnicities, top 50 best singers in the Los Angeles area. Only contact us if you are a real singer with stage experience.

• Seeking submissions from CA. • Send submissions to casting@syber-

sound.com.

• Submit an audiovisual recording of your-

self singing a popular hit song (of any format - pop, rock, country, oldies, etc).

Phone video is fine.

• Pays $100-$200. Meals provided.

Singers will perform one song each, receive scoring from 3 judges, and will be paid $100, or $150 for all 9’s or above, or $200 for a perfect score of all 10’s. Singers will also be asked to do a brief interview, then join the party.

Northern California Plays Sierra Repertory Theatre 2021 Season

• Casting Equity actors for the Sierra

Repertory Theatre 2021 Season. Season includes “Agatha Christie’s Murder On

06.24.21 BACKSTAGE

casting National/Regional the Orient Express” (East Sonora Theatre. Ken Ludwig, playwright; Jerry Lee, dir. Rehearsals begin Oct. 5; runs Oct. 28-Nov. 28) and “Meet Me In St. Louis: A Live Radio Play” (Fallon House Theatre. Joe Landry, adapted by; Scott Viets, dir. Rehearsals begin Oct. 26; runs Nov. 18-Dec. 19.).

• Company: Sierra Repertory Theatre.

Staff: Scott Viets, prod. artistic dir.; Jerry Lee, assoc. artistic dir.

• Season runs in Sonora, CA. • Seeking—Equity Actors: 18+.

• Seeking submissions from CA. • Absolutely everyone is encouraged to

audition for our available roles. For consideration, submit your headshot/ resume and recorded audition sides to Jerry Lee at jlee@sierrarep.org. Slate with your name and character name/ side (“Hello, I’m Shelley Duvall. This is Mary Debenham from Murder on the Orient Express.”). Unlisted YouTube links are preferred. Prepare either a side provided by SRT or a monologue of your choice in the style of Agatha Christie’s “Murder on the Orient Express” or “Meet Me in St. Louis: A Live Radio Play.” Submissions deadline is June 25.

• Pays $508/wk. Equity SPT 6

Agreement.

National/ Regional Plays Boston Playwrights’ Theatre 2021-22 Season

• Seeking video submissions from Equity

actors for roles in Boston Playwrights’ Theatre’s 2021-22 season. Season includes: “Lorena, A Tabloid Epic” (Eliana Pipes, writer; Erica TerpeningRomeo, dir. Rehearsals begin Sept. 21; runs Oct. 4-14); “Gone Nowhere” (Daniel C. Blanda, writer; Noah Putterman, dir. Rehearsals begin Oct. 12; runs Nov. 4-14); “Incels & Other Myths” (Ally Sass, writer; Erica Terpening-Romeo, dir. Rehearsals begin Nov. 2; runs Dec. 2-12); “Rx Machina” (Caity-Shea Violette, writer; Blair Cadden, dir. Rehearsals begin Jan. 25, 2022; runs Feb. 17-27); and “Beasts” (Cayenne Douglass, writer; Kelly Galvin, dir. Rehearsals begin Mar. 15; runs Apr. 7-17). Company states: “We encourage performers of all races and ethnicities to participate. Local area artists are encouraged to audition.”

• Company: Boston Playwrights’ Theatre.

Staff: Kate Snodgrass, prod.-artistic dir.; Season directors: Erica TerpeningRomeo, Noah Putterman, Blair Cadden, and Kelly Galvin, dirs.; Eliana Pipes, Dan Blanda, Ally Sass, Caity-Shea Violette, Cayenne Douglass, playwrights.

• Season rehearses and performs in

Boston, MA.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MA.

BACKSTAGE 06.24.21

• For consideration, prepare a brief con-

temporary monologue or scene. Play drafts (minus endings to protect copywrights) may be requested (ksnodgra@ bu.edu). Sides and a Reader will be available at callbacks. To submit, visit https://forms.gle/bwCqhJeu6Y9gApwJA. For questions, call Kate Snodgrass at (617) 353-5104 and leave a message.

Submissions deadline is June 28.

• Pays $367/wk. Equity NEAT Category 4

Contract.

Hippodrome Theatre Season

• Seeking video submissions from Equity

actors for roles in 2021-22 season.

Season includes: “Murder for Two” (Joe Kinosian, book-music; Kellen Blair, book-lyrics; Stephanie Lynge, dir.

Rehearsals begin Feb. 12; runs Mar. 5-28); “The Mountaintop” (Katori Hall, writer. Rehearsals begin Oct. 1; runs Oct. 22-Nov. 7); “Miracle on 34th Street (The Musical) A Radio Play” (Lance Arthur Smith, adapted from the 1947 Lux Radio Broadcast; Jon Lorenz, original songs-arrangements. Rehearsals begin Nov. 9; runs Nov. 26-Dec. 23); “A Christmas Carol” (Niall McGinty, adaptation; Charles Dickens, source material; John Gray, dir. Rehearsals begin Nov. 16; runs Nov. 29-Dec. 22); “As You Like It” (William Shakespeare, writer; Charlie Mitchell, dir. Rehearsals begin Jan. 1, 2022; runs Jan. 21-Feb. 6); “Living on Love” (Joe DiPietro, writer; Garson Kanin, source material “Peccadillo.”

Rehearsals begin Feb. 18; runs Mar. 11-27); “The Revolutionists” (Lee Hall, adaptation; Marc Norman & Tom Stoppard, screenplay as source material; Stephanie Lynge, dir. Rehearsals begin Apr. 7; runs Apr. 29-May 15); and Summer Musical (Stephanie Lynge, dir.

Rehearsals begin May 18; runs June 11-July 18).

• Company: Hippodrome State Theatre.

Staff: Stephanie Lynge, artistic dir.; Bryan Mercer, music dir.

