Backstage Magazine, Digital Edition: September 23, 2021

09.23.21

Rosario Dawson How she went from street-cast unknown to bankable screen star

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Voiceover 2021 Secrets to audition success from the creatives behind

“Rick and Morty,” “The Prince,” and “Q-Force”

Judy Greer’s

No. 1 tip for making your career last 10+ Pages OF CASTING NOTICES

AMDA CONGRATULATES our Emmy-nominated alumni ANTHONY RAMOS (Hamilton) and MADELINE BREWER (The Handmaid’s Tale)

Contents

vol. 62, no. 27 | 09.23.21

Cover Story

Discovering Cover Story Rosario Dawson Prospecting for Gold

A closer look at what molded the actor into the screen talent she is today

The Green Room 6 Women won big at this year’s

Venice Film Festival The Green Room

8 week’s audience roundup of who’s 6 This Broadway’s boom casting what starring whom

8 T his week’s roundup of who’s 9 C harlie Cox “Kin” and casting whaton starring whom tackling accent work

page 14

10 Annie Murphy reflects on

page 16

11 NOTE FROM THE CD Advice

Your official guide to the 2020 Oscar nominations

“Schitt’s Creek” Advice

A future in voiceover

13 C RAFT 12 Survive IGOTCAST # and thrive Angella Katherine

13 # IGOTCAST 12 SECRET AGENT MAN

Mark Beauchamp A new frontier?

14 SECRET AGENT MAN The power of intention Features

4 BACKSTAGE 5 WITH...

Features Judy Greer

4 B ACKSTAGE 5 WITH...

10 MEET THE MAKER

David Alan Grier Gary Janetti, “The Prince” creator andMAKER producer 12 MEET THE Yan, “Birds of Prey” 11 Cathy THE ESSENTIALISTS director Gabe Liedman,

14 13 15 19 21 32 32

creator and showrunner THE ESSENTIALISTS Jeremy Woodhead, IN THE ROOM WITH hair makeup Ruthand Lambert anddesigner Robert McGee IN THE ROOM WITH Victoria VOICES Thomas FROM ABOVE Guests of Backstage’s “In the OUR DREAM BALLOT Envelope” podcast have plenty And the 2020 of voice actingOscar tips toSHOULD share have gone to…

ASK AN EXPERT ASK AN EXPERTon creating Daryl Eisenberg Amy Russ onself-tape principal and the perfect background work

Casting Casting

20 New York Tristate 22 New York Tristate 25 California 27 California 28 National/Regional 28 National/Regional Rosario Dawson photographed by Cover illustration bySept.

John6Jay Stephanie Diani on in Cabuay.

New York CoverHair designed Ian Robinson.

City.

by Zoeby Verdejo.

Makeup by Matin. Cover designed by Ian Robinson.

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Judy Greer

By Allie Volpe

Judy Greer knows you’ve seen her in something before. Maybe it was “13 Going on 30,” or “Arrested Development,” or “Ant-Man,” or “Where’d You Go, Bernadette,” or any of the other hundred or so onscreen roles she’s racked up during her 20-plusyear career. You’ve probably heard her voice, too. She’s currently voicing Cheryl Tunt on Season 12 of FX’s “Archer,” a longtime job she feels has opened doors for her in the voiceover world.

What performance should every actor see and why? A lot of comedic performances are very underrated. That’s something I wish I could change. I think [that for] people, it’s like, Oh, my God, you have to see Charlize Theron in “Monster.” And yes, she’s amazing in that movie. Cate Blanchett in anything she does—yes, amazing. But comedic performances are often overlooked when we’re talking about those great performances. I was so happy when Melissa McCarthy got nominated for an Academy Award for “Bridesmaids.’’ How great was she in that movie? How much did you believe every second she was onscreen? That’s acting too, people!

yourself when it gets hard and frustrating and scary and your confidence is low.

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

In one flight from Los Angeles to New Orleans, I read “Where’d You Go, Bernadette,” and I fell so in love with the book. I bugged my team: “Who’s making it?” Time passed, and they attached Richard Linklater. And when I found that out, I wrote him an email telling him how much I loved the book and what it meant to me. It worked! I got to be the therapist who tries to admit Bernadette. It was really awesome. I had great scenes with two of my acting idols, Cate Blanchett and Billy Crudup. I got to work with Richard Linklater. It was worth it, clearly.

What is your worst audition horror story? It was an Ed Helms movie, [“Cedar Rapids,”] and Anne Heche [ultimately] played the role. They go on this business trip, and they have a wild night in this hotel. I had just gone through this horrible breakup, and I was really damaged. It was two days after my breakup, and I was like, OK, gotta hold my shit together. I was in the waiting room, and I saw a poster for a movie that [the] boyfriend I had broken up with had produced. I lost my mind and started crying uncontrollably. I couldn’t stop crying. I went into the bathroom and pulled myself together. I thought I had it together. I went into the room to do the audition, and I’m doing the scene, and I start crying. And the poor casting director was like, “I don’t think you’re supposed to get that emotional in the scene.”

What advice would you give your younger self? It’s important to have other interests. I don’t mean a backup plan—I mean hobbies, things that you care about so you can distract

“Voiceover acting is a club. It’s a weird club, [and] there are no instructions on how to join it or rush it.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM

How did you first get your SAG-AFTRA card? It was called “Kissing a Fool,” and it was my first acting job. I was graduating from the theater school at DePaul University in Chicago. They were shooting there that summer, and I got a role in the movie.

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Olivia Colman and Dakota Johnson in “The Lost Daughter” Awards

Venice Film Fest Puts Women in the Limelight

Jane Campion and Maggie Gyllenhaal took top honors in an encouraging sign for the awards season to come

By Rebecca Aizin

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previous Oscar winner Bong Joon-ho presiding.

The French drama “L’Evénement (Happening)” took home the Golden Lion, the most coveted accolade of the festival, which is a solid predictor of awards season success.

Director and co-writer Audrey Diwan’s win marked the sixth time in the fest’s 78-year history that a female filmmaker has earned the award, and the

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second time in a row following Zhao’s “Nomadland” win.

The Silver Lion Grand Jury prize went to Paolo Sorrentino’s forthcoming Netflix release “The Hand of God,” a semiautobiographical drama recounting the director’s childhood and the trauma of losing his parents at a young age. Star Filippo Scotti won the Marcello Mastroianni Award for best young actor or actress for his portrayal.

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YANNIS DRAKOULIDIS/NETFLIX

STORIES ABOUT WOMEN took center stage at the 78th Venice Film Festival, which lasted for over a week in the Italian city. This year’s festival, one of the world’s oldest celebrations of global cinema, premiered 92 buzzy films from Sept. 1–11. Academy Award– winning director Chloé Zhao, who took home the 2020 award for “Nomadland,” was among this year’s jury members, with

“The Hand of God” is just one of a handful of Netflix films that premiered at the festival: Jane Campion won best director for the Benedict Cumberbatch–starring “The Power of the Dog,” while Maggie Gyllenhaal took home the screenplay prize for her feature writing-directing debut “The Lost Daughter,” which stars Olivia Colman, Dakota Johnson, and Jessie Buckley.

“The Lost Daughter” is based on a novel of the same name

by Elena Ferrante. “When I read Ferrante for the first time, there was a kind of shock from hearing things that I had always known deep inside myself were true spoken out loud—some secret truths about being a woman in the world,” Gyllenhaal said at the festival.

“Of course, they’re not really secret; they’re just unspoken.

In a way, as women, we’ve been born into an agreement to be silent…. Reading Ferrante broke the agreement.”

The Volpi Cup for best actress went to Penélope Cruz for her portrayal of a single mother in Pedro Almodóvar’s “Parallel Mothers.” The Oscar-winning performer dedicated the award to her family and husband Javier Bardem’s late mother (whose final words to her, Cruz revealed in her speech, were “Coppa Volpi”). The prestigious award’s male counterpart went to John Arcilla, taking the Volpi Cup for best actor for “On the Job 2: The Missing 8,” a Filipino crime thriller.

For more results and information, visit the Venice Biennale’s website at labiennale.org, and be sure to check out Backstage’s guide to the Venice Film Festival.

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Summer Teen Ensemble

heavyweight champion continually rose above adversity to become the last man standing.

The series, produced in part

by Margot Robbie’s LuckyChap Entertainment, will be written

by Steven Rogers and directed

by Craig Gillespie, who previously collaborated on “I, Tonya.”

The production has locked in Trevante Rhodes (“Moonlight”) to star with the help of Kromer Casting in New York.

Production is set to start in New Orleans and New York at the end of September.

Michael Ausiello Gives Away the Ending His romantic memoir takes center stage

By Rebecca Welch

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

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

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

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“Iron Mike” Get ready to step into the ring with the legendary Iron Mike. Mike Tyson’s illustrious boxing career may now be overshadowed by his notorious, larger-than-life persona, but the athlete was always a beast in the boxing world. Just uttering the name tends to have a polarizing effect on most who remember the height of Tyson’s fame in the latter half of the ’90s. Hulu has ordered eight episodes that will tell the story behind the boxing gloves and scandals. Beset by sorrow and controversy, the

FILM

Another Strange Gig for Winona Ryder

By Casey Mink

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

THE “STRANGER THINGS” ACTOR IS sticking to the mystery-thriller genre, having recently wrapped her latest project, “The Cow.” Ryder joins Dermot Mulroney and John Gallagher Jr. in the cast of the film, which has just completed production. The project also marks the feature directorial debut of Eli Horowitz, who’s best known for co-creating Amazon Prime Video’s “Homecoming.” Horowitz co-wrote the script with Matthew Derby; plot details are being kept tightly under wraps.

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MARGAUX QUAYLE CANNON

“Spoiler Alert: The Hero Dies” Writer Michael Ausiello is teasing his next big story. The journalist will pull from his own words as Hulu rolls toward production on “Spoiler Alert: The Hero Dies.” The founder of TVLine, an entertainment website focused on all things television, is adapting his own

memoir, which chronicles the slow decline and eventual death of his husband, photographer Kit Cowan. Ausiello’s tale starts with the moment Cowan receives his cancer diagnosis. Woven throughout the tragic story are key moments in the couple’s relationship, from their first hello to their last goodbye, and the 14 years of ups and downs in between.

The biographical project has brought on New York–based casting director Avy Kaufman to round out the film’s ensemble. Sally Field, Jim Parsons, and Ben Aldridge are already on board the literary adaptation, which will be directed by Michael Showalter and written

by Ausiello, David Marshall Grant, and Dan Savage. The love story is set to start production

in early October and wrap by the beginning of December in New York.

PATRICK REDMOND/AMC+

What’s Casting

“The Chronology of Water” Kristen Stewart may be gearing up for awards season with her latest cinematic outing as Princess Diana, but her next role will be one out of the spotlight. The longtime actor is stepping behind the camera for her feature film directorial debut, which she also wrote, titled “The Chronology of Water.” The project pulls from the autobiography of Lidia Yuknavitch, a former swimmer, now artist, who escapes from an abusive home and lands a swimming scholarship. Along the way, she struggles with her sexual identity, grief, and drug addiction, eventually triumphing over her personal demons. The film has brought on Atomic Honey to cast the project, which is currently still in pre-production. The drama is set to shoot in 2022 in Oregon.

Charlie Cox on “Kin”

Backstage Live

Keeping It in the Family

Charlie Cox’s new series “Kin” is some of his most emotional work yet

By Rebecca Aizin

The following interview for our on-camera series Backstage Live 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.

THOUGH HIS LATEST ROLE doesn’t involve superheroic stunts like those he performed on Netflix and Marvel fan favorite “Daredevil,” Charlie Cox turns in some of his best screen work yet on AMC+’s “Kin.”

TELEVISION

More ‘Murders’ for Hulu PATRICK REDMOND/AMC+

MARGAUX QUAYLE CANNON

By Casey Mink

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Starring as a troubled member of an Irish crime family, the longtime screen and stage performer spoke with us about his work on the show, his craft and career tips, and what he hopes to do next.

THOUGH STILL SMACK-DAB IN THE middle of its first season, Hulu has announced a Season 2 order of its comedy–murder mystery “Only Murders in the Building.” The series, which stars Steve Martin, Martin Short, and Selena Gomez and was co-created by Martin and John Hoffman, will air its finale Oct. 19.

Said Hoffman of the news, “To feel we’ve connected with our audience and hit the mark enough already to have the chance to continue—and to carry on our show’s wild ride of mystery-comedy-empathy—is too exciting for words.”

Cox mainly used material from the script to build his character, Michael, on “Kin.” “I had a lot of conversations with the creator and writer. We were able to get to the root of Michael and Jimmy—his brother’s—backstory. To be honest, not much was needed from my part. It was so clear on the page, the character was so wellrounded and fully formed by the time I read the script, [that] I didn’t need to invent much.”

The series had Cox tackling an Irish accent.

“I work really hard on accents; they don’t come naturally to me. For some reason, I’ve done a lot over the course of my career.

I keep getting roles where I have to put an accent on. I work with an accent coach and heavily rely on him. It’s a question of getting the sounds right, listening to podcasts with people

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from the area, listening and repeating, and trying to stay in it as much as possible to stay as authentic as you can.”

Though Cox didn’t dream of being an actor from a young age, as soon as the seed was planted in his head, he had to go for it.

“I loved acting at school, but it was just a thing I did as a hobby. I just did school plays and really enjoyed it. Toward the end of my school career, someone from a drama school came to see one of my plays and asked if I [had] considered applying to a drama school, which I hadn’t. As soon as she said it, though, it ignited a bit of a fire in me, and suddenly I became obsessed with the idea of going to drama school.

From there, I got lucky. I got an agent, I got a movie, and then I went away and did a year at drama school [at the Bristol Old Vic Theatre School,] but I was pulled out early to do ‘The Merchant of Venice.’ ” He still remembers “Daredevil” as a career highlight.

“It was such a cool period of my life, and it was so unexpected.

I was in my mid-30s when I got that job, and for me, I thought that ship had sailed. I had a lot of friends who were Marvel superheroes or were in the superhero universe in some capacity. It always seemed like so much fun to me. I’m someone who really enjoys the physical aspect of filmmaking, and I love getting stuck in the action sequences, but I didn’t think it would happen for me.

Then this came along in 2014, and it was a dream. To be someone who is now associated with that character—I’m still pinching myself.”

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

09.23.21 BACKSTAGE

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Meet the Maker

Gary Janetti, “The Prince” creator + producer

“The Prince”

BACKSTAGE 09.23.21

on “Family Guy” and “Will & Grace”), the show takes light, waggish aim at the royal family through the lens of a fictitious take on 8-year-old Prince George—voiced by Janetti.

The show also features the vocal stylings of Orlando Bloom, Condola Rashad, Sophie Turner, Lucy Punch, and Alan Cumming. Janetti says that casting actors who have great stage presences was necessary to elevate the animation to something special. “I thought that by making sure I hired all of these really accomplished actors, along with me, that it would make the contrast between George and everyone else even funnier,” he explains.

“I knew it would be a contrast

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to me, because I’m untrained.

I’m not a stage actor; I’m not an actor by profession. I thought it would be good for the comedy of the show.”

Working with the cast was a highlight of the production for Janetti, and it has led him to a newfound appreciation of actors. Because he was also recording the lines he wrote, Janetti suddenly had a firsthand understanding of what dialogue works and what’s instead “an awkward mouthful.”

“You have much more compassion for the actors [and] what they go through,” Janetti says.

“It’s like: Why did I write a line that was so difficult to spit out and have to be recorded over and over again to get it right?”