• Season runs Sept. 3-July 18 in

Gainesville, FL. Performance schedule is Weds.-Thurs. 7 p.m., Fri. 8 p.m., Sat. 2 and 8 p.m., Sun. 2 p.m.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from FL. • Prepare two contrasting one-minute

monologues or one monologue and a one minute song of your choosing. If you who don’t have your own song, use the following music (https://thehipp. org/wp- content/uploads/2021/06/ Smile-Sheet-Music.pdf) and accompaniment (https://thehipp.org/wp- content/ uploads/2021/06/SmileAccompaniment.mp3) for “Smile.”

Submit the video audition with a headshot/resume to Hippauditions@gmail. com. Submissions deadline is June 28 at noon. The Hipp prefers YouTube or Vimeo links.

• Pays $493/wk. Equity SPT 6 Contract.

Holiday Show 2021

• Seeking video submissions from Equity

actors for roles in “Holiday Show 2021.”

This show is gender neutral and requires a strong movement background and an openness to learn puppetry. The House Theatre of Chicago is

committed to equity, diversity and inclusion. As such, we seek performers who are culturally and linguistically diverse from all races and ethnicities, gender identities, sexualities, abilities, and ages, as well as d/Deaf, to attend every audition.

maturg; Calypso Michelet, scenic designer; Lux Haac, costume designer; Emma Deane, lighting designer; Caroline Eng, sound designer; Trenda Loftin, BIPOC staff advocate; Kristen van Ginhoven, WAM prod. artistic dir.; Talya Kingston, assoc. artistic dir.

The. Staff: Lanise Antoine Shelley, playwright-co-dir.; Hallie Gordon, co-dir.

recording begins Oct. 6, 2021; runs through Oct. 17, 2021 (with a possible extension of one week) in Lee, MA.

• Company: House Theatre of Chicago,

• Workshop runs Aug. 3-5 and Aug. 9-10;

rehearsals begin Oct. 2; tech begins Nov. 5; runs Nov. 12, 2021-Jan. 2, 2022 in Chicago, IL. All actors must be fully vaccinated against COVID-19 by two weeks prior to start of workshop (Aug. 3).

• Seeking—Chione: 15-20, BIPOC, curi-

ous and bright young woman who speaks many languages, has magical abilities, and holds a deep connection with nature. She rarely finds meaningful friendships because of her gifts, but when she does, she’s sincerely loyal and reveals playfulness her usually serious nature doesn’t allow. Bilingual (any language) is a plus. Strong facility with language and physicality. Kai/Others: 15-20, all ethnicities, super nerdy, playful and inquisitive, yet loves to investigate the outdoors. They enjoy riddles, magic and bantering with friends, at times they come across as a know-it-all.

Strong facility with language and physicality. Experience with puppetry is a plus. Gerda: 15-20, all ethnicities, athletic and smart with a light competitive spirit. They can be guarded with strangers but have an overflowing generosity with those they love. They are fiercely stubborn which somehow turns into bravery when they need it. Bilingual (any languages), strong facility with language and physicality is a plus.

Grandfather/Others: 50+, all ethnicities, grandfather to Gerda. Kind, gentle and patient caregiver. Grandfather identifies the complexities of raising a young child on his own. He’s a great weaver of stories. Experience with puppetry is a plus. Time: 18+, all ethnicities, sassy, confident and uncouth. There is a mysticism to how they move through the world. They may appear and disappear depending on the time of day or their mood. They have a deeper knowledge that is clairvoyant in scope.

Strong facility with language and physicality. Experience with puppetry is a plus.

• Seeking submissions from IL. • Prepare a monologue no more than two

minutes in length and recite 1-2 stanzas of your favorite poem. Submit selftapes via google form at https://forms. gle/RwBQU86d29NtobDNA. Email PM, Madeline Scott at madeline@thehousetheatre.com with questions or technical issues.

• Callbacks will be held via Zoom on July

7.

• Pays $330/wk. Equity CAT Tier 2

Contract.

‘Kamloopa’

• Casting Equity actors for “Kamloopa,”

by Kim Senklip Harvey (Syilx and Tsilhqot’in Nation) Note: Indigenous femme actors encouraged to submit.

• Company: WAM Theatre, Inc. Staff:

Estefanía Fadul, dir.; Amanda Nita Luke, stage manager; Tatiana Godfrey, dra-

20

• Rehearsals begin Sept. 13; opening/

• Seeking—Mikaya: female, 20-25,

Indigenous Peoples. Kilawna: female, 30-39, Indigenous Peoples. Indian Friend Number 1: female, 20-29, Indigenous Peoples.

• Seeking submissions from MA. • For consideration, submit a taped one-

two minute contemporary monologue or performances, a headshot or head/ shoulder selfie, and a resume or paragraphy describing your performance experience with with the subject “Kamloopa casting” casting@wamtheatre.com. Submissions deadline is June 30. A note from the playwright on the Shifter and Ancestor roles: The Ancestral Matriarchs are eternal and living within the three women. They are visible and present to those open to seeing them. They live within us, in the past, present, and future worlds. They are many things, including Protectors of the Spirit. They use Shifters (Senklip, Grizzly, Raven ...) and the Elements (Air, Fire, Earth, Blood ...) to connect with us on our infinite journeys. The Shifters, animals who can travel between all worlds. They are able to communicate with beings in any world and inhabit those that engage with them. They are visible and present to those open to seeing them. WAM Theatre is a professional theatre company based on the ancestral homeland of the Mohican Tribe colonially known as Berkshire County in Western Massachusetts, that operates at the intersection of arts and activism with an emphasis on gender equity. More at www.wamtheatre.com.

• Pays $420/wk. plus other benefits

(such as travel/accommodation/childcare), to be negotiated based on each actor’s needs, that will ensure minimum wage and equity in pay amongst all actors. Equity SPT 4 Agreement.

Kansas City Repertory Theatre 2021-2022 Season

• Casting Equity actors for Kansas City

Repertory Theatre 2021-2022 season.

Season includes: “Mary’s Wedding” (LORT D. Stephen Masicotte, playwright; Stuart Carden, dir.-artistic dir.

Rehearsals begin Aug. 3; runs Aug. 27-Sept. 19), “A Christmas Carol” (LORT B. Charles Dickens, writer; Jason Chanos, dir. Rehearsals begin Oct. 19-Dec. 26), “Ms. Holmes & Ms. Watson – APT. 2B” (LORT D. Kate Hamill, playwright; Sir Arthur Conan Doyle, adapted from stories by. Rehearsals begin Jan. 11, 2022; runs Feb. 1-20, 2022), “The Royale” (LORT D. Marco Ramirez, playwright; Steph Paul, dir. Rehearsals begin Feb. 15, 2022; runs Mar. 8-27, 2022 with two-week local tour Mar. 28-Apr. 10, 2022), and “The Old Man and the Old Moon” (LORT B. PigPen Theatre Company, book-music-lyrics; Stuart backstage.com

National/Regional casting

Carden, dir.-artistic dir. Rehearsals begin Mar. 29, 2022-May 22 or 29, 2022.).

• Company: Kansas City Repertory

Theatre. Staff: Jason Chanos, assoc. artistic dir.; Yetunde Felix-Ukwu, artistic assoc.

• Season runs in Kansas City, MO. • Seeking—Equity Actors: 18+.

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

cover letter, and video link to Submissions deadline tapes in Vimeo or unlisted YouTube format repartisticoffice@kcrep.org. Headshot and resume should be submitted to https://form. jotform.com/yetunde2/headshotresume-submission. Submissions deadline is June 30 at 5 p.m. CDT. Film your audition beginning with a slate/ introduction. Prepare a package that includes either a monologue or two contrasting monologues. Total video not to exceed three minutes. If you are auditioning for “The Old Man and The Old Moon,” prepare one-two minutes of self-accompanied song in the folk/ singer songwriter tradition of your choosing on your lead instrument.

Roles will be understudied internally by other actors. We encourage participation of performers from all different backgrounds, including race, ethnicity, national origin, gender identity, age, sexual identity, and disability.

• Pay varies per production. Equity LORT

B and D Non-Rep Agreements.

‘King Of The Kosher Grocers’ • Casting Equity actors for “King Of The

Kosher Grocers.” Note: Production is in Minneapolis. Twin City actors encouraged to submit.

• Company: Stage North. Staff: Peter

Moore, artistic dir.

• Rehearsals begin Sept. 21; runs Oct.

15-Nov. 4 in St Paul, MN.

• Seeking—Billy: male, 20-29, Black /

African Descent.

• Seeking submissions from MN. • Prepare a one minute contemporary

comic monologue. Videos can be in any format and submitted to pdmoore444@gmail.com. Submissions deadline is July 1.

• Pays $400/wk. Equity SPT Agreement.

Pioneer Theatre Company

• Seeking video submissions from Equity

actors for principal roles in 2021-22 Season. Season includes: “Ain’t Misbehavin’” (Gerry McIntyre, dir.choreo.; Kenney Green, music dir.; Murray Horwitz and Richard Maltby Jr., book; music by various composers and lyricists as arranged and orchestrated

by Luther Henderson. Rehearsals begin Aug. 23; runs Sept. 10-25); “Ass” (Ellen Simon, writer; Karen Azenberg, dir.

Rehearsals begin Sept. 27; runs Oct. 22-Nov. 6); “Elf” (Alan Muraoka, dir.; Rommy Sandhu, choreo.; Tom Griffin, music dir.; Matthew Sklar and Chad Beguelin, score; Bob Martin and Thomas Meehan, adaptation.

Rehearsals begin Nov. 8; runs Dec. 3-18); “The Messenger” (Jeff Talbott, writer; Wes Grantom, dir. Rehearsals begin Dec. 20; runs Jan. 14-29, 2022); “Something Rotten!” (Karen Azenberg, dir.-choreo.; Helen Gregory, music dir.; backstage.com

John O’Farrell and Karey Kirkpatrick, book; Karey and Wayne Kirkpatrick, music & lyrics. Rehearsals begin Jan. 31, 2022; runs Feb. 25-Mar. 12); “Fireflies” (Kareem Fahmy, dir.; Mathew Barber, writer. Rehearsals begin Mar. 7; runs Apr. 1-16, 2022); and “Hello, Dolly!”

(Karen Azenberg, dir.-choreo.; Jerry Herman, lyrics-music; Michael Stewart, book. Rehearsals begin Apr. 18; runs May 13-28, 2022). No roles will be understudied.

• Rehearses July 1-31, 2021; runs July

Staff: Karen Azenberg, artistic dir.; Bob Cline, casting dir.

• Seeking—Vera: female, 72+, the

29-Aug. 8 (Thurs.-Sat., curtain 7:30 p.m.

PDT, Sun. curtain, 2 p.m. PDT) in Portland, OR. COVID-19 Compliance: Vaccination: Profile Theatre requires that you provide documentation of vaccination. Testing: Per Equity, if you are offered a role, you must be willing to take a COVID test immediately following your offer as documentation of a negative test result is required by July 1 to begin rehearsals on time. Profile will provide and/or pay for this test.

• Company: Pioneer Theatre Company.

youngest, childlike delight in life and in her sense of humor, laughs at her own jokes. Sensitive. Loves the sun.

Edna: female, 74+, next in line, a good time girl, speaks her mind, takes up her own space, comfortable and confident in herself,. Best friend of Vera.