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COURTESY HBO MAX

WHEN WRITER-PRODUCER Gary Janetti first began posting his comedic Prince George memes on Instagram, there was no assumption that they would take off the way they did. “I didn’t have any expectation that was going to become a thing; it was just me being silly,” Janetti admits. “Then as it became more and more popular, I thought of the Instagram posts in my head as: I’m going to treat this as if it’s a TV series.”

Still, Janetti never would have believed his playful posts would eventually evolve into HBO Max’s satirical animated series “The Prince.” Created, written by, and starring Janetti (whose writing-producing credits include lengthy runs

Writing any series is wildly hard, but given that each episode of “The Prince” clocks in at 13 minutes, there was zero room for missteps. Janetti welcomed this challenge, as it allowed him to tell the story with more precision while balancing the comedy with authentic character moments. Even in satirical animation, Janetti knew audiences needed to care about the characters that were being portrayed onscreen.

“There are small, real moments that go through the show,” he says. “Even with animated characters, sometimes you have to feel for them and you have to like them, and they have to be real.”

That’s a motto Janetti stands by—and it is, in fact, his advice for voice actors looking to work with him: Just keep it real. “I think with voice acting for animation, it’s always more of a heightened universe, so you can play a bit more. But at the same time, they should always feel like real people,” he insists.

“Don’t make it cartoony. If you can keep it connected [to] some kind of truth, that will always be much funnier and will translate better.”

Janetti offers that same tip to aspiring writers and creators.

“Write what you think is funny; write something that only you could write, that’s specific to you,” he says. “Write what you want to write about, write what you feel passionate about, because it’s really difficult to get something from the page out into the world. You need to really love what it is to get it all the way there.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “Q-FORCE”: COURTESY NETFLIX

By Jalen Michael

culture +

Spotlighting the people and projects you need to know

THE ESSENTIALISTS

GABE LIEDMAN

creator and showrunner Sean Hayes, known for breaking boundaries as Jack on “Will & Grace,” is once again bringing some of the most hilariously gay antics to the small screen on Netflix’s “Q-Force.” Creator GABE LIEDMAN tells us how he was given just three words to get the creative juices flowing: “gay James Bond.”

Always proud to be niche, “Q-Force” doesn’t explain itself, because it doesn’t have to.

“It was very freeing to be like, Let’s just be crazy; we don’t have to explain to the audience what queer people are, because either they

Note From the CD

A Future in Voiceover

COURTESY HBO MAX

ILLUSTRATION: MARGAUX QUAYLE CANNON; “Q-FORCE”: COURTESY NETFLIX

By Marci Liroff

WITH THE WORLD OF VOICEover constantly expanding, I wanted to get the lowdown from a few of my buddies in the industry, from how to get started to staying ready to work. Billy Vera has been in the field for over 30 years, doing promo spots for CBS, NBC, ABC, Fox, and other networks. He’s also the voice of Ampm convenience stores and Mercedes-Benz.

Considering his work as a live-action actor and musician, he says he fell into voiceover as “a total fluke. I’d been doing a weekly radio show on KCRW, playing the old R&B classics I love. And one day, in my inbox, was a note that read, ‘He has an interesting voice. You believe him when he talks. Would he be interested in doing voiceovers?’ I got my first gig within the week, and

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after that, my phone started ringing off the hook, and I figured I’d better get an agent.

“I had no formal training,” he adds, “but being a bandleader and being responsible for the tempos gave me a sense of how to read a spot in the given time and enabled me to shave off a second or two when asked.”

Ask E.G. Daily, the voice of “Rugrats” hero Tommy Pickles, how she got her start, though, and you’ll get a different story.

She seemed destined for vocal work and has always been able to play with her voice as a trained, lifelong singer and actor. “I also had an odd fascination with sounds— imitating sounds, people, and children’s voices,” Daily says. “My voice agent sent me on my first audition for a little boy’s voice.”

That job was “Rugrats,” and the rest is history.

By Benjamin Lindsay know or they’re not watching the show. So let’s just go absolutely nuts and start at the references and the jokes and the stuff that makes us laugh, because hopefully, that’s what’s going to connect to the audience.”

Liedman is a case study in how those you surround yourself with can become longtime collaborators.

“I know it feels really, really competitive, but the best thing you can be is a good friend—because the opportunities, at least in my life, came at first through that. My first jobs were when Billy

Just like with singing, managing your vocal health is of the utmost importance for voice actors. “The voice can get wiped out if your adrenals are down. Laughing a lot is amazing for my voice, so I try to keep things light and fun— and in turn, it keeps my voice ready for most anything!”

Daily explains.

Voice actor Jeff LeBeau says the magic trick is sleep: “Get enough sleep, do some kind of vocal warmup daily—even if it’s just reading something aloud or singing. Keep hydrated—lots of herbal tea with honey, plenty of throat lozenges, stay loose, and breathe.”

Reflecting on how the industry has changed over the years, Vera laments the lack of union work. “Today, 75% of all commercials are nonunion,” she says. Daily notes developments in technology and remote recording that make her “super proud” that she can do the work all on her own.

“There are many portable

11

Eichner sold “Billy on the Street” and Amy Schumer sold “Inside Amy Schumer” and Nick Kroll sold “Kroll Show.”

Those were my first three writers’ rooms.

Those were three of my friends from the scene who trusted me and liked my voice and wanted to spend the day with me.”

booths you can find online, or you can use a closet,” she says. “You need a great mic. I use TwistedWave to record on.

Source-Connect is what I use to do actual jobs and connect directly to clients. You get your copy or sides via email, put them up on your computer, record, edit, and send [them] in!”

“You can dampen the room with anything from moving blankets to soundproofing panels. Plug your mic into a laptop, and you’re off,” adds LeBeau.

So there you have it! If you’re interested in voiceover work, take it from these three pros that everyone’s journey is different; but you can model your voice health practice and at-home setup after them to get started on the right foot.

Good luck!

Want more?

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

09.23.21 BACKSTAGE

culture +

Spotlighting the people and projects you need to know

A New Frontier?

BACKSTAGE 09.23.21

downloads on Apple, Spotify, and all the other platforms where you get your podcasts.

The guy wasn’t making any real money, but that was never his plan. He did it just to have some creative fun while pursuing paying gigs in film and television.

And now, much to his surprise, he had been signed by a firstrate agent who had heard him on the show. It’s just one of the many ways your creative pursuits can take you by surprise.

The voiceover market is hard as hell. It takes a lot of training and great representation to find work in commercials, animated projects, audiobooks, and all the rest. But podcasts, for now, are a different breed entirely. In that world, you can create your own

Over the last year, I’ve noticed more and more breakdowns being released for voice work on podcasts.

That’s relatively new.

12

Angella Katherine

By Jalen Michael Any actor knows what it means to follow your passion. For ANGELLA KATHERINE, sticking with Backstage has helped her keep that fire fueled.

Take chances, and avoid complacency.

“My biggest piece of advice would be to stay hungry—metaphorically. Always look for opportunities to strengthen your instrument and craft!

If you feel like you’ve done enough, do more.

I typically look for dramatic roles—the ones that most people are afraid of. I love the challenge emotional roles offer, especially when the character is the complete opposite of me.”

Through thick and thin, Backstage will be there.

“Backstage and I have had a committed relationship since 2018!

Backstage has the best ads for jobs in New York City. Especially if you don’t have representation—or even if you do, like me—you can still find side gigs that help pay the bills.”

Always think long-term.

“Stay consistent and patient. It won’t happen overnight, but if you stick with it, it will pop off.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; KATHERINE: TODD ESTRIN PHOTOGRAPHY

I’M RARELY SURPRISED BY MY clients because I’m so actively involved in their careers, but one of them caught me off guard the other day when I learned he had just been signed by one of the best voiceover agencies in town. Why was that a surprise? Because the guy has absolutely no experience in that part of the business.

When I asked him how he did it, he responded, “Have you ever listened to my podcast?”

My response was: Yes, of course I had. My client had sent me the information months ago, and I had binged the episodes in my car and at the gym.

It was a fun listen. And to be clear, this wasn’t an interview or review show or anything like that. It was a scripted story with a beginning, middle, and fascinating end.

My client had created the podcast with his buddies from acting school, and they were getting a significant number of

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

marketing tool without having to spend a great deal of money, just like my client did.

Over the last year, I’ve noticed more and more breakdowns being released for voice work on podcasts. That’s relatively new. You can’t get rich on these things, but a lot of my clients are open to the work because of the experience and opportunity they provide.

(Most podcasts pay about $300 per four-hour session.)

Just like every film and TV show, podcasts are attracting an insane number of stars for their lead roles. Rami Malek, Tessa Thompson, Richard Madden, and Jeffrey Dean Morgan have all lent their skills and name value to recent productions. But don’t worry. There’s plenty of work to go around, and you can catch a break by being associated with any of these people, even if it’s just a few lines.

Better yet, the credit will look cool on your résumé.

Podcasts are also serving as the seed material for new TV shows. They’re being optioned on a regular basis.

“Homecoming” with Julia Roberts and Janelle Monáe (Amazon Prime Video) and “Limetown” with Jessica Biel (Facebook Watch) were both based on successful audio stories.

If this sounds intriguing, there are two ways to approach podcasting. The first is as a producer; making your own content could lead to a wide range of opportunities, both as an actor and as a creator. The second is to focus exclusively on the acting angle. Since the pay is low, most established actors aren’t racing to work on podcasts, so there’s always a need for skilled talent.

Voiceover work isn’t for everyone, but it’s one of the many ways you can further your career in the performing arts.

And if you ask me, doing voice acting on the side sure beats waiting tables!

culture +

Spotlighting the people and projects you need to know

In the Room With

Ruth Lambert and Robert McGee

The “Rick and Morty” and “Solar Opposites” CDs insist acting for cartoons requires performers not to be “cartoony”

By Elyse Roth

pretty natural. They don’t want an actor who’s too big that they can’t bring down.

Where do you search for new talent? RL: So much of what we do is comedy, so we look at UCB a lot. We look at things online. Our producers and their assistants are always going out to shows and making recommendations. We just try to keep an open mind, see things, and recommend people. We do listen to a lot of auditions. Every now and again, there are a lot of people that we don’t know; like, we just did a pass where we listened to tons and tons of voiceover people we’ve never used before who were new to us.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; KATHERINE: TODD ESTRIN PHOTOGRAPHY

STREAMING SERVICES HAVE BEEN GOOD TO ADULT ANIMATION fans. Creators of beloved series are branching out to add new projects to their résumés, and every time that happens, previous collaborators often go along with them to share in the wealth. This is true of casting directors Ruth Lambert and Robert McGee and the Hulu series “Solar Opposites,” from creators Mike McMahan and Justin Roiland of “Rick and Morty” fame. Lambert and McGee have decades of experience casting voiceover, from classic Disney features to today’s favorite animated television shows. With so many years of hearing voice actors under their belts, a new series should be simple to cast, right? Well, “Solar Opposites” required more than just great voice acting; there were specific needs that created a fun challenge for the longtime team.

How do you know when a typically live-action actor has the potential to make it in voiceover on a series like “Solar Opposites”? Ruth Lambert: Sometimes it’s a leap of faith, but we count on the fact that they’re good actors. Even if they’re just known for dramatic

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roles or one-hour dramas, you know that they’ve trained and they’ve done other things, they’ve done comedy. On this show, a lot of performances are not comedic. That works very well for those characters.

Robert McGee: It was funny to hire June Squibb to play a

mean old lady and fill roles like that. It’s just sort of fun.

Luckily, Mike [McMahan] and Josh Bycel, the other producer— they’re very open to listening to us and getting ideas from us, so we’re really lucky. And they often have a lot of great ideas of their own.

Does your outreach or general casting process change when the characters aren’t human?

RL: No, they don’t want it to be too cartoony and too nuts.

They lean toward good actors who can bring it down a little bit, even though it is a pretty cartoony show. They’re specific about what they’re looking for.

RM: For all the other shows we cast, we follow the same edict:

13

What advice do you have for actors who are interested in working in voiceover? RM: I think the main thing is for them to do improv comedy.

Much of what we do is comedy, and some of our shows require improvisation. Some of them don’t. Even the ones that don’t, they still want an actor who has that ability to just kind of roll with it and has some timing. They’re able to do different character voices, create different characters. In the past, they’ve written sketches and things for themselves and are just able to be as versatile as possible. RL: We hear a lot: “We want someone from UCB,” or, “We want someone from Groundlings.” That’s where we get people from.

Want more?

Read the full interview at backstage.com/magazine

09.23.21 BACKSTAGE

Discovering Rosario Dawson A closer look at what molded the actor into the screen talent she is today

By Benjamin Lindsay | Photographed by Stephanie Diani “MY DAD SAID, ‘GO DOWNSTAIRS AND GET discovered’—and then I was.”

It happened during a street shoot for a Vibe commercial in 1994. Rosario Dawson, while batting her eyes at a long-haired grip from her East Village stoop, was approached

by Larry Clark and his 21-year-old screenwriter, Harmony Korine, enthusing that they had the perfect role for her.

The character of Ruby was one of the young, promiscuous teens in “Kids,” Clark’s explosive 1995 indie that went on to be an official selection for the Palme d’Or at Cannes. The 15-year-old Dawson wasn’t cast as the lead of the film, but with scene-stealing charisma, she became one of the poster girls for the feature alongside fellow New York wunderkind Chloë Sevigny. When you factor in Dawson’s career longevity, it’s a plucked-from-obscurity discovery not often seen today in Hollywood.

“I got the role after I auditioned, and I really worked, like, four days on it,” she says by phone. “We all got paid $1,000. My family immediately took that $1,000, and we went on a road trip that summer and moved to Texas.”

The scene in Garland, Texas, where her father grew up, didn’t exactly foster a passion for the performing arts the way lower Manhattan might. Luckily, a year after the move, Dawson remembers, “I got a call saying, ‘Hey, we’ve been trying to find you. Where have you been? We’ve got the film edited. [We’re hosting] a midnight screening.’ Everyone lost their mind over it.

g o

Harper’s Bazaar was doing a piece, so I got flown out, and it was my first time being back in New York.”

After watching herself on the big screen, Dawson finally understood what Clark and Korine likely saw in her that day in the Village: unfakeable, innate talent and magnetism.

“I was really proud of [myself], because I knew I was a really nerdy, boring kid who was still very much a virgin and would be for several more years, but I really believed that I was this highly sexually promiscuous, wild street kid—you know, latchkey kid,” she says. “And I was a latchkey kid, but I was not behaving like her. I grew up around her.

My mom was a teenage mom. I wasn’t protected from those realities; it just wasn’t my personal reality. I was able to take all of that information that I knew and channel it into this character in a really convincing way. I wanted to keep doing it.”

She decided she was going to stay in New York and sign with an agent. She called her family back in Texas to say she was planning on finding roommates and finishing high school there. “My mom and everyone were like, ‘Absolutely. We trust in you, believe in you; go for your dream.’ ” At the behest and generosity of her paternal grandmother, Dawson took a semester of acting classes

at the famed Lee Strasberg Theatre & Film Institute, where she rubbed elbows with a young Hayden Christensen and Scarlett Johansson. “I’ll never forget Scarlett at 10 years old in overalls with that same exact raspy voice, and everyone going: ‘She’s one to watch.’ Same thing with Hayden.” The classes were a turning point.

“I was never able to go to acting class before because it was too expensive, but it was a very, very perfect and incredible time,” she says. “And from that, I started reading all the different books about acting, the different methods, and then had my kind of inroads into how to be serious about it.”