Loves her work. Lillian: female, 75+, age has been gentle. Sure of herself, a woman of great style and great audacity. Elegant urban princess, the kind of woman people want to do things for. The Rose of Mae’s stable.

Ursula: female, 79+, bossy, set and determined. Believes in rules, promotion, work ethic. Can be very crabby.

Wants to be part of a group and knows the group should do things her way, obviously. Backseat driver. Other people’s humanness bugs her. Cannot stand the sound of Vera eating with loose dentures. Fond of adages with direct (harsh), clear (moralistic) messages. Mae: female, 83+, a self-made woman, a leader who finds the management of men ridiculously easy, and has mastered the management of women as well. A woman who knows the exact amount of effort required to handle a given situation. She looks after her girls, knowing both when to let them just wrestle each other and when mama needs to step in to keep them in line.

• Season runs August, 2021 through May/

June, 2022 in Salt Lake City, UT.

• Seeking—Equity Actors: 18+.

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

tion (preferably in a click and watch, way) to bobclinecast@gmail.com.

Submissions deadline is June 30.

• Keep songs and/or monologues to

around a minute. Accompaniment and sheet music for “From This Moment On” for each vocal part is available at https://onedrive.live.com/?authkey=%2 1ADdAm9Wy9aP5dic&id=2E8BE98337A 0E8D8%2121278&cid=2E8BE98337A0E8 D8, but you are welcome and encouraged to sing your own selection.

• All stage manager positions have been

filled.

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

Purple Rose Theatre Season • Seeking Equity actors of all gender

identities, age 18 years and over for principal, supporting and understudy roles in the Purple Rose Theatre’s 202122 season. Season include “Under Ceege” (Jeffry Chastang, writer.

Rehearsals begin Dec. 14; runs Jan. 20, 2022-Mar. 12); “Sherlock Holmes and The Adventure of the Ghost Machine” (David MacGregor, writer. Rehearsals begin Mar. 15, 2022; runs Apr. 14-Aug. 27).

• Seeking submissions from OR. • Prepare a contemporary monologue.

Be sure to slate your name, preferred role, and the title of play and playwright for the piece with which you are auditioning. If you have questions, email Maya at maya@profiletheatre.org.

Complete the Audition Form at https:// fs29.formsite.com/ZZsCMZ/ yqrr9k5h1y/index.html with your videotaped audition in the form of a URL link (YouTube, Vimeo, video on Google drive, etc.). Submissions deadline is June 28 at 10 a.m. PDT.

• Company: Purple Rose Theatre. Staff:

Guy Sanville, artistic dir.

• Season rehearses and performs in

Chelsea, MI.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MI. • For consideration, submit two con-

trasting contemporary monologues, that are each one minute in length, headshot and resume to Sanville@purplerosetheatre.org. Submissions deadline is June 29.

• We encourage performers of all races,

ethnicities, sexualities, and abilities to audition. If invited, callbacks will occur on June 29 between 3:30-7:30 p.m. PDT. (For your reference, the sides that may be included for callbacks may be found at https://drive.google.com/drive/ folders/1IgdRivEa9P4qsn6lAm0DvYAPnMO9gzH?usp=sharing.)

• Pays $493/wk. Equity SPT 6 Contract.

The Purple Rose Theatre has the option for a Bi-Weekly Payroll. Payroll schedule (BiWeekly or Weekly) would be communicated when roles are officially offered to the Acting Company. Pay dates would be supplied no later than the first day of employment.

• Pays $508/wk. Equity SPT 5 Contract.

‘The Oldest Profession’

• Seeking video submissions from Equity

actors for roles in “The Oldest Profession.”

Musicals

• Company: Profile Theatre Project.

Staff: Paula Vogel, playwright; Josh Hecht, artistic dir.; Jamie Rea, line prod.-stage dir.; Maya Bourgeois, casting assoc.

‘Other World’

• Seeking Equity actors for “Other

World.

21

• Company: New Hope Theatricals, LLC.

Staff: New Hope Theatricals, prod.; Alexander Fraser, prod. dir.; Robyn Goodman, exec. prod.; Josh Fiedler, prod.; Hunter Bell, book; Jeff Bowen, Ann McNamee, music-lyrics; Adrienne Campbell-Holt, dir.; Karla Puno Garcia, choreo.; Mary-Mitchell Campbell, musical supervisor: Paul Hardt of Hardt Casting LLC, casting dir.

• Rehearsals begin Sept. 7; runs through

Nov. 7, 2021 at Bucks County Playhouse in New Hope, PA. • Seeking—Lorraine: female, 30-39, all

ethnicities, identifies as female, 30s, any ethnicity; bright, no-nonsense, unfiltered, honest, talkative, kindhearted; not a gamer at all; strong actor/singer/mover with great comic timing; mezzo-soprano with belt to D5; Principal. Temula: all genders, 18+, all ethnicities, (actors of color encouraged to submit; NPC character in thevideo game Other World; ethereal, fierce warrior, and leader of the Forces of Light; following the death of her family at the hands of Antagon and his Army of Korberac, Temula seeks to defeat Antagon to restore peace in Other World; strong actor/singer with powerful, contemporary mezzosoprano range and belt to an Eb5; Principal. Tris: all ethnicities, late 20’s-early 30’s, any ethnicity, any or no gender (genderqueer, agender, non-binary,trans actors encouraged to submit); a confident, unapologetic, loyal, smart-ass, avid gamer with a loyal heart; currently working a mind-numbing, customerservice, cubicle job; strong actor; any vocal range; supporting Principal.

Jamie: all genders, 15-40, all ethnicities, any or no gender (disabled actors encouraged to submit); an incredibly quick-witted, loveable, impetuous, confident (sometimes to a fault), spirited, avid gamer; unafraid of the spotlight, Jamie games not just for the love of gaming, but for the likes, the follows, the views, and the potential of ad revenue and selling merch; strong actor, with great comic timing; anyvocal range; supporting Principal. Sri: male, 25-29, South Asian / Indian, Southeast Asian / Pacific Islander, identifies as male; a kind, fastidious, charming, avid gamer. Motherless at a young age, Sri struggles to connect with real people and the outside world, choosing to get lost in his favorite video game Other World; strong actor/singer with great comic timing; pop bari-tenor to F#4; Principal; Cast: seeking future replacements only. Antagon: all genders, 18+, all ethnicities, any age, any ethnicity, any or no gender; an NPC character in the video game Other World and a ruthless tyrant and leader of the Army of Korberac; strong, commanding actor with sense of gravity and authority.

Bass F2-D4; Principal; Cast: seeking future replacements only. Myra: 65-79, all ethnicities, identifies as female, a professor emerita of Computer Science and Software Engineering, Myra is a smart, direct, sassy, open, free-spirited, avid gamer, who enjoys the occasional weed edible; strong actor/singer with great comic timing; gutsy alto F#3G#4; supporting Principal; Cast: seeking future replacements only.

06.24.21 BACKSTAGE

casting National/Regional • Seeking submissions from PA. • Attach your self-tape video (any video

format compatible with YouTube, Dropbox, or Vimeo upload is welcome) and headshot/resume (PDF format) to the form provided at www.cognitoforms.com/PaulHardt1/ AEAAuditionsHardtCasting?v2 Submissions deadline is June 30.

Prepare a short contemporary musical theatre piece or feel free to submit material from Other World’s score (mp3s and sheet music) found in the following dropbox https://www.dropbox. com/sh/cg227mhxdi1q6vk/ AACVsnEpYRUryodu7hZ1O-kCa?dl=0.

To optimize the best sound and video possible we encourage you to turn off any ambient noise (air conditioner/tv/ radio) and please select a well lit area with minimal backlighting for your video. Also slate your name and height before you begin your audition. Note: Seeking a cast of all and no genders and all ethnicities. Seeking disabled and non-disabled performers who are strong, dynamic singers/actors/dancers with creative, collaborative instincts. The ensemble cast plays various humans, virtual characters/creatures, and other featured roles. For certain roles, specialty skills, stage combat, puppetry, gymnastics a plus.

• Pays $759/wk. Equity COST (Tier 1)

Agreement.

‘Rock Odyssey’

• Seeking video submissions for roles in

“Rock Odyssey.”

• Company: Adrienne Arsht Center for

the Performing Arts. Staff: Stephen Cole, book; Billy Straus, music-lyrics; Douglas Love, dir.-choreo.

• Rehearsals begin July 5, 2021; closes

July 18. Rehearsals and production will take place inperson at the Adrienne Arsht Center for the Performing Arts.

Production will be rehearsed and performed for a video capture at the Adrienne Arsht Center in Miami, FL. Rehearsals and production will be inperson, indoors, and recorded for educational purposes with no audience.

Proof of vaccination may be required in order to be called back or employed by the production.

• Seeking—Odysseus: male, 30-39. Zeus:

male, 30-59. Telemachus: male, 18+.

Penelope: female, 30-39. Athena: female, 20-29. Hermes: male, 20-39.

Poseidon: male, 20-49. 3 Men: male, 20-39.

• Seeking submissions from FL. • All submissions should be uploaded

through https://auditionsmanager. com/submission.php?AU=29Dict500.

Submissions deadline is June 25.

• Preparation Instructions: Prepare no

more than two minutes of a comic monologue and no more than 16 bars of one up tempo piece and 16 bars of one ballad. You may choose a song of your own or you may use the sheet music and accompaniment provided at https://drive.google.com/drive/ folders/1beRqvKwK468rM_ nF91ZzHS4NgfezMe1e?usp=sharing. All video submissions should be filmed horizontal and well front lit. Start your video submission by stating name and the pieces you’ll be auditioning with.

BACKSTAGE 06.24.21

Short Films

• Note: Seeking 8 Men and 2 Women who

sing very well and move very well- Age 18+. Actors should be able to sing in a contemporary “Rock” style.

‘Carnivore’

• Pays $575/wk. Equity TYA Contract.

• Seeking U.S. based Armenian actors

who speak fluent Armenian for “Carnivore,” a coming of age story that explores the meaning of masculinity and sheds light on traditions passed down.

Feature Films

• Note: All COVID-19 protocols and

‘A Look in the Rear View’

guidelines will be followed. A COVID-19 Compliance officer will be on set. If a minor is cast, talent must obtain a CA work permit and Coogan account.

• Casting “A Look in the Rear View,” an

independent comedic feature film about a groom (Tim), on the night before his wedding, reminiscing about a memorable, transitional year (his high school senior year), which will make you laugh, think, and maybe even cry -- but mostly laugh.

• Company: Jennifer Ajemian Casting.

• Rehearses July 12 or 13, 2021 (1-day);

shoots July 14-18 in Los Angeles, CA.