Dawson also credits that semester with introducing her to classmate-turned–friend and collaborator Talia Lugacy—an example of just how paramount those early years as an artist are for finding people who will grow with you from beginning to end. “You literally never know who that person is going to be in 10 or 20 years, and how those relationships that you created, just doing it for the love of it, could turn into something really valuable down the line,” she says. “All of those relationships are important.” (Dawson and Lugacy’s collaborations include the 2005 short film “Little Black Dress” and “Descent” in 2007. Next up is feature film “This Is Not

A Winning Wonder Woman

“Wonder Woman: Bloodlines”

BACKSTAGE 09.23.21

physical—and really pushing myself in those ways.”

Citing Mark Hamill and Tim Curry as inspirations (“ ‘The Rocky Horror Picture Show’ is my favorite movie”) and emphasizing the need for more women and women of color, especially in voiceover (Cree Summer is another inspiration), Dawson admits the field is challenging to break into.

“Everybody knows each other, they love each other, they hire each other over and over again, so it’s definitely a different place to kind of get into,” she says. “I just felt like I was very lucky, because I was open to auditioning for so many different things. And because I already had an acting career behind me, I was able to finagle that way in.” But she advises anyone interested in voice work to take a page from her book and not be afraid to be flexible and go-getting in equal measure, especially with the digital tools available to performers of all mediums today. “Show other people that you’re the right person to call for that job because you’re willing and able to really do whatever it takes to make the character come to life,” she says.

16

You want to make sure you’re dedicating as much to you being a real person as the character that you’re trying to create.

forthcoming); she worked with Tarantino in 2007’s “Death Proof”; Boyle had her top-billed alongside James McAvoy in 2013’s “Trance”; and she just worked with Favreau on his acclaimed Disney+ series “The Mandalorian.”

Add to that those earlier years in studio blockbusters like “Men in Black II,” beloved musical films like “Josie and the Pussycats” and “Rent,” and awards hopefuls like “Seven Pounds,” and there’s no doubt that she followed her father’s request: Dawson got discovered and then some.

She credits the “incredible work ethic” she saw growing up for her determination to stay booked but happy with her choices.

Her neighborhoods were filled with working-class families balancing the hustle of caring for one another and honing their practical skills (her dad built houses; her backstage.com

“WONDER WOMAN: BLOODLINES”: WARNER BROS. ANIMATION/DC ENTERTAINMENT

Since making her professional voice acting debut in 2005 graffiti artist video game “Getting Up: Contents Under Pressure,” Dawson has quietly been building her cachet in the voice industry, all while still acting regularly in live-action projects. “I loved cartoons growing up; I’m obsessed with Bugs Bunny, and I love doing different comic book and video game stuff, and having to make sounds for every kind of way a character could walk or fight or be killed. Like, how do you make a gunshot wound sound different from an explosion sound different from a fall? [I love] being able to perform when I can’t be physical—because I’m very

n

a War Story,” which Lugacy wrote, directed, and stars in, with Dawson serving as an executive producer.)

“She’s an Israeli-Moroccan who was wearing this big Stanley Kubrick T-shirt, and I was like, ‘Who’s that girl?’ ” Dawson remembers. “We would sit there and we’d make little short films. And it was so great, because I got this opportunity to really get into the filmmaking process and do research and get history on different amazing directors.

“We started making a list then about who I wanted to work with—which, during that time in independent film, the people who were really shining [were] Robert Rodriguez, Quentin Tarantino, Danny Boyle, Kevin Smith, Jon Favreau, Spike Lee—like, the dawning of independent film.”

Over her 25 years in the industry, Dawson has now worked with everyone on that list.

Spike Lee’s “He Got Game” earned her a SAG card in 1998, and she worked with him again four years later in “25th Hour”; long before her smattering of Marvel series on Netflix, Rodriguez and Frank Miller were the first to tap into her childhood passion for comic books with 2005’s “Sin City” and its 2014 sequel, “Sin City: A Dame to Kill For”; Smith directed her in the raunchy 2006 cult classic “Clerks II” (with a third installment

“WONDER WOMAN: BLOODLINES”: WARNER BROS. ANIMATION/DC ENTERTAINMENT

04.02.20 BACKSTAGE

17

backstage.com

grandmother typed 100 words per minute) while still making time to find joy.

Dawson applied that ethos to the roles she wanted, and nowhere else—even when coming up against blockers like Harvey Weinstein. Relaying how he didn’t want her to do “Sin City,” she says, “I’ll never forget, both Weinstein brothers, together and separately—it was three times in one night—at the premiere of ‘Sin City’ going, ‘You know what?

This film is special…. You were right to stick [to] your ground.’ ” Looking at her genre-crossing credits (among them a laundry list of voiceover roles, including further outings in the comics space as Wonder Woman and Batgirl), it’s clear Dawson understood that Hollywood typecasts young actors, particularly women; and she actively pushed against that to chart her own path. “[I was] opening myself up to [different opportunities], so when I can’t get hired in this way, maybe I can get hired in that way—because I always had this assumption that, at some point, the Apollo hook was going to come and yank me offstage, and another junior chick was going to replace me,” she says, laughing. “You know, I only took one semester at Strasberg; I get it!”

Next up for Dawson is Hulu’s ultra-timely limited series “Dopesick.” She stars as FBI agent Bridget Meyer in creator Danny Strong’s adaptation of Beth Macy’s 2018 nonfiction hit “Dopesick: Dealers, Doctors, and the Drug Company That Addicted America.”

She co-stars alongside Michael “my forever Batman-Beetlejuice” Keaton, Peter Sarsgaard, Will Poulter, Kaitlyn Dever, Michael Stuhlbarg, and Phillipa Soo. “This job came out of nowhere, it felt like, and it was not just something to do; it was actually something that really, really resonated with me,” Dawson says, adding that opioid addiction has touched her life personally by way of friends and family. “[I’ve been] outspoken about the war on drugs and how disproportionately it impacted people of color and people within poor neighborhoods.

I’ve always been very curious about seeing how it’s devastated the communities that I was raised in.”

The series presents an opportunity for Dawson to marry her craft to her growing efforts in politics and activism, for which she’s become more and more known. Previously swept up in the “hustle” of the industry and the next big thing, she’s learned that her energy carries as much value onscreen as it does in personal, real-world endeavors.

Grounded in meticulous research about the roots of the opioid epidemic and transcriptions of interviews with various figures—some lines even directly lifted from actual conversations—Dawson’s Meyer is a fictional amalgam of several characters featured in the book; so a lot was left up to the actor as far as how she’d bring the agent to the screen.

“I wanted to have longer, curly hair. I wanted to kind of play with how she dresses BACKSTAGE 09.23.21

and her personality, and I really got to just explore who she was in my body for what needed to be told, storywise,” she says.

“There were certain freedoms, because I wasn’t exactly playing someone real.”

It’s a more exploratory approach to character-building that she learned with time.

“If you have to spend 10,000 hours to become an expert at something, then I am an expert, apparently,” Dawson says of how far

18

she’s come in her work. “I can kind of zone in without all of the worry and stress and anxiety that I approached things with in the past.

[Acting] still matters so much to me. I’m still super passionate, but I don’t have to break my spirit down to get into it in the same kind of way. I don’t have to be so tortured…. You want to make sure you’re dedicating as much to you being a real person as the character that you’re trying to create.”

backstage.com

Voices From Above

Guests of Backstage’s “In the Envelope” podcast have plenty of voice acting tips to share

By Jack Smart

JEFF BERGMAN: TINSELTOWN/SHUTTERSTOCK.COM; “BOJACK HORSEMAN”: NETFLIX; “BOB’S BURGERS”: 20TH TELEVISION

“BoJack Horseman”

Jeff Bergman AS WITH MOST AREAS OF THE ENTERTAINMENT INDUSTRY, NO two careers in voiceover look the same. Nancy Cartwright, the awardwinning voice of Bart Simpson, reached out to and shadowed mentors to cut her teeth, while “Big Mouth” Emmy champ Maya Rudolph approached voiceover by combining her backgrounds in singing and sketch comedy. Listeners of Backstage’s weekly interview podcast, “In the Envelope,” are treated to technical tips and philosophical wisdom alike from stars of the screen and voiceover booth. So read on for firsthand tips from some of the voice industry’s living legends, and let their advice launch you toward a career behind the mic!

Jeff Bergman (“Space Jam: A

New Legacy”) “It was the love, the joy of wanting to do [voiceover], that I think propelled me forward.

Anybody who wants to have a career in voiceover or a career in animation or doing book tapes or industrials, whatever it is—if you love it and you’re passionate about it, keep recording yourself.

Listen to everything that inspires you and anyone that inspires you.

Keep at it, don’t stop, and you’ll

backstage.com

get there…. I think anything that you gravitate toward is probably something that you’re already inspired by and interested in, and you might even be led in that direction.”

your instincts and your ability to be flexible on the day, so that even if you have an idea of what the scene means, if the director comes in and says, ‘This is actually about this,’ you can very quickly pivot and give that performance.

“Also, part of it is preparation and looking at the script beforehand and thinking, OK, my initial instinct is that it should go like this. What is the best version of my first instinct? But also, let’s take a step back and think, Are there other ways this thing could play? Are there different lines that could have that emphasis or different words in this sentence?

The more variety and options you can bring your collaborators, the more [of] an asset you are to have on set or in the recording booth. I think it’s very frustrating when an actor comes in and they have decided how this line should be said.”

Nancy Cartwright

(“The Simpsons”) “When it comes to doing voiceovers, just ask yourself:

What is it that I can do today that will help me be able to do voiceovers a little bit [better] than I did yesterday? And that way, you can be causative over your career, and you can just start to move yourself up, so people will start to know who you are and what you do. We all had a beginning. I was a big zero when I started out!

You take your baby steps, and as long as you keep on cultivating yourself and challenging yourself and doing what you love and putting yourself out there—as small as you might think it is, your confidence level will start to build, you’ll do more and more, and you’ll get a little bit of a following.

So when the time is right, you’ll be ready for it.”

Eugene Mirman

(“Bob’s Burgers”) “If what you want to do is voiceover and you don’t think you’re a great writer, there’s probably someone who’s a writer who would love somebody to perform their scenes. There’s probably an animator who would love to be an animator but needs actors and writers. The truth is you have to find like-minded people to collaborate with.”

Maya Rudolph (“Big Mouth”) “The joy of doing voiceover and animation [is] you can really be anything…. In the world of comedy, for me, what I like trying to go after is finding the thing that creates a character that’s got some sort of a goofy joy.”

“Bob’s Burgers”

Raphael Bob-Waksberg

(“BoJack Horseman”) “Train yourself to come up with different, good interpretations of the line and the scene…. You want to allow yourself to be flexible. Part of that is just honing

19

09.23.21 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.

• Company: Manhattan Theatre Club.

Casting picks of the week

Staff: Lila Neugebauer, dir.; Simon Stephens, writer; Kelly Gillespie, casting.

• Rehearsals begin Sept. 13; understudy

rehearsals begin on or about Oct. 26; run Oct. 12-Dec. 12 in NYC.

BY LISA HAMIL

• Seeking—Charley McBride

Plays ‘Adopt A Sailor - The Holiday Edition’

• Seeking video submissions from Equity

actors for possible replacements in “Adopt A Sailor - The Holiday Edition,” by by Charles Evered.

• Company: Cape May Stage. Staff: Roy

Steinberg, prod. artistic dir.; Chris Dolman, artistic assoc.

• Rehearsals begin Nov. 23; runs Dec.

8-Dec. 30 in Cape May, NJ.

• Seeking—Richard: male, 60+, a preten-

tious New York film-maker. Patricia: female, 60+, Richard’s wife, a New York art gallery owner. Sailor: 18-29, an innocent, angelic US sailor from Turkey Scratch, Arkansas.

• Seeking submissions from NJ. • For consideration, submit a short

monologue with your name in subject heading to roy@capemaystage.org.

Submissions deadline is Sept. 24.

• For more info visit www.capemaystage.

org.

• Equity’s contracts prohibit discrimina-

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

• Pays $508/wk. Equity SPT Tier 6

Contract.

‘Morning Sun’

• Seeking video submissions from Equity

actors for understudies in “Morning Sun.” Synopsis: In Greenwich Village a generation or so ago, the city is alive.

Joni Mitchell sings, friend and lovers come and go, and the regulars change at the White horse Tavern. As 50 years pass, one woman’s life is revealed in all its complexity, mystery and possibility in this enthralling world premiere about mothers and daughters, beginnings and endings in New York City. Note: All stage manager positions have been filled.

BACKSTAGE 09.23.21

Understudy: female, 18+, a woman in her fifties. A lifelong New Yorker. A single mother. Receptionist at St. Vincent’s Hospital for many years. Reserved in her manner. Doesn’t wear her heart on her sleeve, but is clear-eyed and knows herself. Close with her mother, though they are very different women who consistently disagree with each other.

Unassertive, but capable of making big life decisions without a lot of fuss. Edie Falco is cast in the role. Claudette McBride/The Translator/Other Characters Understudy: female, 18+, Claudette McBride is a woman in her seventies. Charley’s mother, Claudette McBride. Outspoken, confident, opinionated. Loves her daughter deeply, but not very carefully. Came to New York young and carved out a life for herself in the West Village –a point of pride for her. The Translator speaks English and Mandarin. An intermediary between the audience and the action. They intervene in the action only when their presence becomes essential. They are otherwise engaged in an act of selfabnegation. Blair Brown is cast in the role. Tessa McBride/Other Characters Understudy: 18+, a woman in her thirties. Charley’s daughter, Tessa McBride.

Grew up mostly living with her mother and grandmother. Tough and dry exterior, but lost underneath. Needs her mother more than she wants to admit.

Marin Ireland is cast in the role.

stage

‘Revenge Song’ Enjoy self-discovery and acceptance in this Ashland, OR Equity romp

tv

‘The Garden’ Take a bite of the apple in Austin, TX

musical

‘Rudolph The Rednose Reindeer’ Let your differences define you in this holiday production in Fort Worth, TX

film

‘A Deal Is A Deal’ Don’t get double-crossed in Los Angeles, CA

chorus calls

‘Black No More’ Celebrate the Harlem Renaissance era in this NYC Equity musical

• Seeking submissions from NY. • For consideration, submit contempo-

rary monologues (two minutes in length), headshot, and resume to MorningSunEPA@gmail.com with the subject line including your name and your Equity status. Videos should be shot in landscape framing and sent in a non- downloadable format - private YouTube link, Vimeo, etc. Submissions deadline is Sept. 24.

• Equity’s contracts prohibit discrimina-

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

to submit.

• Pays $969/wk. Equity LORT B Non-Rep

Contract.

New York Gilbert & Sullivan Players 2021-22 Season

• Seeking video submissions from Equity

actors for various roles in the New York Gilbert & Sullivan Players 2021-2022 season.

• Company: New York Gilbert & Sullivan

Players. Staff: Albert Bergeret, artistic dir.; James Mills, assoc. artistic dir.; David Auxier, dir.-choreo.; Elizabeth Rodgers, assoc. music dir.; Michael Galante, company mgr.

20

• Season runs Dec. 31, 2021-Apr. 10, 2022

in New York. Note: See website for specific show dates.

• Seeking—Equity Actors: 18+, qualified

classically trained or musical theatre ‘legit’ singers of all ethnicities and cultural backgrounds for positions on the active roster of a 47-year-old, New York-based professional repertory company.

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

resume, and your video submission to auditions@nygasp.org with “Equity Submission 2021” in the subject line.

Submissions deadline is end of day Sept. 27.

• Video Instructions: Prepare a video of

you singing one verse of one song with accompaniment. You may use a song of your choice or use the accompaniment provided at https://drive.google.com/ drive/folders/1TnS8mnx1YETYPFknvrgq 8wuzV9xbCGMn. Song must be in English. Prefer G&S selections, but do not recommend learning an unfamiliar piece for the audition. Videos should be links (YouTube unlisted links, Vimeo links, Dropbox links are preferred).

Make sure settings allow anyone with the link to view.

• To see the current season both in NY

and on tour, visit www.nygasp.org.

Casts for specific New York and touring productions are selected from members of the NYGASP Company, based on individual abilities and the Company’s needs. New York City actors encouraged to submit.

• Equity’s contracts prohibit discrimina-

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

• Pays $18/hour rehearsal salary and

$527-$734/wk. performance salary (depending on venue). Equity Special Agreement.

‘The End Of Hester’

• Casting Equity actors for “The End Of

Hester.”

• Company: New Light Theater Project.

Staff: Anthony Doyle, writer; Jerry Heymann, dir.; New Light Spotlight Series, general mgmt.; Harriet Bass & Gama Valle (Bass/Valle), casting dir.

• Rehearsals begin Nov. 1; tech begins

Nov. 23; runs Nov. 27-Dec. 18 at Theatre Row in NYC. backstage.com

Sound Stories A NARRATIVE CONTEST Accepting Submissions August 30 - September 28 Create a narrative project using only sound. Choose your theme, write your story, cast your voice talent and submit your project for a chance to win cash and prizes. join.backstage.com/soundstoriessummer2021

casting New York Tristate • Seeking—Jimmy Thorn: 45-55, all eth-

nicities, after a work accident, he currently uses a wheelchair. A cranky caretaker with a knack for insults. The “leader” of the household. Note: Actor should be comfortable maneuvering a wheelchair on stage. Rafton Pounder: 60-69, all ethnicities, a free-spirited, eccentric newcomer to town. He has led a drifter’s life and is worn down. A cowboy. James MacParland: 50-59, all ethnicities, nefarious individual who is unrelenting and by the books. A Pinkerton Detective.

• Seeking submissions from NY. • For consideration, submit an electronic

photo/resume to bassvallecasting@ gmail.com. Submissions deadline is Sept. 29. Casting will invite performers to send in a video audition after reviewing their materials.

• Bass/Valle Casting encourages people

of all races, ages, ethnicities, abilities and gender identities to apply. Actors of color are highly encouraged to submit.

• Equity’s contracts prohibit discrimina-

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

• Pays $450/wk. plus health/pension.

Equity Transition Contract.

‘The End Of Hester’

• Seeking video submissions from Equity

actors for roles in “The End Of Hester.”

• Company: New Light Theater Project.

Staff: Anthony Doyle, writer; Jerry Heymann, dir.; Sarah Norris, artistic dir.; Gama Valle (Bass/Valle), casting dir.

• Rehearsals begin Nov. 1; tech begins

Nov. 23; runs Nov. 27-Dec. 18 at Theatre Row (Theatre One), NYC.

• Seeking—Jimmy Thorn: male, 45-55, all

ethnicities, after a work accident, he currently uses a wheelchair. A cranky caretaker with a knack for insults. The “leader” of the household. Note: Actor should be comfortable maneuvering a wheelchair on stage. Timothy Slaughter: male, 60-75, a Civil War Veteran, 71 years old. Rafton Pounder: male, 50-65, all ethnicities, a free-spirited, eccentric newcomer to town. He has led a drifter’s life and is worn down.

A cowboy. James MacParland: male, 45-59, all ethnicities, nefarious individual who is unrelenting and by the books. A Pinkerton Detective.

• Seeking submissions from NY. • For consideration, email a link to your

video audition (Vimeo or unlisted YouTube), headshot, and resume to aradmin@newlighttheaterproject.com with the subject line “Last Name, First Name - Video Submission.”

Submissions deadline is Sept. 23. Video Preparation Instructions: Prepare one contemporary monologue with a total of no more than two minutes. Note: Actors of color are encouraged to submit.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to

BACKSTAGE 09.23.21

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

• Pays $450/wk. plus health/pension.

Equity Transition Contract.

‘The Niceties’

• Casting “The Niceties.”

• Company: Shadowland Artists Inc.

Staff: Jammie Patton, dir.; Brendan Burke, artistic dir.

• Rehearsals begin on Sept. 28; runs Oct.

22-Nov. 7 in Ellenville, NY.

• Seeking—Janine Bosko: female, 60-65,

White / European Descent, history professor at an elite college. Deeply intelligent and would describe herself as very liberal. Pragmatic and certain of what she believes. Ethnicity: White-American of Polish descent. Zoe Reed: female, 18-25, Black / African Descent, student at an elite college. Deeply intelligent and ready to confront the world.

Ambitious and certain of what she believes. Ethnicity: Black-American.

and exuberant (and hard-earned) wit.

He’s capable of real highs and real lows; the same quality that takes him to joyful places can also take him to some pretty grim ones. Note: Role has been cast.

Siobhan (Cast): female, 18+, 35, also at 27 (mixed Cambodian/Irish American) Strong-willed, but also sensitive and feels things deeply. She has a great deal of enthusiasm for her work, a young idealist who matures into a community organizer and activist. Focused, caring, cautious -- but when she feels comfortable, capable of vulnerability and openness, and anger. She is eager to connect with people, and sometimes insecure about who she is. Note: Role has been cast. Evan (Cast): male, 18+, White / European Descent, 34, also at 24 (white). A neuroscientist. Smart and capable. Affable, outgoing personality, warm and engaging. Has a great relationship with his parents and family. Not so comfortable with conflict or intensity, but tries hard. Note: Role has been cast.

cal one - of Max, he can be hipper than he first seems; a fierce opponent of Crookman and his machine; skilled rapper. Madame Sisseretta: female, 30-39, Black / African Descent, owner of a hair straightening salon and the welcomingand strong center of her Harlem community, whose business is collapsing due to Dr. Crookman’s Black No More invention; she starts to see how her work might have been a mixed blessing for her people; Jazz-influenced R&B vocalist. Reverend Givens: male, 18+, White / European Descent, the leader of the Knights of Nordica, a Southern white supremacist group; a charismatic and opportunistic man of real downhome charm and family feeling, he’s looking for an heir who can bring his fringe group into the mainstream; baritone. Minnie: female, 20-35, Black / African Descent,a strong woman who, dating Max, becomes fed up with his indecision and his disapproval of his own people; strong pop soprano; also ensemble.

temporary monologue under two minutes. Send the video, along with your photo/resume attached, to this Dropbox link: https://www.dropbox. com/request/LnVH3LuyX YM0hqCCIMq2. Title every file with your full name (ie, “Last Name_First Name - Resume”, “Last Name_First Name - Headshot”, “Last Name_First Name - Video”. Submissions deadline is Sept. 24.

as a short rap. You may sing a song of your choosing or prepare one of the provided songs at https://www.dropbox.com/sh/vetzy57sbb0sna3/ AAC6X4V2Z29UBWS1helqH6sFa?dl=0 All stage management positions have been filled. Email videos with your headshot and resume to BNMEPA@thenewgroup.org with the “Name - EPA” in the suject line. Videos should be shot in landscape (horizontally) in a well-lit (not backlit) space and sent in a nondownloadable format (private YouTube link, Vimeo, etc.). Submissions deadline is Sept. 29.

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

• Seeking submissions from NY. • For consideration, submit an attach-

ment or link to a video of a two-minute monologue, and your headshot and resume to casting@shadowlandstages. org. Submissions deadline is Sept. 28.

• Equity’s contracts prohibit discrimina-

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

• Taping Instructions: If you are using an

iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name and height.

• Equity’s contracts prohibit discrimina-

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

• Pays $364/wk. Equity SPT Tier 3

Contract.

‘What You Are Now’

• Seeking video submissions from Equity

actors for roles in “What You Are Now.” • Company: Ensemble Studio Theatre.

Staff: Linsay Firman, EST’s dir. of play development.

• Rehearsals begin Jan. 18, 2022; tech

• Pays $601.35/wk. Equity LOA-NYC

begins Feb. 10, 2022; runs Feb. 16-Mar. 13 in NY.

Contract.

• Seeking—Chantrea: female, 18+,

Cambodian American. She is 57 in the play’s present (2012); we also see her at 37, and 19. She has a tough exterior, with deep wells – a lot of walls up and plays her cards close to the vest, but has a sharp sense of humor that can catch you by surprise. She has a deep, abiding relationship with music, and silence. Pia: female, 18+, Cambodian American. She is 31 in the play’s present; we also see her at 21, and 11. A neuroscientist postdoc -- intense, driven, and super smart, but with some major blind spots that can get her stuck. Like her mom, she also has a lot of walls up and plays her cards close to the vest, but she can be relaxed, enthusiastic and utterly at ease when talking about science. Dry sense of humor; and an unusually tough 21-year-old. Darany (Cast): 18+, 27, and 3, Cambodian American; warmhearted, wounded, and resilient, with an irrepressible energy

Musicals ‘Black No More,’ Equity Chorus Video Submissions • Casting Equity actors for “Black No

More.”

• Company: The New Group. Staff: John

Ridley, book; Tarik Trotter, music-lyrics; Scott Elliott, dir.; Bill T. Jones, choreo.; Daryl Waters, music supervisor; The Telsey Office, Kristian Charbonier CSA, casting dir.; Ian Morgan, assoc. artistic dir.

• Rehearsals begin Nov. 22, 2021; runs

Jan. 11-Feb. 27, 2022 in NYC.

• Seeking—Agamemnon Beard: male,

30-39, Black / African Descent, male, a political intellectual and leader of the Black resistance movement in Harlem and a force to be reckoned with; a close friend of Buni and an ally - albeit acriti-

22

• Seeking submissions from NY. • Prepare a short pop/R&B song as well

• Pays $1,020/wk. (Category CC) Equity

Off Broadway Agreement.

‘Beetlejuice,’ B’way

• Seeking video submissions from Equity

principal actors for roles in “Beetlejuice.” Synopsis: Beetlejuice, a malevolent spirit masquerading as a guide to the Netherworld meets the Maitlands, a recently deceased couple learning the ropes of haunting their own home. But when angst-ridden Lydia Deetz moves into the Maitland house with her family, Beetlejuice launches a havoc-wrecking quest that forces the Maitlands to confront what it means to be fully dead and Lydia to confront what it means to be fully alive.

• Company: Beetlejuice Broadway LLC.

Staff: Alex Timbers, dir.; Connor Gallagher, choreo.; Eddie Perfect, music & lyrics; Anthony King & Scott Brown, book; Kris Kukul, music supervision; Rachel Hoffman, casting.

• Rehearsals begin on/about Feb. 21,

2022; open ended run begins on/about Apr. 8 in NYC. • Seeking—Beetlejuice: 18+, all ethnici-

ties, ageless, somewhere between 12 and 12,000, maturity-wise. The life of the party and the deadest guy in the room; Beetlejuice is more than a little ADD and free-associative; a handsy, horny motormouth who overshares and disregards all notions of personal space. Strategic and cagy and wildly dangerous. Excellent singer. Bold, physical, comedic. Lydia: 18+, all ethnicities, backstage.com

New York Tristate casting

late teens, dark, smart and moody, with a jet black sense of humor and a streak of anarchy, Lydia’s a step ahead of almost everyone she meets, living or dead, but she’s at the mercy of a mania, just like Beetlejuice. Lydia wants life to mean something. The world seems small to Lydia since her mother died; she longs for it to reveal itself as something more fantastical than it is. Great rock belt/mix voice. Drily comic.

Barbara: 30-39, all ethnicities, a mouse that didn’t roar. Which doesn’t mean she can’t. Sweetly neurotic, devoted to her carefully-curated house and her careful curator of a house-husband, Barbara is positive, affirming, and unfailingly kind. She and Adam strenuously protect each other while inadvertently holding each other back. Barbara has a fierce heart and a heroic motherbear instinct. A deft, subtle comic actress, disarmingly honest. Great Pop/ Musical Theater voice with a strong mix.

Adam: 30-39, all ethnicities, one of those “nice guys” who only have two problems: Can’t seem to get anything started, can’t seem to get anything finished. A putterer-craftsman, Adam adores his wife Barbara and the cozy, cloistered, slightly claustrophobic, conspicuously childless life they’ve built together. What Adam doesn’t realize is: That fastidiously unfinished life of his is nearly finished. Great singer. Charles: 40-59, all ethnicities, a mini-mogul who needs to control life’s chaos to feel safe. And yet, not far beneath his diamond-hard surface, he feels constantly out of control. Charles is a master-class in blustery overcompensation and strict compartmentalization. Delia: 30-49, all ethnicities, ditzy yet ambitious, Delia is unfailingly positive, unfailingly clueless, and always looking for a silver lining, even when nobody’s asking for one.

She’s never faced anyone as smart and cutting as Lydia before. Excellent singer with a strong pop/belt/mix.

• Seeking submissions from NY. • Accompaniment and a document with

preparation and instructions for how to submit may be found at https://tinyurl. com/Beetlejuice2022.

• For consideration, submit a video of

yourself singing a short cut of a pop/ rock or contemporary musical theatre song of your choosing. You may include a slate if you would like. If you don’t have a song you feel is appropriate, feel free to choose a provided song from the dropbox. Reminder to record Horizontally/landscape (not vertical).

Record in a well lit space, not back lit.

For framing, record from the waist up.

Send one MP4 of your audition (not separate files) in a viewable and downloadable link (Google Drive and Dropbox tend to work well), and attach your picture/resume to BeetlejuiceCasting@gmail.com with “EPA,” your name, and the role/roles for which you feel you are most suited in the subject line. Submissions deadline is Sept. 28.

• Beetlejuice Broadway LLC is an equal

opportunity employer. Qualified individuals will receive consideration for employment without regard to race, color, religion, national origin, gender, sexual orientation, gender identity or backstage.com

Short Films

expression, age, mental or physical disability, and genetic information, marital status, citizenship status, military status, protected veteran status or any other category protected by law.

different lighting setup setups. No dialogue. required a little dance move.

First scene is a man having a dinner with his girl friend, dropped dead on the table after he eats a bite from the plate. Second scene: He walks up after death in an empty room with white walls and curtains. trying to figure out where he at. a little dance move after.”

‘KungFu Grandma’

• Casting a PSA short film aimed to

spread the importance of unity and stoping racial hate in our community.

The story is about an old lady who hopes to become a superwoman and fight against hate crimes, struggles with the lack of real power.

• Equity’s contracts prohibit discrimina-

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

• Company: Feirstein graduate school of

• Company: Art Avenue Productions &

cinema. Staff: Mohamed Morsy, cinematography.

• Rehearse early October, shoots on Oct

Feirstein Graduate School of Cinema in Brooklyn, NY.

Martial Arts Education Society. Staff: Kadi Tsang, writer-dir.

• Pays $2,323/wk. Equity Production

(League) Contract.

• Shoots Oct. 1 (9 a.m.-5 p.m.) at the

9 or 10.

• Seeking—Doctor: female, 30-50, Black

/ African Descent, takes care of Grandma and inspires her to improve.

Chorus Calls

• Seeking submissions from NY. • Send submissions to kadi.film@gmail.

com.

‘Black No More,’ Equity Chorus Video Submissions

• Pays $100/half day of production and a

short rehearsal

• ‘Black No More,’ Equity Chorus Video

• Seeking—Mr Death: male, 18-40, a

young mean dropped dead on a dinner table to wake up after death in unknown place. Skinny, fit, muscular, athletic. No nudity but shirtless in one scene if you comfortable with it.