• Seeking—Davo: male, Middle Eastern,

12-15 years old to play 13; native Armenian speakers who are fluent in Armenian. Must be authentically of Armenian descent. Should be comfortable with improv. Prefer a scrawny physique but not a requirement. Davo is a man-in-the-making whose compass is still without direction. Plays by the rules. His parents are Armen and Mariam. Shoots 5 days. Should be comfortable smoking a fake cigarette. Must be able to swim. Gor: male, 16-18, Middle Eastern, to play 15; native Armenian speakers who are fluent in Armenian. Must be authentically of Armenian descent. Must have a driver’s license. Should be comfortable with improv. Gor is Mrdo’s son and Davo’s cousin. Rough around the edges and a little pampered. Can be a bit of a show off at times. Shoots 5 days. Must be able to swim. Milena: female, 13-17, Middle Eastern, to play 15; native Armenian speakers who are fluent in Armenian. Must be authentically of Armenian descent. Milena is free-spirited and has early teen angst. She’s a family friend of Davo and Gor. Should be comfortable smoking a fake cigarette. Shoots 5 days. Must be able to swim. Miriam: female, 40-50, Middle Eastern, native Armenian speakers who are fluent in Armenian. Must be authentically of Armenian descent. Worked as an engineer, and is now a tutor. She could have either a quiet strength, or come across as indestructible. She is Davo’s mother and Armen’s wife.

Shoots 3 days. Armen: male, 50-60, Middle Eastern, native Armenian speakers who are fluent in Armenian. Must be authentically of Armenian descent.

Should be comfortable with improv. A civil and reserved man who works as a mechanic. The outlier in the family.

Armen is Davo’s dad and Mariam’s husband. Shoots 3 days. Mrdo: male, 40-50, Middle Eastern, native Armenian speakers who are fluent in Armenian.

Must be authentically of Armenian descent. Should be comfortable with improv. Mrdo is the head of the household and owns it. A wild animal and chess grandmaster at the same time.

Usually sports a tracksuit and Gucci sunglasses, which no one knows how he can afford. Shoots 3 days.

• Company: That Don’t Fly LLC. Staff:

Julie Harris, coord.

• Shoots July 12-Aug. 7 in Northern VA. • Seeking—Becky: female, 18-22, a very

attractive, smart, athletic 18 year old high school senior. She’s in an Honors English class which is focused on the study of the human condition, along with its nuances and complexities. This triggers discussion, debate, and arguments, and Becky is never afraid to air her views. She participates enthusiastically (some might say too enthusiastically at times). She gives 110% to everything she does. Becky is in a number of scenes throughout the movie, and while the majority of them don’t involve any nudity, two of the scenes do require above-the-waste nudity. (i) One such scene is the 18 year old Tim’s daydream during the first English class, where Becky is standing up by the side of a swimming pool, at first trying to seduce Tim. Becky is wearing just a skimpy bikini bottom. Her bikini top is on the lounge chair. She is using her forearms to squeeze her buxom breasts, shaking them side to side, as she tries to seduce Tim. Becky makes similar seductive gestures at other times during the brief scene, including in front of Sarah (Tim’s girlfriend, who pops into the daydream provocatively dressed) and Mr. O (the Honors English class teacher, who pops into the daydream, replacing Sarah, and is also provocatively—and embarrassingly— dressed); and (ii) a softball game where Becky, as she’s rounding second base and heading toward third base, starts taking her sweatshirt off, lifting it over her head. As she does this, her skimpy tank top is inadvertently lifted up with the sweatshirt. This briefly exposes her bare breasts, bouncing up and down, as she is heading for third base. The third baseman, trance-like, stares at the spectacle and doesn’t notice as the ball thrown from the right fielder whizzes past him.

• Send submissions to alookintherear-

viewcasting@gmail.com.

• Pays $15/hr. When applicable, over-

night lodging, travel and per diem will be provided.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Video submissions will be accepted in

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

June. Callbacks with the director will be held late June/early July via Zoom.

22

• For consideration, submit a self-tape

with Slate (in English) (The camera frame should be from top of head to bottom of chest. When you answer the questions below, look to camera.) Also include your full name and height and answer the following questions: Our cast needs to be authentically of Armenian descent. Do you fit into this?; Do you speak Eastern or Western Armenian?; What role are you auditioning for?; Where are you based?

(Specify Town and State); Are you in SAG-AFTRA or are you Non-Union?; Are you available for the shoot dates?

(July 14-18, 2021); In Armenian, can you tell us a quick story in character (see role description on casting breakdown) or as yourself? Also include a full body shot in your submission. Take a step back from the camera, so we can see your full body (top of head to your feet).

• SAG-AFTRA Short Project Agreement

(approval pending). We can consider both union and non-union talent.

Production will provide travel/accommodations if talent cast is not based in Los Angeles, CA.

Scripted TV & Video Major Streaming Network Anthology Series

• Casting South Asian male wheelchair

user to portray similar role for anthology series on major streaming service.

• Company: Carmen Cuba Casting. Staff:

Coco Kleppinger, casting assoc.

• Shoots late October/early November in

NY.

• Seeking—Neel: male, 25-47, South

Asian / Indian, real wheelchair users, Hindi speakers a plus but not a necessity.

• Seeking submissions worldwide.

• Include: full name, two photos of your-

self (one close-up and one full length), and city and state of country of residence.

• Pay TBD pending negotiation per SAG

Television Agreement

‘Shoe Gum’

• Casting “Shoe Gum,” a scripted series.

Synopsis: Ian, a 17 year old quirky, anxious shoe fanatic, with Chucky, a 12 year-old confident, hip-hopped out, young “business man” go on misadventures exploring, and raising their rank, in high end shoe culture.

• Company: Smoke Stacks Studios. Staff:

Kerby Collins, prod.-casting dir.

• Shoot dates TBD in Miami, FL. • Seeking—Ian: male, 15-19, all ethnici-

ties, quirky, anxious shoe fanatic who’s only desire in the world is to explore sneaker culture to its fullest extent.

Chucky: male, 12-14, all ethnicities, confident, hip-hopped out, young “business man” with dashing charisma and a spirit for salesmen-ship.

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

• Pays $125/day, plus travel if needed,

and per diem.

backstage.com

National/Regional casting

Online Commercials & Promos

• Pays ~$700/day plus meals and accom-

‘My Weight Watchers Experience’

Film & Documentary (Voiceover)

• Seeking current and former members

of the Weight Watchers program to generate content from home sharing your experience with changing into healthier habits.