Fantasy/ fiction vibe.

• Seeking submissions from NY. • Send submissions to mohamed.morsy@

feirstein.film.

Submissions

• Unpaid. Food provided.

• Casting Equity singers and dancers for

‘Hole-Y’

Student Films

“Black No More.”

• Company: The New Group. Staff: John

Ridley, book; Tarik Trotter, music-lyrics; Scott Elliott, dir.; Bill T. Jones, choreo.; Daryl Waters, music supervisor; The Telsey Office, Kristian Charbonier CSA, casting dir.; Ian Morgan, assoc. artistic dir.

• Casting “Hole-Y” a student short film

‘Death Comedy’

• Casting “Death Comedy,” a short cine-

matography exercise for a film school project.

• Coordinator states: “No audition

needed preferred if you have a video reel. Shooting 2 short scenes with two

• Rehearsals begin Nov. 22, 2021; runs

Jan. 11-Feb. 27, 2022 in NYC.

• Seeking—Male And Female Ensemble

Singers: 20-59, all ethncities, fantastic singers well versed in jazz influenced R&B and rapping to play variouscharacters in the ensemble. Male And Female Ensemble Dancers: 20-39, all ethncities, fantastic modern dancers to play various characters in the ensemble.

for thesis requirement at Feirstein Graduate School of Cinema at Steiner Studios. Synopsis: The film is about 30 VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

Marci Liroff C A S T I N G

D I R E C T O R

Private Coaching

Private Coaching

• Seeking submissions from NY. • Submit sheet music, a piano accompa-

niment, and dance combination instructions are provided at the following link https://www.dropbox.com/sh/ vetzy57sbb0sna3/ AAC6X4V2Z29UBWS1helqH6sFa?dl=0.

Email videos with your headshot and resume to BNMEPA@thenewgroup.org with”Name - EPA” in the subject line.

Videos should be shot in landscape (horizontally) in a well-lit (not backlit) space and sent in a nondownloadable format (private YouTube link, Vimeo, etc.). Submissions deadline is Sept. 29.

Your audition should not feel like a visit to the doctor!

• Pays $1,020/wk. (Category CC) Equity

After working for over thirty years as a Casting Director with some of the best directors and producers in our business, I have gained an extensive knowledge of what it takes to get the job.

Off Broadway Agreement.

Feature Films

For the last several years, in addition to my ongoing casting work, I have been coaching actors to help them prepare for upcoming auditions and projects.

‘Jules’

• Casting “Jules,” a feature film.

• Company: Roman Candle Casting.

In an intimate one-on-one setting, I map out each actor’s personal path for success. It is your time to show us what you’ve got. I will help you feel more in your body than you’ve ever felt before.

Staff: Roman Candle, casting.

• Shoots TBD in Boonton, NJ. • Seeking—Townspeople With Car

(Boonton, NJ): female, male, 18+, all ethnicities, note year, color, make, and model.

Available in Los Angeles or worldwide thru Skype or Facetime.

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

• SAG

For more information please visit http://marciliroff.com

23

09.23.21 BACKSTAGE

casting New York Tristate years old virgin man coming from Egypt to NYC and decided to have sex for the first time in his life, struggling with his religious and cultural beliefs.

• Company: Bavly Films. Staff: Bavly

Soliman, film dir.

• Rehearsals will be during November

2021; shooting will be possible by the first of December or mid-January for two days in Manhattan, NYC. • Seeking—Heaven: female, 30-45,

White / European Descent, a 35/40 years old sex worker lives in NYC and her mother tongue is Russian; she will be the one who will be contacted by the virgin lead character to make an appointment to have sex; when he arrives at her place, he gets sick so she gets emotional and decides to take care of him nicely till he gets better.

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

• Submit your reel if you have, headshots

Multiracial, Latino / Hispanic, White / European Descent, The female love interest will act alongside the lead vocalist of the band. You will be holding each other close and acting sensually towards each other as he performs vocals. This is YouTube friendly content, but a “steamy” close and sensual, touchy vibe acting as the singer’s love interest will apply here.

Include samples of any other relevant content you have appeared in like this.

No nudity required, but you should be comfortable “scantily clad”.

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

• For consideration, indicate which day

you are available in your submission.

Note any relevant projects you may have done - rock videos or similar.

• Non-union only. Pay will be $300 for a

one day shoot. Must be able to self-report.

and some performance with your voice.

• This is paid role based on the overall

budget for the film. For SAG, there will be a Student SAG agreement issued.

Multimedia

‘The Last Delivery’

‘Make Me Look Like’ Jimmy Butler

• Casting “The Last Delivery.” Synopsis:

An Amazon Delivery Driver discovers that a maid has kidnapped a prime delivery customer on his last delivery for the day. In order to deliver his last package, he must rescue the customer and stop the maid.

• Company: NYU Grad Film. Staff:

Vincent Mocco, Aliea Clark, David Rafailedes, coord.

• Shoots TBD in New Jersey.

• Seeking—Ulga: female, 28-50, White

/ European Descent, German, tall, blonde, muscular, tough exterior soft interior; rough upbringing, desperate to be with her long lost love; stern and imposing. Mrs. Drothers: female, 40-65, White / European Descent, a compulsive online shopper and wealthy widow; comedic background.

Hank: male, 20-50, any ethncity, short; Hank is a hustler and wants to do his job well; he’s proud of his work, whatever it may be; comedic, stunt experience preferable.

• Seeking submissions from NY and NJ. • Send submissions to nadabedairpro-

duction@gmail.com.

• No pay.

Music Videos Modern Rock Music Video

• Casting fa modern rock/metal music

video.

• Company: My Good Eye. Staff: Allison

Woest, prod.

• Shoots Sept. 25 or 26 (one day) in NY/

NJ/PA TBD. Applicants must be able to self-report. Indicate your availability with submission.

• Seeking—Female Love Interest:

female, 18-23, Ethnically Ambiguous / VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

BACKSTAGE 09.23.21

• Seeking a non-union male with a like-

ness to Jimmy Butler for a makeover video for “Make Me Look Like,” a series on GQ. Note: This is a makeover series in which our talent will be receiving a haircut to resemble that of Butler’s High Top Dreads style. Ideal candidate will have dreads or afro hairstyle that is of similar length’s to Butler’s, and not have shaved sides.

Candidates with shorter, straighter hair and/or shaved sides will not be eligible. Please only submit if you currently have the desired hairstyle.

Talent must be willing to receive an on-camera haircut by our grooming expert to resemble that of Butler’s Burst Fade. Select candidates may be asked to create a quick video of themselves and state of current hair as part of audition process. See GQ’s ‘James Harden’s Burst Fade Haircut Recreated by a Master Barber’ on YouTube for an example of a previous episode.” Select candidates may be asked to create a quick video of themselves and state of current hair as part of audition process. See GQ’s ‘James Harden’s Burst Fade Haircut Recreated by a Master Barber’ on YouTube for an example of a previous episode.”

• Company: Conde Nast. Staff: Thomas

Giglio, casting dir.

• Shoots late September in Lower

Manhattan, NYC.

• Seeking—Jimmy Butler Look-Alike:

18-40, Black / African Descent, Ethnically Ambiguous / Multiracial, seeking a non-union male with a likeness to Jimmy Butler for a makeover video -- talent will be receiving a haircut to resemble that of Butler’s High Top Dreads style; ideal candidate will have hair that is currently longer and curly/afro style and without shaved sides; candidates with shorter, straighter hair and/or shaved sides will not be eligible; only submit if you currently have the desired hairstyle.

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

gmail.com.

• For consideration, submit with head-

shot, full email and phone number, and current union status (project open to nonunion only). The studios are located in a building that is requiring all visitors to be fully vaccinated -- when submitting, you must be comfortable submitting your vaccination status.

Submissions without this info will not be considered.

• Pays $250.

National Commercials

experience; they’re a trend-conscious, savvy shopper who’s not afraid to splurge on a little luxury. Early Riser Woman: female, 36-50, the Early Riser is a new homeowner with a growing family and a busy, on-the-go lifestyle, so they need an effortless experience; they’re a trend-conscious, savvy shopper who’s not afraid to splurge on a little luxury. Child: 8-10, all ethnicities.

Night Owl - Man: male, 26-35, a young professional with disposable income, The Night Owl lives a busy city life.

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

• Include a reel with your submission or

you will not be considered.

• Pays $400/day. Non-union. Includes

sessions fee and usage fee for 1yr digital usage. Contract includes $1,500 option for Broadcast rights.

‘A Day in the Life’

• Casting “A Day in the Life.” This film will

showcase the Swiss scientific research, technology innovations, and sustainability from both the past and present throughout the lead’s day.

General Voiceover

Palumbo, prod.

Sound Stories: ‘Channel Surfers’

• Company: RD Content. Staff: Emma • Shoots Sept. 28 (outdoor), Sept. 29

(indoors) around NYC. Co-worker will be in a studio.

• Seeking—Lead - Mother: female,

27-39, Black / African Descent, working single mother, an avid runner. We follow Lead throughout her day taking her child to school, going to work etc.

Daughter: female, 5-9, Black / African Descent, imaginative and spirited daughter. Co-Worker: male, 40-60, a virtual co-worker who enjoys chocolate.

This is one shot and will be shot in a studio.

• Seeking submissions from NY. • Send submissions to emma.palumbo@

• Casting voiceover roles for “Channel

Surfers” as part of Backstage’s Sound Stories contest. Sound Stories is a contest challenging creators to tell a story using only sound.

• Staff: Brian O’Malley, creator.

• Recording will be done in a home studio

in Yonkers.

• Seeking—Wendy: 30-50. Darla: 30-50.

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

• Director’s website: https://www.righ-

tovo.com/.

• No pay.

rdcontent.com.

• For consideration, include a headshot

and video reel.

• Lead Pays $200/day; Daughter Pay

$150/day; Co-worker will only be need for an hour or two at $75.

Online Commercials & Promos Brooklinen OTT + Social

• Casting talent for a series of 30sec OTT

and social spots for the brand Brooklinen. Note: Brooklinen is a lifestyle brand built to deliver simple, beautiful, high-quality home essentials at a fair price.

• Company: Particle | New York. Staff:

Jared Douglas, dir.-prod.; Neeraj Jain, prod.-DP.

• Shoots Oct. 5-6 in NYC. • Seeking—Night Owl - Woman: female,

26-35, all ethnicities, a young professional with disposable income, The Night Owl lives a busy city life. Early Riser - Man: male, 36-50, all ethnicities, the Early Riser is a new homeowner with a growing family and a busy, on-the-go lifestyle, so they need an effortless

24

Stage Staff & Tech ‘Adopt A Sailor - The Holiday Edition,’ Stage Manager

• Seeking Equity stage managers for pos-

sible replacements in “Adopt A Sailor The Holiday Edition.”

• Company: Cape May Stage. Staff: Roy

Steinberg, prod. artistic dir.; Chris Dolman, artistic assoc.

• Rehearsals begin Nov. 23; runs Dec.

8-Dec. 30 in Cape May, NJ.

• Seeking—Stage Manager: 18+.

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

roy@capemaystage.org. Submissions deadline is Sept. 24.

• For more info visit www.capemaystage.

org.

• Equity’s contracts prohibit discrimina-

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

• Pays $608/wk. Equity SPT Tier 6

Contract.

backstage.com

California casting

Southern California Feature Films ‘A Deal Is A Deal’

• Casting a feature-length film, “A Deal Is

A Deal.” Synopsis: A retired gangster struck a deal for $50 million in diamonds. However, his driver, his wife and everyone around him wants to steal them. He has no choice but to set a trap.

• Note: All roles require self-tape.

Candidates without self-tape not considered.

• Company: Astoria Entertainment. Staff:

Dennis Ricks, dir.-exec. prod.; Tatyana Bulgakova, prod.-set coord.; Ayin Aleph, casting dir.

• Trailer will be shot in mid- to late

October; film shoots in 2021-2022 (exact dates TBD) in L.A.

• Seeking—Christina: 18-28, White /

European Descent, Christina and Natalie are professional fashion models.

Smart, Funny, Educated, have a good sense of humor. These are supporting 3-days shooting roles. Actress must be at least 5’ 7’’ tall. Don’t apply for both.

Apply only for one role - we will consider you for both roles. Natalie: 18-28, White / European Descent, Christina and Natalie are professional fashion models. Smart, Funny, Educated, have a good sense of humor. These are supporting 3-days shooting roles. Actress must be at least 5’ 7’’ tall. Don’t apply for both. Apply only for one role - we will consider you for both roles. Big Mike: 35-50, Latino / Hispanic, Big Mike is a former gangster, friend of the main guy. Even though he went into the fashion business, he is still in the dirty business. African-American desirable. A short man, rather fat, with a big smile and it’s a funny character. Bill: 30-45, Southeast Asian / Pacific Islander, Bill is the role of one day of shooting. He is a businessman who is trying to attract the main character to his side and force him to engage in illegal business. An Arab-looking man, arrogant, confident and cunning - he lives in a newly acquired home in Malibu. Cindy: 18-30, White / European Descent, Cindy is a girl-friend of one of the main characters. She is a pretty girl, a little witty, a somewhat silly in nature and unhappy with her place in society and with her boyfriend. Pick only one of 2 proposed scenes for self-taping. Corbin: 40-60, White / European Descent, Corbin is a one-day player. He is the owner of a large rich house, which one of the main characters and a team of gangsters will rob. A modest elderly man who does not understand what is happening and why he is hanging on a noose. Harry: 35-50, White / European Descent, Harry is an active gangster who was friends with the main character until he set him up. He is still angry with the main character for taking revenge on him. He is short, somewhat heavy, very backstage.com

domineering and used to managing people. People mean nothing to him!

Therefore, he behaves arrogantly with everyone.Pick any scene out of two provided and submit self-tape. John: 22-30, White / European Descent, John is one of the main characters. He is a formal thief, but works for a businessman as a driver in order to gain his trust and, at some point, rob him. Not confident in himself, he still has character and understands what he needs and what he wants to achieve. Modest and in the same time cunning, he hides who he is from his girlfriend Cindy. He is one of the most comical characters in this film. Karl: 25-40, White / European Descent, the bodyguard of the main character Alex. He is also his friend. A tall and athletic man with a wide open face and masculine features. Larry: 22-35, White / European Descent, one of the workers in main guy company, that have a small one day role. He have one specific speech (see role script).

Maria: female, 24-35, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, the wife of the protagonist. A beautiful blonde, very glamorous and narcissistic, she betrays the main character in order to rob him and steal diamonds with her lover. But not smart enough to foresee the traps set up. Her love for the main character is feigned and only for the sake of money and power.

Smash: 30-50, the role of the guard for one of the main characters Big Mike.

Looks like a former athlete or boxer.

The role is small, but important in some scenes. Snake: 30-45, the role of the guard / thug for one of the main characters Harry. He looks strong and quite large. Role will require some fighting actions. The role is small, but important in some scenes. Sophia: 25-40, the main character’s secretary. She is smart, educated and very sarcastic towards both top guys and unexpected people. She is very confident and straightforward despite her young age.

expressive eyes; Oscar operates heavy machinery at a mining company in a small desert town; the tedium of his simple life is interrupted when he meets Ira, a microbiologist passing thru town on an assignment.

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

• Performers will receive compensation,

rates to be negotiated.