• Company: Ready Set. Staff: A S, CD. • HomebBased.

• Seeking—”I Changed My Habits” With

Weight Watchers: female, male, 23-48, all ethnicities, a person who changed their old habits into healthier ones thanks to the Weight Watcher program and is glad to share their experience. Do not apply if you experience is not real, we will ask proof....*We will ask for an audition*Feel free to tell us in your application a little about your Weight Watchers experience. “I am Changing My Habits with Weight Watchers”: female, male, 23-48, all ethnicities, a person who is currently changing their old habits into healthier ones with the Weight Watcher program and is glad to share their experience. Do not apply if you experience is not real, we will ask proof....We will ask for an audition. Feel free to tell us in your application a little about your Weight Watchers experience.

• Seeking submissions nationwide.

• Send submissions to cast.me@ready-

set.co.

• Pay provided.

Videoleap YouTube Commercial

• Casting lead character for YouTube

commercial showcasing a mobile app product, Videoleap (https://apps.apple. com/US/app/id1255135442?mt=8) by Lightricks (home to multiple famous app brands like Facetune). Note: Production is scheduled to take place in Kiev so travel is required.

• Company: Lightricks.

• Shoots early July 2021 in Kiev.

• Seeking—Steve: male, 20-30,

Ethnically Ambiguous / Multiracial, White / European Descent.

• Seeking submissions nationwide.

• Send submissions to matt@lightricks.

com.

• Include a video submission with your

cover letter. Read the following text in fast paced matter like the reference link below. “Oh my God, you guys, Videoleap is the best video editing app eveeeeeer. I can create amazing video content everywhere I go using only my phone. I’m totally going to become the next big video king! and this is my first time editing. I had no background in video making before downloading this app and look at me now! I can cut, trim, mask, and keyframe with a full understanding of what those terms actually mean.”

• Voice Reference: https://drive.google.

com/ file/d/1F7Qtpmk7MypY395CDuKYvAV7 NaKuG5Zp/view?usp=sharing. backstage.com

(William Shakespeare, writer.

Rehearsals begin Apr. 5, 2022; runs May 5-29).

modation plus travel expenses and global payment for 1YR of campaign run on Youtube.

• Company: Sandra Feinstein-Gamm

Theatre. Staff: Tony Estrella, artistic dir.

• Rehearses and performs in Warwick,

RI.

• Seeking—Equity Actors: 18+.

• Seeking submissions from RI. • Indicate in the email subject heading

your status as either an AEA member, Equity Membership Candidate or nonmember (For example: Subject: Gamm Season 37 audition submission- nonunion Or Subject: Gamm Season 37 audition submission Equity). Send your recorded audition pieces along with a headshot/resume to gammauditions@gammtheatre.org.

Submissions deadline is June 25 at midnight.

Untitled Documentary Feature

• Casting a voiceover actor who naturally

has a similar accent to a well-known television show host. Read in your natural accent.

• Company: Delirio Films. Staff: Natalie

Goldberg, assoc. prod.

• Each performer will be allotted a mini-

mum of three minutes and a maximum of five minutes. We suggest that all performers prepare at least a 1-2 minute monologue of their choice. If you want to be considered for “A Midsummer Night’s Dream,? we encourage you to include a monologue from Shakespeare, preferably in blank verse.

• Open to either home studio or renting a

studio.

• Seeking—Narration Voice: 35-60.

• Seeking submissions nationwide.

• Send submissions to natalie@delirio-

films.com.

• Read using your natural accent.

• Narration.

• No phone calls. Any concerns should be

addressed to auditions@gammtheatre. org.

Stage Staff & Tech

• Callback dates are TBD and will be con-

ducted via digital platform and/or in person as public health/professional safety protocols evolve.

Audio Technician III, IV, and V

• Pays $675/wk. Equity NEAT Contract.

• Seeking audio technicians to a part of

Gamm Theatre 2021-22 Season, Stage Manager

Silver Dollar City’s Entertainment Technician Team. Note: We are looking for candidates who have live theater experience in video, lighting, live sound, show mounting and special effects.

You will be working with World Renown Entertainment at One of America’s Top 10 Parks. Festivals and shows will change throughout our season, giving you different experiences for every festival.

• Seeking Equity stage managers for

• Seeking submissions nationwide.

• Fill out an application at

2021-22 season. Season includes: “A Lie Agreed Upon” (Tony Estrella, writer. Rehearsals begin Aug. 31; runs Sept. 30-Oct. 24); “It’s A Wonderful Life, A Radio Play” (Joe Landry, writer.

Rehearslas begin Nov. 9; runs Nov. 26-Dec. 24); “An Octoroon” (Branden Jacobs-Jenkins, writer; Joe Wilson, Jr., dir. Rehearsals begin Dec. 28; runs Jan. 27-Feb. 20, 2022); “Ironbound” (Maryna Majok, writer. Rehearsals begin Feb. 22, 2022; runs Mar. 17-Apr. 10); and “A Midsummer Night’s Dream” (William Shakespeare, writer.

Rehearsals begin Apr. 5, 2022; runs May 5-29).

• Pay provided.

Theatre. Staff: Tony Estrella, artistic dir.

• Company: Silver Dollar City

Attractions. Staff: Jessica Norton, entertainment and events recruiter.

• Runs all season in Branson, Missouri.

• Seeking—Audio Technician III, IV, and

V: 18+.

SilverDollarCity.com/Jobs.

• Company: Sandra Feinstein-Gamm

• Rehearses and performs in Warwick,

Gamm Theatre Season

RI.

• Seeking video submissions from

• Seeking—Stage Manager: 18+.