Student Films ‘Alice In America’

• Casting “Alice In America,” a student

thesis pilot set in the 1990s about teenage immigrants from different countries bonding through their ESL class.

• Company: CSUN CTVA Thesis. Staff:

Pathum Madigapola, comedian-dir.

• Shoots Oct. 28-Nov. 15 in Los Angeles,

CA.

• Seeking—Alice Hovsepyan: female,

14-25, Ethnically Ambiguous / Multiracial, Middle Eastern, White / European Descent, is a 16 year old immigrant from Armenia; who left the Soviet Union with her family and just moved to America three months ago; once she was considered a social butterfly in Armenia, now the bullying from her classmates and the inability to defend herself due to the language barrier has caused her to be less assured than she used to be; Alice overthinks everything, but throughout the series she must work to grow back her self-confidence and learn to speak up without fearing the judgement of others. Maria Rodriguez: female, 15-25, Latino / Hispanic, is an immigrant from Mexico who came to the U.S. one month before Alice; she loves music and art; unlike Alice, Kat can express herself through music and art; her dream is to be a professional artist, but she is often dissuaded by the people around her to be realistic so she doesn’t believe in herself; her character arc throughout the series is to believe in herself and realize that she deserved to follow her dreams just like everyone else. Dante Valles: male, 14-25, Southeast Asian / Pacific Islander, a Filipino immigrant; he is known for being charismatic and has the ability to befriend anyone even if he doesn’t speak the same language as them; he is an overachiever who does whatever he feels will get others to like him; including changing his personality, the way he dresses, and changing his name so others can pronounce it better; but he must learn to be his own independent self and not seek validation from others; susceptible to peer pressure. Octavia Persopoulos: female, 35-60, White / European Descent, or “Ms. Octavia”; a Greek immigrant who teaches English as a Second Language; she acts as a mother figure for the students; her goal is to teach everyone that they are capable of achieving greatness, no matter who they are or where they come from. Stacy Miller: female, 16-25, White / European Descent, a true “Heather”, Stacy is the popular mean girl at Valley High School; the other students are her followers and she decides

• Seeking submissions from CA. • Send submissions to denik_r@yahoo.

com.

• All roles require self-tape. Candidates

without self-recoding videos will be ignored. Some roles have two scripts, you can choose either one, there is no need to play both. Ask a friend or relative to read your opponent’s part.

• Pays $100/day, $50/half-day shooting.

Short Films ‘Protozoa’

• Casting “Protozoa,” a short film explor-

ing the relationship between a transient scientist and a local miner.

• Company: Boom Pow. Staff: Siena Jun,

writer-dir.

• Shoots TBD in November in the Inland

Empire area, CA.

• Seeking—Oscar: male, 30-55, Black /

African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, middle aged, Hispanic or BIPOC, average to tall height with a laborer’s physique;

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who’s cool or not; she craves adoration from everyone, ranging from classmates to teachers, and she wants to be the best in everything; she loves makeup and fashion, and judges anyone who doesn’t follow the standards of Western beauty; in reality Stacy always feels insecure about herself, which is why she seeks validation from others; she always strives to be the prettiest, smartest, and funniest; Stacy will verbally abuse and insult other kids just to get her classmates to laugh, and she’ll take part in the craziest diets in order to make sure she stays pretty; if things don’t go her way, she’ll manipulate and spread rumors about others in order to feel victorious. Nathan: male, 18-25, all ethnicities, Stacy’s caring boyfriend; he immigrated to the US when he was five years old; he sympathizes with the ESL students, being one himself when he was younger; despite Stacy’s opposition towards Alice and her friends, Nathan is their silent supporter; he is very outgoing but still can’t muster up the opportunity to rebel against his girlfriend.

• Seeking submissions from CA. • Send submissions to pathum.

madigapola@gmail.com.

• If you have a reel, attach it to your

application.

• Actors will be provided with meal, copy

of the film, and credit.

‘Empty Chair’

• Casting “Empty Chair,” which follows

the story of a little boy who misses his grandfather.

• Company: NYU. Staff: Kyle McKeen,

filmmaker.

• Shoots Sept. 25 and 26.

• Seeking—Charlie: 5-12, Charlie copes

with the loss of his grandfather through a shared hobby. Charlie Sr.: 66+, Charlie Sr. teaches his grandson about the world before and after he passes away. Mother/Father: 35-50, role requires someone who can express a lot of emotion in their facial features and can feel like a supportive parent.

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

edu.

• No pay.

‘Going Home Alone’

• Casting “Going Home Alone,” a student

short film about Laura, a woman who goes to a bar and gets drugged by what she thought was an introvert shy man, Troy. After that, she walks alone in the night without anybody helping her except for Miriam, her roommate, when she arrives home. This story aims to show the difficult reality of being a woman during the night and how society isn’t willing to help us when we need it. The hopes of the whole creative team behind “Going Home Alone” is to give voice to the stories of the many women that have gone through similar traumatic experiences.

• Company: Chapman Dodge College.

Staff: George Rosett, writer; Edoardo Novello, film dir.; Ramon Martinez, prod.; Lingao ‘Gary’ Li, DP; Xuechen ‘Nicole’ Zhu, editor.

• Shoots Oct. 15-17 at a Bar (Anaheim),

Dodge College (Stage B), House (Orange).

09.23.21 BACKSTAGE

casting California • Seeking—Laura: female, 25-40, Asian,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, a hard worker, kind with all the people she relates with.

Nevertheless, her workplace has become uncomfortable for her because of a romantic relationship she has with her boss, who doesn’t require her love. After a tough day, she decides to go to a bar to relax and possibly forget him. The meeting with Troy, a man whose shy behavior attracted her at first, becomes the most traumatic event of her life. She is alone, in a society that isn’t there for her. Troy: male, 25-40, White / European Descent, a solitary man, not used to talk with many people. He noticed Laura as soon as she arrived, but he didn’t want to show his attraction so he slowly moved close to her. When she starts talking to him, he feels a real connection with her and becomes fascinated by her. The more they talk, the most he wants her.

Bartender: male, 27-40, Black / African Descent, Middle Eastern, White / European Descent, a charismatic man, friendly with his customers. His careful temperament isn’t able to notice Troy’s behavior. When Laura tells him that the man added a drug to her drink, he is unsure whether to believe her or not.

Troy seemed a good man. Miriam: female, 25-40, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, White / European Descent, Laura’s roommate. They have been knowing each other for several years and she knows all of her secrets. She knew her friend was having a rough time at her workplace so she was expecting her to coming back late at night. Miriam is very protective towards her friend and seeing Laura in that condition shocks her.

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

• Travel reimbursement, meals provided,

copy/credit provided.

‘High Crimes’

• Casting “High Crimes.” Synopsis: What

happens when you lock a goody two shoes trying to break bad, her two stoners friends, and an armed robber inside a convenience store on the last day of summer? The boss will be back any minute, but it can be hard to save the day when you’re high as hell.

• Company: Loyola Marymount

University. Staff: Alexa Feeney, prod.; Emmett Walsh, dir.-writer.

• Casting September and October;

shooting Nov. 11-14.

• Seeking—Stevie: female, 18-25, all eth-

nicities, female, 18-25. Tomboy style meets resting teachers pet face.

Believes that if she just puts her head down and does the work it’ll all pay off, but secretly yearns to cut loose and act out. Note: Experience with martial arts or stage fighting are a plus. LEAD. Lindy: female, 18-25, all ethnicities, Stevie’s free spirited (and self absorbed) best friend. Enthusiastic about weed, getting into mischief, and avoiding responsibility for her actions. She means well, but loves to ask for forgiveness instead of permission. Patton: male, 18+, all ethnicities, Lindy and

BACKSTAGE 09.23.21

Stevie’s other other best friend. A big, easy going guy who’s just happy to be there. Big fan of monster movies, video games, and everyone having a good time. Has a love/hate relationship with amusement park rides. Jimmy: male, 25-40, all ethnicities, the perfectly average guy, knows it, and wonders how he ended up like this. He’s not sure what he wants, but he knows that robbing a convenience store is the first step to getting it. He’s mad as hell and trying not to take it any more. Leonard: male, 40-60, all ethnicities, likes to pretend he’s the wise mentor shepherding youths through their formative years, but really he’s just a shitty boss ripping them off. Took so much acid back in the day that he’s halfway sincere about it.

• Seeking submissions from CA. • Send submissions to afeeney@lion.lmu.

edu.

• Pays $100/day plus travel, meals,

credit, and material for actor’s reel

‘Land’

• Casting “Land,” a 10-minute western

crime story that depicts, in 1890s, two desperate mining brothers, Kane and Abraham, who misunderstand the prophet of Augur and plan to rob a land to fulfill their desire of becoming wealthy.

• Company: Loyola Marymount

University. Staff: Changjuanyong Liu, dir.

• Shoots Oct. 22-24 in L.A. • Seeking—Abraham: male, 30-40,

White / European Descent, big brother of Kane, the same father. He grew up hunting bears with his father in the native American living area in the midwest. After his mother died, his father marry another woman, had a baby called Kane. Kane leaves them to the West with his uncle. Abraham stays with their father. After his father passed away, Abraham tried multiple jobs like working in a church. He cannot stand the hypocrisy of rich people who use the money to corrupt priests, but he gets little paid. He decides to go back to bears hunting. His new partner told him the gold rush on the west coast which triggers him to come to the west to find his brother Kane who works as a miner. After 2 months of working with Kane, he knew they cannot get rich by just being a miner. They need to start their own business. But Kane seems doesn’t want to try anything risky even though he wants to get rich as well. Opportunity comes, they are fired from mine... Kane: male, 26-35, White / European Descent, Kane is the little brother of Abraham, and they had the same father. After his father passed away when he was 15 he moves to the West coast with his uncle and work on a mine. His goal is to buy a house, marry a woman, stabilized life, and maybe he can invite his mother to live with him as well. Abraham comes to find and working with him 2 months ago. Abraham wants both of them to get rich and he is always looking for opportunities. As much as wanting to get rich, Kane doesn’t want to take risks either. Things changed, they are fired from the mine... Caro: female, 23-30, White / European Descent, from

Europe, she has an accent when speaking English, so she tends to hide it. She is an ambitious person who hears the news of the gold rush and always wanting to come to the United States. When she working as a maid for a landlord, she uses her spear time, becomes the pen pal of Janine the female landowner of a Farm. After receiving the invitation from Janine, she quits her job, uses all her money sneaks into a ship, travels all the way to the west coast. Her plan is to stay in Janine’s place and waiting for an opportunity to seek gold. Max: male, 35-50, White / European Descent, when he was young, he worked in the sheriff’s department for 2 years where he meets Joe who was an olive oil businessman. Max started to work for Joe and earn his fortune. Joe has a daughter Janine who fell in love with Max. However, Joe doesn’t want that marriage to happen. His plan was to marry Janine to another alcohol business owner. Max and Janine flee out to the West and brought a farm... Janine: female, 27-35, White / European Descent, the daughter of Joe who is the olive oil business owner. Someday there is a new lad who starts working for Joe called Max. Max earns his fortune with Joe and also wins the heart of Janine. However, Joe doesn’t want them to get married. He has a plan to marry Janine to another business owner.

Janine and Max flee out to the West and brought a farm... Victor: male, 60-80, White / European Descent, the grandson of Kane. Victor’s part happens in 2021. He is a hard-working farmer who takes care of his family, being a tough guy all his life. However, his spoiled son (only child)doesn’t want to stay on the farm and success in his legacy, especially when the farm is not as productive as the old days. After losing his wife, and getting Alzheimer, he feels lonely than ever. One day, his son is back to visit him with his family.

Victor cherishes every moment he spends with his grandson, Noah. Noah: male, 10-14, White / European Descent, the grandson of Victor who is the grandson of Kane. Noah doesn’t like living in the city with his parents. Life on in farm is where he likes the most, so he can experience nature. Besides, his grandfather Victor seems to like him a lot, and he enjoys it. Young Priest: male, 25-35, Latino / Hispanic, White / European Descent, Young Priest use to working in a Catholic church. But he has a dream to spread Christianity to people. Thus he decides to travel and preach. People have told him not to do so since the life of that must be super tough. But he has strong beliefs, and he’s firm that he can take all challenges that God gives him. Augur: male, 40-70, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, Augur is living in a tent by a road in the West. He had a job but he loses it because he is physically weak, and people bully him because of the things that he said. Thus he was kicked out of the town. He travels in the desert and is saved by Native Americans, and he learned this ability to foresee the future. So he leaves the tribe and starts

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living alone while starts the fortunetelling business. One day he meets Kane and Abraham...

• Send submissions to cliu24@lion.lmu.

edu.

• Travel and meal covered.

‘My Brother’s Keeper’

• Casting “My Brother’s Keeper,” a USC

graduate student short film that follows a college athlete who is asked to help his best friend carry out a plan but the violent nature of it tests his loyalty.

• Staff: Asar Saint Lamont, dir.; Miriam

Zenilman, prod.

• Shoots Oct. 9-10 and Oct. 16-17 in Los

Angeles, CA. Note: On-campus, in-class directing rehearsal in a 35-minute slot between 1- 4:50 p.m. on Oct. 4.

Additional rehearsals TBD. • Seeking—Jaylen: 18-25, Black / African

Descent, is a tall, enthusiastic, and expressive college athlete who holds loyalty high on his list of priorities; he isn’t a troublemaker, but will go along with some wild ideas if it’s with his close friends; he isn’t always politically correct but makes progress to be a better person; must have the height and physique of a college football or basketball player. Rell: 18-25, Black / African Descent, is a tall, muscular, and stoic college athlete who keeps his circle of friends small due to some of his engagements; he straddles the line between being a great student athlete and a problematic member of the community; he can be self-centered and his actions sometimes gets the people around him into sticky situations; must have the height and muscular definition of a college football or basketball player. Note: Will be required to play the scene shirtless.

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

• Copy/Credit. USC School of Cinematic

Arts SAG payment waiver, any work can be provided for acting reels/websites but no monetary compensation allowed for student short.

‘Prodigal Daughter’

• Casting “Prodigal Daughter,” in which a

mother and daughter must choose whether to migrate after the water in their town mysteriously disappears.

• Company: USC. Staff: Kelsey McGee,

dir.

• Shoots mid-late October in Los

Angeles, CA.

• Seeking—Marta: female, 35-45, (40)

incredibly protective over her daughter, Lena, as well as the small town she comes from; she will do anything for her daughter; a strong and intelligent leader who relies on the land that surrounds her. Lena: female, 12-14, (10), an imaginative, creative, and intelligent young girl; wants to leave her small town for somewhere bigger and better; very close with her protective mother; age 12 but looks younger.

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

• Copy, credit, and meals provided.

‘Racecar’

• Casting “Racecar” and AFI Cycle 3+

film, eligible for film festival submission.

Synopsis: In an attempt to change her backstage.com

California casting

father’s fate, Charlie, a young engineer, gets trapped in a time loop with four other versions of herself where she must choose to move on from the past in order to escape the loop.

• Company: American Film Institute

Conservatory. Staff: Brett Alan Calkins, dir.; Ella Chi, prod.; Matthew KatzOverstreet, writer.

• Shoots Oct. 2-4, 2021 in Los Angeles,

CA.