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

Equity actors for roles in the Gamm Theatre 2021-22 season. The Gamm encourages participation by performers of all races, ethnicities and genders. Season includes: “A Lie Agreed Upon” (Tony Estrella, writer.

Rehearsals begin Aug. 31; runs Sept.

30-Oct. 24); “It’s A Wonderful Life, A Radio Play” (Joe Landry, writer.

Rehearslas begin Nov. 9; runs Nov. 26-Dec. 24); “An Octoroon” (Branden Jacobs-Jenkins, writer; Joe Wilson, Jr., dir. Rehearsals begin Dec. 28; runs Jan. 27-Feb. 20, 2022); “Ironbound” (Maryna Majok, writer. Rehearsals begin Feb. 22, 2022; runs Mar. 17-Apr. 10); and “A Midsummer Night’s Dream”

jess@gammtheatre.org. Submissions deadline is June 25.

• Pays $809/wk. Equity NEAT Contract.

Kansas City Repertory Theatre 2021-2022 Season, Stage Manager • Seeking Equity stage managers for

Kansas City Repertory Theatre 20212022 season. Season includes: “Mary’s Wedding” (LORT D. Stephen Masicotte, playwright; Stuart Carden, dir.-artistic dir. Rehearsals begin Aug. 3; runs Aug. 27-Sept. 19), “A Christmas Carol” (LORT B. Charles Dickens,

23

writer; Jason Chanos, dir. Rehearsals begin Oct. 19-Dec. 26), “Ms. Holmes & Ms. Watson – APT. 2B” (LORT D. Kate Hamill, playwright; Sir Arthur Conan Doyle, adapted from stories by.

Rehearsals begin Jan. 11, 2022; runs Feb. 1-20, 2022), “The Royale” (LORT D. Marco Ramirez, playwright; Steph Paul, dir. Rehearsals begin Feb. 15, 2022; runs Mar. 8-27, 2022 with twoweek local tour Mar. 28-Apr. 10, 2022), and “The Old Man and the Old Moon” (LORT B. PigPen Theatre Company, book-music-lyrics; Stuart Carden, dir.artistic dir. Rehearsals begin Mar. 29, 2022-May 22 or 29, 2022.).

• Company: Kansas City Repertory

Theatre. Staff: Jason Chanos, assoc. artistic dir.; Yetunde Felix-Ukwu, artistic assoc.

• Season runs in Kansas City, MO. • Seeking—Equity Stage Manager: 18+.

• Seeking submissions from MO. • We encourage participation of stage

managers from all different backgrounds, including race, ethnicity, national origin, gender identity, age, sexual identity, and disability.

• For consideration, submit resume to

repartisticoffice@kcrep.org.

Submissions deadline is June 30.

Kansas City Repertory Theatre pursues theatrical excellence and advances the art form, creating and sharing stories at the center of the nation’s creative crossroads. KCRep cultivates passionate audiences, artists, and advocates who are invested in our region’s future. We build community by connecting people through productions and programming that educate, entertain, challenge and inspire. More at www.KCRep.org.

• Pay varies per production. Equity

LORT B and D Non-Rep Agreements.

‘Other World,’ Stage Manager Submissions

• Seeking Equity stage managers for

“Other World. Note: No stage manager positions are open at this time.

Interested stage managers may submit for future consideration.

• Company: New Hope Theatricals, LLC.

Staff: New Hope Theatricals, prod.; Alexander Fraser, prod. dir.; Robyn Goodman, exec. prod.; Josh Fiedler, prod.; Hunter Bell, book; Jeff Bowen, Ann McNamee, music-lyrics; Adrienne Campbell-Holt, dir.; Karla Puno Garcia, choreo.; Mary-Mitchell Campbell, musical supervisor: Paul Hardt of Hardt Casting LLC, casting dir.

• Rehearsals begin Sept. 7; runs

through Nov. 7, 2021 at Bucks County Playhouse in New Hope, PA.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from PA. • Submit resume for future consider-

ation by June 30 to info@bcptheatrer. org.

• Pays $1,051/wk. Equity COST (Tier 1)

Agreement.

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

06.24.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q:

I have a commercial agency meeting coming up. How should I prepare?

Do I need to memorize commercial sides?

—@valleyvillageactor, Backstage Community Forums

Our Expert Bill Coelius is an actor and acting teacher.

*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 06.24.21

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; COELIUS: COURTESY BILL COELIUS

Congratulations! Finding a great commercial agent is one of the milestones of a successful career. But preparation is key. The meeting should be about discovering through observations and questions if this is going to be a good fit on both sides.

Before the meeting, do your research on IMDbPro. How big is the agency? How many people do they rep? Is it a small boutique agency, or will you be joining a roster of a thousand other actors? You may even recognize a few of their clients. If so, reach out. Ask them about their working relationship with the agent. Has the agent gotten them auditions on a regular basis? What kind of auditions?

Also, prepare some questions! Agents need to know you’ve done your research and that you’re interested in the relationship. Some great questions are: How did you get started? What was your favorite booking? What do you do outside the office?

Prepare other questions that will help you figure out their managing style: If we do end up working together, what’s the best way to stay in touch—call, email, or text? If I see an audition I’m right for, do you mind if I bring it to your attention? Are there any casting directors you work with regularly that should know my work? (This also informs you if they have any close relationships with CDs—a crucial piece of information.) Do you freelance, or will I be required to sign a contract? What is your fee percentage?

Finally, find out if you’ll need to read for them and what is expected of you in the meeting. This is a question you can and should ask. Don’t get taken by surprise. If they want you to read, will they have material, or will you have to prepare something? If you have to prepare something, choose two short commercial pieces that best show off your talents. Ask your actor friends if they have any; the internet is also a huge resource for material. And, yes, memorize them, but be open to any redirects. Good luck!

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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