• Seeking—Charlie: female, 18-40,

Asian, Southeast Asian / Pacific Islander, is an incredibly driven, passionate, and talented woman; she’s a genius in bothengineering and theoretical physics – perhaps too smart for her own good. Her biggest regret is that she didn’t do more to prevent the death of her father when she was younger, and she’s been trying to make amends for that ever since; driven by this, she often makes decisions without fully thinking them through, usually so excited by the fact that she can do somethingthat she doesn’t stop to think if she should do something; conflicted and complicated, the only thing she can’t stand more than the outside world is herself. Steve: male, 25-50, Asian, Southeast Asian / Pacific Islander, Charlie’s father; he’s a genius in his own right, especially in the field of engineering – but he’s also a daredevil with a bit of a narcissistic streak; if anyone’s going to pilot his new land-speed breaking vehicle, it’s going to be him; he has an immense amount of love for his daughter (his only child), even if he sometimes lets work and his own ambition get in the way of his ability toshow it; he’s at his happiest when Charlie is in the garage with him – when he can share his passions with the girl that means the most to him.

• Seeking submissions from CA. • Send submissions to bcalkins@afi.edu.

• Meals and mileage provided.

‘Red Balloon’

• Casting “Red Ballon,” a graduate stu-

dent thesis film that casts various races to make a cultural integrated art piece based in contemporary Los Angeles.

• Company: LMU Student Film. Staff:

Jinyang Zhang, Hui Zhang, prods.; Jiaxun Gao, dir.; Chen Zheng, cinematographer.

• Shoots Nov. 5, 6, 7 and Nov. 12, 13, 14 in

Los Angeles County, CA. Note: One or two rehearsals TBD.

• Seeking—Julie: female, 30-45, Asian, a

beautiful, elegant woman around 35, an easy-going and moderate-tempered housewife; since getting married, she listens to her husband and hasn’t been working for years; nevertheless, she doesn’t want to be docile to her husband forever. Evelyn: female, 18-28, all ethnicities, is an ambitious woman at work; she wants to have a successful career after graduating from college; however, the unexpected pregnancy interrupts her plan and makes her struggle between choosing her career or the unborn baby. Chow: male, 35-50, Asian, is a traditional and male chauvinistic man; he is a contradictory character who values the harmony of family on one hand and seeks for excitements and changes when he’s near his forties backstage.com

on the other hand. Young Nurse: all genders, 18-30, all ethnicities, sweet, smart, quick-tempered; He/She is practically new to the clinic. Older Nurse: female, 30-50, all ethnicities, discreet, serious, but sweet-hearted to her patients; she has been working at the clinic for years. Claire: 25-40, all ethnicities, a woman near her 30s, comes to the clinic after unwanted pregnancy.

Angel: female, 14-23, Julie’s duaghter, a Chinese girl who grew up in America with her tranditional Chinese family; she is outgoing and rebellious.

and Mae, Japanese-American. He has known for some time that he is gay but remains closeted, afraid of what the truth will mean. As a result of his guilt, he tries very hard to be a peacekeeper.

He loves his children more than anything and doesn’t want to cause anyone pain. Bachan: female, 65-80, Asian, 70s, grandma, Japanese-American. She is elegant, composed, caring and wise.

She, along with her husband, unknowingly walk into a tense situation with their daughter and son-in-law. They both serve as support systems for this struggling family. Jichan: male, 65-80, Asian, 70s, grandpa, JapaneseAmerican. He is caring, supportive, and concerned about his daughter and her family. Instead of judgement, he offers words of comfort and encouragement.

• Seeking submissions from CA. • Send submissions to hzhang12@lion.

lmu.edu.

• Pays $50-150/day, plus travels and

meals are provided.

‘Sugarcoat’

• Seeking submissions from CA. • Send submissions to sugarcoatcast-

• Casting “Sugarcoat,” a student film.

Production states: “The Takanada family gathers to celebrate the 3rd birthday of their youngest, Mae. Naomi, her mother, is drinking at the dinner table and Peter, Naomi’s husband, is disappointed and tries to stray the family’s attention away from her. Dinner is served by Naomi’s parents and as the night goes on, tensions grow higher.

Kyle, the couple’s teenage son, grows tired of their sugarcoating and leaves the room, forcing Naomi to admit that she is unhappy. Her parents are lost as to why, but now all cards are on the table. Reluctantly, Peter must take responsibility for his part in the pain she has been feeling--he must confess what they have known for some time... he is a gay man. Despite the shock, Jiichan and Ba-chan try to comfort Naomi and explain to her that in the end family is all that matters.”

ing@gmail.com.

• Auditions will be held Oct. 2 via Zoom.

• For consideration, include a note

whether or not shooting evenings through the night will be a conflict in your cover letter, and a video that fits the genre in your submission. Callbacks in person early October in San Diego.

• Pays $125/day for Union, $50/day for

non-union, plus gas reimbursement and meals, copy, and credit. Will apply for SAG-AFTRA Student Film Agreement.

‘UnVarnished’

• Casting “UnVarnished,” a student short

film of select scenes from a TV pilot about the art world of early 1990’s Los Angeles. Synopsis: A young artist saturated with self-doubt takes a job when he realizes he has sexual power over a morally repugnant gallery owner. The power games drilled into him by his mother start him down a spiral that puts his friends and his sanity, safety, and freedom in peril. Will Marc Chevalier ever figure out that all he has to do is walk away from the crazy?

• Company: San Diego State University.

Staff: Julia Borges Bertassoli, co-dir.-screenwriter;

• Hau’oli Carr, co-dir.-casting/talent;

Destiny Golden, prod.

• Rehearses on Zoom and in person;

• Company: Mount Saint Mary’s

shoots Nov. 5-7 in San Diego, CA.

University Los Angeles. Staff: Matthew Alexander, writer-dir.; Denise Diaz, prod.; Jennie Ekpa, prod.

• Seeking—Mae: female, 2-7, Asian,

Ethnically Ambiguous / Multiracial, 3, Japanese-American; Peter and Naomi’s daughter, and the reason for celebration on this day. She is cute, playful, innocent and oblivious to the family’s drama. She is goodness and light, the glue that is holding this family together.

Naomi: female, 38-50, Asian, mid-late 40s, mother, Japanese-American, prideful. She is embarrassed that she hasn’t picked the “right” husband and father for her children. She has turned to alcohol to cope with her pain/anger/ sadness. This is her breaking point.

Kyle: male, 13-21, Asian, Ethnically Ambiguous / Multiracial, Southeast Asian / Pacific Islander, White / European Descent, mid-late teens, Japanese-American. He is a good older brother to Mae, caring. He is outspoken and isn’t as concerned with being polite. He is tired of his parents sugarcoating their problems and is the domino that sets off a chain reaction of brutal honesty for the evening. Peter: male, 40-55, Asian, Ethnically Ambiguous / Multiracial, Southeast Asian / Pacific Islander, White / European Descent, late 40s, dad to Kyle

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

• In your cover letter, note your availabil-

ity for Nov. 5, 6, 7.

• Pays $125/day. SAG-AFTRA student film

agreement.

National Commercials ‘Fernando’

• Casting “Fernando,” a commercial.

• Company: Nina Day Casting. Staff: Nina

Day, casting dir.

• Production states: “Shoots in Los

determine if rehearsals are in-person or via Zoom as we get closer to the date); shoots Nov. 5-7 (Friday - Sunday) in L.A., CA.

Angeles, CA. Shoot windows Sept.

25-28 and Oct. 2-3 (Talent will shoot 1-2 days). Auditions via self-tape Sept. 11-12.

Callbacks Sept. 16-17 via remote videoconferencing platform (*except for role of Quirky Teen Boy Biker which will be in-person outdoors).”

White / European Descent, 28, an artist, wannabe art dealer, and 1980s West Hollywood clone with a pinch of art school edge. Fannie Ennis: female, 50-60, White / European Descent, 55, art gallery owner, a wealthy wannabe art world tastemaker and fashion eccentric with no taste. Victoria Powers: female, 55-65, Black / African Descent, 59, artist, a work of art whose appearance and artwork create a harmonious whole with a persona that attracts attention and respect. Mia Powers: female, 31-37, Black / African Descent, Ethnically Ambiguous / Multiracial, 34, artist, you’d think she works construction yet her art tells you that you’re in the presence of talent.

George Saunders: male, 48-58, White / European Descent, 53, shameless, bombastic, opportunistic gallery owner; a tall, predatory, flabby, albino

male, 14-16, age 14-16 (but looks younger). All ethnicities. Confident on bike. This kid lives in a world just before puberty has had its full effect and the world has crushed their spirit. He does what feels good, and because he’s a little goofy looking and innocent, we love him for it. He might be awkward in other parts of his life, but not on this bike. On this bike, he’s looking good and he knows it. Either a little overweight, or a little scrawny. Biker Fixing His Motorcycle: male, 60-70, all ethnicities.

Big, tough, classic retired old biker. Skin is as leathery and weathered as their old motorcycle club jacket. Wouldn’t let anyone touch their ride, they fix it up themselves and don’t care about getting their hands dirty. Quirky Teen Non-Binary Biker (Hero): non-binary, 14-16, Age 14-16 (but looks younger).

Confident on bike. They are their own

• Rehearsals week of Oct. 25-29 (We will

• Seeking—Marc Chevalier: male, 25-31,

27

lab rat; in one scene, Goerge will be dressed in an adult diaper, adult-sized baby bonnet, and flip-flops; in all other scenes, George will be fully clothed.

Andréa De Salas: female, 26-32, Latino / Hispanic, 29, dominatrix and opportunist who pushes at the edges of society. Andrew Calvin Winthrop: male, 35-45, White / European Descent, 42, pushy, arrogant, New York artist.

Barbara Chevalier: female, 50-60, White / European Descent, 54, an upper-middle-class housewife but there’s something off; Barbara is the star of the movie playing in her head delusional with an evil streak. Gabriella: 20-26, all ethnicities, 23, waitress, attractive and casual; open to any ethnicity. Kiki Ennis: female, 24-30, White / European Descent, 27, a waif-like, short-haired anti-social former debutant-come-drug addict who dresses and acts like a spoiled 16-year-old.

Philip Pip Tanashiri De La Reina: male, 30-36, Asian, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Southeast Asian / Pacific Islander, 33, houseman, a short, fashionable, man/boy with a charm that can smooth over most obstacles. Ruth Dexter: female, 25-31, all ethnicities, 28, police officer with a utilitarian look; open to any ethnicity.

• Seeking—Quirky Teen Boy Biker (Hero):

09.23.21 BACKSTAGE

casting National/Regional person, with an undeniable swagger.

They own the neighborhood, but they aren’t cocky. Charming, outgoing, everyone knows them and they have an uncanny confidence.

Online Commercials & Promos

com.

‘TPO’

usages: All Rates +20% Agency Fee, if Applicable. OCP Session Fee: $500 / 8 hours. Session Overtime (if applicable): 1.5x the regular rate for work over 8 hours up to 12 hours (or $93.75 USD / hour), and any hours over 12 calculated at 2x the regular rate (or $125 USD / hour). Hero Talent Usage Fee: $10,000.

All Other OCP Talent Usage Fee: $5,000. Usage fee applicable IF performer’s face appears identifiable in final edit of publicly launched commercial / video.

mercial for educational kids game.

• Seeking submissions from CA. • Send submissions to nina@ninaday.

• Production states: “Detailed rates and

• Prior Day Fitting or Production

Interaction Fee: $50/hr. Covid Testing Time Compensation: $100 flat (if no other services rendered).

• Usage: General Usage Term: 1 Year Full

• Casting kids age 8-12 for online com• Company: Art School Athletics. Staff:

Weston Auburn, EP.

• Shoots Sept. 25 in Los Angeles.

• Seeking—Kid: all genders, 8-12, all

ethnicities.

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

artschoolathletics.com.

• Pays $750. Two years BTL usage with

optional 6 month ATL additional fee if exercised.

National/ Regional

Media usage; Global digital and broadcast video.Usage/Run Details: Term: 1 year from date of first use. Territory: Worldwide. Intended Use:Broadcast commercial, Channel / Third Party Retailer, Digital / Internet / Social, Industrial / Non-Broadcast / Retail, PR & Archival, Screengrabs / Stills from Video Option Fee / Term: Additional one year’s use in the same media: +10% increase.

Plays

devices and services.

• Casting Equity Actors for the American

• Conflicts: Consumer technology

• Exclusivity: This shoot is holding an

exclusive based on the conflict above.

Specific Exclusivity terms will be disclosed for callbacks.”

National Hearing Aid Technology Campaign

• Casting lead talent for upcoming hear-

ing aid technology campaign.

• Company: Windsong Productions.

Staff: Windsong Productions, production company; • S. Bourbeau, exec. prod.; J. Mercado

Hicks, prod.

• Shoots between Oct. 3-6 in Fresno, CA

(two days of filming required for each lead talent; talent must be available during all filming days).

• Seeking—Grandma: female, 65-85,

Black / African Descent, Grandma enjoying time with her grandkid(s).

Business Owner: male, 50-60, Asian, Business owner riding his bike to work; meeting with colleagues in an office space. University Professor: male, 60-80, White / European Descent, College professor is lecturing, meeting with a colleague outside of the university.

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

• Include recent photo for consideration.

• Pays $800/day (all inclusive of the proj-

ect). Hotel stay provided by production for out of town talent only. Talent must be able to provide own transportation to and from filming location.

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

BACKSTAGE 09.23.21

characters. Commitment to EDI in our casting: At American Stage, we see the empty space as an opportunity for social change and civilized discourse to occur --one of the few sacred places left in a far too noisy, often divided, world where human beings can still sit in the quiet dark together, think a while, & be awakened. To gain a richer connection to the fragility of beauty and pain that exists in all art and life.

Theater of, by, and for all people. Artistdriven, radically inclusive, and fundamentally democratic. Through artistic excellence and the craft of storytelling, American Stage is committed to creating a safe space for multicultural artists to share their full humanity, as we come back to the theatre at this exciting but challenging time. We choose to create a new American Stage that enriches and embodies the rich diversity and cultural tapestry of America and truly reflects the American experience.

• For consideration, fill out the audition

submission form at http://americanstage.org/auditions/, and submit a copy of your headshot and resume along with your video submission link there. Contact auditions@americanstage.org for more information.

Submissions deadline is Sept. 22. All work will be in accordance with our COVID-19 Health and Safety Guidelines.

There is payment for all roles, and all roles are available. We are committed to providing opportunities for BIPOC and LGBTQIA+ actors throughout our entire season. BIPOC and LGBTQIA+ actors are strongly encouraged to apply for all shows in our season.

American Stage can provide housing to out-of-town actors.

American Stage Company 2021-2022 SPT and LOA Seasons, Equity Video Submissions

Stage Company 2021-2022 SPT and LOA Seasons. Season includes: “The Odd Couple” (Neil Simon, playwright; Adam Mace, dir. Rehearses Oct. 5-28; runs Oct. 27-Nov. 21), “Jacob Marley’s Christmas Carol” Tom Mula, playwright; Kristin Clippard, dir. Rehearses Nov. 16-Dec. 9; runs Dec. 8, 2021-Jan. 2, 2022) “School Girls; Or, the African Mean Girls Play” Jocelyn Bioh, playwright; Rajendra Ramoon Maharaj, dir.

Rehearses Jan. 11-Feb. 3, 2022; runs Feb. 2-27, 2022), “Footloose the Musical” Tom Snow, Dean Pitchford, and Walter Bobbie, playwrights; Shain Stroff, dir. Rehearses Mar. 15-Apr. 5, 2022; runs Apr. 4-May 8, 2022), and “Dutchman” (Amiri Baraka, playwright.

Rehearses June 7-30, 2022; runs June 29-July 31, 2022).

• Pays $562/wk. min. (SPT 7 and LOA.)

Equity SPT / LOA Agreements.

‘Dragons Love Tacos’

• Seeking video submissions from Equity

actors for roles in “Dragons Love Tacos.”

• Company: Dallas Children’s Theatre.

Staff: Nancy Schaeffer, dir.; Ernie Nolan, writer; Adam Rubin, based on the book; Daniel Salmieri, illustration; Penguin Group, publisher; Produced by special arrangement with Plays for Young Audiences.

• Rehearsals begin Dec. 27, 2021; runs

Jan. 19, 2022-Feb. 25, 2022 in Dallas, TX.

• Company: American Stage Company.

• Seeking—The Boy: 18+, a young adult

actor. LeRoy: 18+, a dog - A puppet.

Blue Dragon: 18+, a fanciful creature who dances. White Dragon: 18+, a fanciful creature who dances. Red Dragon: 18+, a fanciful creature who dances.

Yellow Dragon: 18+, a fanciful creature who dances.

Staff: Kristin Clippard, assoc. artistic dir.; Paul Edward Wilt, assoc. artistic prod.; Rajendra Ramoon Maharaj, producing artistic dir.

• Season runs in St Petersburg, FL. • Seeking—Equity Actors: 18+.

• Seeking submissions from FL. • Prepare two contrasting monologues

• Seeking submissions from TX. • See preparation and accompaniment

that are no longer than three minutes total. You may include one minute of a song if you wish to be considered for Footloose. You may use a song of your own or use the accompaniment provided at https://drive.google.com/ drive/folders/191qlzlm-YYX-fHC12VJ4OSx75SvGc_Wh. We encourage actors to make bold choices and use the video to its fullest capability as storytellers. We are seeking energetic actors who have active, imaginative storytelling skills and can play a variety of

link at https://docs.google.com/forms/ d/e/1FAIpQLSe W9ZvWVPyNR0ISE8EZYHbg5gTn55zKi4NTfne5zv-OlH0Fw/viewform. See video submission guidelines at https://www.dct.org/aboutus/auditions/. Provide photo and resume.

Submissions deadline is Sept. 24. Note: Local actors encouraged to submit. The Man in the Suit has been cast.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity

28

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

• Pays $382/wk. Equity LOA ref TYA

Contract.

‘Revenge Song’

• Casting Equity actors for roles in

“Revenge Song.” Synopsis: A rousing, romping, music-filled look at the real life of Julie d’Aubigny, a queer 17th century French swordswoman and opera singer, Revenge Song is a heroine’s journey toward self-discovery and acceptance.

• Company: Oregon Shakespeare

Festival. Staff: Nataki Garrett, artistic dir.; Evren Odcikin, assoc. artistic dir.; Robert Parker Ross, dir.; Qui Nguyen, writer; Vampire Cowboys, creator; Geoff Josselson and Katja Zarolinski (JZ Casting), casting dir.; Tasha Ward, casting assoc.

• Rehearsals begin Mar. 23, 2022; runs

June 2-Oct. 14 in Ashland, OR. All performers must be fully vaccinated against COVID-19 as defined by the CDC (i.e., more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine) by first rehearsal.

• Seeking—Julie D’Aubigny: female,

20-39, she/her/hers. BIPOC. A 17th century French swordswoman and opera singer, independent in spirit and trained by her father Gaston in swordplay. She is on two interweaving journeys: exact revenge for the exploitation she experienced as a teenager at the hands of her father’s boss, nobleman Louis, and explore her sexuality through relationships with men and women. She is a badass, swashbuckling adventurer and iconoclast, but simultaneously unsure about who she is supposed be and where she fits into the world.

Exceptional singer and actor. Musical instrument skills a plus. Serannes: male, 20-49, all ethnicities, he/him/his; master swordsman who helps Julie hone her skills. He is arrogant, powerful, and cunning. He also seems to know kung-fu.

Musical skills a plus. Gaston: male, 30-59, all ethnicities, he/him/his. Julie’s loving father. He is traditional and stern, but also an old softy. He is exceedingly French. Musical skills a plus. Emily: female, 20-39, all ethnicities, she/her/ hers; a young woman in search of her own sexual identity. She catches the eye of Julie and immediately becomes infatuated with her which will lead them to a whirlwind romance. Emily is young and bold, but possibly a bit reckless.

She lives in the moment. Musical skills a plus. Louis: male, 30-59, all ethnicities, he/him/his; the Master of Horses to the King of France. A powerful and wealthy nobleman. He at first appears to an avuncular patron, but we quickly see his interest in the young Julie is carnal, abusive, and obsessive. Musical skills a plus.

Gaulard: male, 30-59, all ethnicities, he/him/his; a once widely popular singer, whose best days are behind him. backstage.com

National/Regional casting

Sort of late-stage Elvis. He is also a bully who serially sexually abuses his coworkers. Musical skills a plus. Madame De Senneterre: female, 30-49, all ethnicities, she/her/hers. The play’s narrator. Powerful, funny, and very comfortable in her skin. She spins the yarn, and owns the theatre. You have the sense that she has experienced much, not all of it pleasant, but has come out the other side wise, worldly and witty. Musical skills a plus. Albert: male, 20-39, all ethnicities, he/him/his; a wealthy young nobleman who challenges Julie to a duel, she fights back hard and wounds him. While nursing him back to health, they become lovers.

Bright-eyed and in love. Musical skills a plus.

• Seeking submissions from OR. • Auditions will be held in September

2021.

• For consideration, submit your head-

shot and resume to jzcastingsubmit@ gmail.com with “OSF Submission/ Revenge Song - (List Role You Are Submitting For)” in the subject line.

Note musical skills (especially drums, bass, guitar, and keyboard) in the submission. If actors have any other special skills of note, including tumbling and/or other abilities, also note in the submission. Submissions deadline is Sept. 28.

• OSF believes in diversity and represen-

tation in casting and encourages actors of all ethnicities, races, gender identities, ages, and body types, as well as performers with disabilities, to audition.

• OSF is a repertory company and some

performers from “Revenge Song” will be considered and hired to perform or understudy in other concurrent productions, including “King John” and “The Tempest”. They will also be given opportunities to be involved in additional readings, workshops and digital productions.

• Equity’s contracts prohibit discrimina-

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

• Pays $1,096/wk. Equity LORT B Non-

Rep Contract.

‘The Notebooks Of Leonardo Da Vinci,’ Photo/Resume • Casting Equity actors for “The

Notebooks Of Leonardo Da Vinci.”

Synopsis: “The Notebooks Of Leonardo Da Vinci” is entirely comprised from bits and pieces of the 5,000 looseleaf notebook pages left behind by Leonardo, and in script form reads like nothing much, but the staging is quite elaborate, sometimes seeking to clarify the text, sometimes pointing up the hopelessness (which Leonardo himself sometimes felt) of trying to describe accurately the entire world through either scientific or artistic means. Just as on individual notebook pages Leonardo would combine mathematical problems in one corner with philosophical reflection in another, and a drawing of an angel looking over both, the stage backstage.com

is sometimes occupied by multiple events. Although the piece is “non-narrative” it ends up telling a sort of story all the same. All performers are all equally Leonardo, and just as importantly, they are all equally themselves.

• Company: Goodman Theatre. Staff:

Mary Zimmerman, writer-dir.; Robert Falls, artistic dir.; Roche Schulfer, exec. dir.; Adam Belcuore, managing prod.; Lauren Port, CSA, casting dir.; Rachael Jimenez, CSA, casting assoc.; Emma Gruhl, casting asst.

• Rehearsals begin Jan. 18, 2022; runs

Feb. 11-Mar. 20, 2022 in Chicago, IL. Note: No possible extension.

• Seeking—Leonardo(s): female, male,

gender-nonconforming, non-binary, trans female, trans male, agender, androgyne, aporagender, autigender, bigender, cisgender, demiboy, demigirl, gender questioning, genderfluid, genderflux, genderqueer, maverique, neutrois, pangender, polygender, third gender, transgender, trigender, twospirit, 18+, all ethnicities.

• Seeking submissions from IL. • For consideration, email your picture/

resume to goodmantheatreselfsubmissions@gmail.com with “Notebooks Of Leonardo Da Vinci” in the subject line.

Submisions deadlind is Sept. 27.

• Pays $739/wk. (LORT D.) Equity LORT

Non-Rep Agreement.

6-Month Contracts, Touring Actors • Seeking actors (aged under 25) for

6-month contracts in various shows touring schools, prisons and churches.

Company states: “We will be running 2-3 productions over the next year. One for children, a touring show for over 12, and prisons outreach work. A real mixture of theatre styles in one company.

Note: Company has a strong Christian ethos.” Main production is “The Hiding Place,” the story of Corrie ten Boom, set during World War II. Faith in the darkest of places. Prison outreach will consist of a sketch show or one act play story suitable for inmates.

• Company: Oddments Theatre. Staff:

Barry Boston, coord.

• Based in Yeovil- Somerset and touring.

• Seeking—Multiple Roles: all genders,

18-25, White / European Descent, multi role parts in three productions- Some many be lead other supporting, in Schools, churches and prisons and village halls. An actor who loves a team environment and is willing to play multiple roles. This is government-funded and you need to be under 25 years of age to apply. You must be someone currently claiming universal credit and seeking work.

• Seeking submissions nationwide.

• Send submissions to director@odd-

ments-theatre.co.uk.

• Apply via email giving a brief descrip-

tion of your experience.

• Pay within minimum wage.

Accommodation can be provided if relocating (at subsided priced).

Trinity Repertory Co 20212022 Season, Equity Video Submissions

• Casting Equity actors for roles in Trinity

Repertory Company’s 2021-2022 sea-

son. Season includes “A Christmas Carol” (Charles Dickens, writer; Richard Cumming, original music by; Joe Wilson Jr., dir. Chace Theater: LORT B. Rehearsals begin Sept. 29, 2021; runs Nov. 4, 2021-January 2, 2022), “Tiny Beautiful Things” (Cheryl Strayed, based on the book by; Nia Vardalos, adapted for the stage by; Marshall Heyman, Thomas Kail, and Nia Vardalos, o-conceived by; Curt Columbus, dir.

Dowling Theater. LORT D. Rehearsals begin Dec. 8, 2021; runs Jan. 13-Feb. 13, 2022), “Gem of the Ocean” (August Wilson, playwright; Jude Sandy, dir.

Chace Theater. LORT B. Rehearsals begin Jan. 19, 20202; runs Feb. 24-Mar. 27, 2022), “Sueño” (José Rivera, translated and adapted by; Pedro Calderón de la Barca, from the play by; TatyanaMarie Carlo, directed by. Dowling Theater. Lort D. Rehearsals begin Mar. 2, 2022; runs Apr. 13-May 8, 2022), and “Fairview” (Jackie Sibblies Drury, playwright. Chace Theater. Lort B. Rehearsals begin Apr. 13, 2022;Runs May 25-July 19, 2022).

• Company: Trinity Repertory Company.

Staff: Curt Columbus, artistic dir.; Jordan Butterfield, dir. of education and accessibility; Michelle Cruz, dir. of community engagement; Joe Wilson Jr., member of the Resident Acting Company and Founder of the Center for Activism and Performance; Gia Yarn, artistic asst.

• Season runs in Providence, RI. Note:

Rehearsals and performances take place in- person in our rehearsal halls and theatres. Performances mostly run Weds.-Sat. at 7:30 p.m. and Sun. at noon or 2 p.m. and 7:30 p.m.

• Seeking—Equity Actors: 18+.

• Seeking submissions from RI. • Prepare a set of contrasting mono-

logues no more than two-and-a-half minutes each for a total of five minutes or less. State your name and what you are going to perform prior to starting.

Video audition submissions are for casting purposes only and will not be utilized or distributed for any other purpose. Once submissions have been viewed and actors are selected for callbacks, video audition submissions will be destroyed.

• For consideration, email video submissions with a picture (recommended) and resume (required) to auditions@ trinityrep.com with your name and union status in the subject line. Mp4 files, YouTube, Vimeo and personal website links preferred. Include your name and union status in the subject line of the email. You will receive a confirmation once we’ve received your materials. Submissions deadline is Sept.

24, 5:30 p.m. EDT. • For questions, contact Trinity’s Artistic

Assistant, Gia Yarn, at gyarn@trinityrep. com and/or call (401)-521- 1100 x 257 between 9:30 a.m.-5:00 p.m. EST Mon.-Fri. • Trinity Rep encourages the participa-

tion by performers of all races, ethnicities, (dis)abilities and present opportunities when able for non-traditional, diverse and inclusive casting.

Trinity Rep is a vaccinated workplace which means you must receive the Covid-19 vaccine to work with us.

29

• We appreciate your interest in audi-

tioning for Trinity Rep’s Artistic panel this fall. The majority of roles this season have been cast by our Resident Acting Company and the Brown/Trinity MFA program. However, with actor availability changes and us working to grow our community engagement and education programming, we will have another set of auditions for the 2022-23 Season where more roles and opportunities will be made available.

• Chace Theater Pays $1,008/wk. (LORT

B) Dowling Theater Pays $739/wk.

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

Musicals ‘Don’t Forget (No Te Olvides)’ Zoom Table Reads

• Casting actor-singers for “Don’t Forget

(No Te Olvides,” an original musical in development. Commitment will be recording various original songs as well as four Zoom table reads with Theatre Now New York’s National Writer’s Group.

• Talent should have professional audio

equipment for singing, but if not, we will provide you with a professional microphone that will be yours to keep.

• Company: Nerris Nassiri. Staff: Nerris

Nassiri, dir.

• Various Sundays throughout the next

three months. Zoom readings -- talent can be anywhere.

• Seeking—Elena: female, 50-90, Latino

/ Hispanic. Maria: female, 17-25, Latino / Hispanic. Adriel: male, 50-70, Latino / Hispanic. Chavela: female, 30-50, Latino / Hispanic. Victor: male, 50-80, Latino / Hispanic. Xochil: female, 17-25, Indigenous Peoples, Latino / Hispanic.

• Seeking submissions worldwide.

• Send submissions to nerrisnassiri@

gmail.com.

• For consideration, include acting and

singing samples, plus any recording equipment you own in your submission.

• No pay.

Milwaukee Chamber Theatre 2021-22 Season

• Seeking video submissions from Equity

actors for possible replacements for all principal roles in Milwaukee Chamber Theatre 2021-22 Season and for future consideration. Season includes “Stew” (Zora Howard, writer; Malkia Stampley, dir. Runs Sept. 28-Nov. 7 at Broadway Theatre Center, Cabot Theatre; SPT 7); “The Thanksgiving Play” (Larissa Fasthorse, writer; Laura Gordon, dir.

Runs Oct. 26-Dec. 19 at Broadway Theatre Center, Studio Theatre; SPT 8); “Where Did We Sit On The Bus?” (Brian Quijada, writer; Brent Hazelton, dir.; Kellen “Klassik” Abston, musical dir.

Runs Dec. 28-Feb. 13, 2022; SPT 8); “Indecent” (Paula Vogel, writer; Brent Hazelton, dir.; Christie Chiles Twillie, musical dir. Runs Feb. 8-Mar. 27, 2022; SPT 7); and “The Island” (Athol Fugard, John Kani, and Winston Ntshona, writers; Mikael Burke, dir. Runs Mar. 22-May 1, 2022 at Broadway Theatre Center, Studio Theatre, SPT 8).

09.23.21 BACKSTAGE

casting National/Regional • Company: Milwaukee Chamber Theatre.

Staff: Brent Hazelton, artistic dir.; Marcella Kearns, assoc. artistic dir.

• Rehearses and performs indoors at the

Broadway Theatre Center in Milwaukee, WI. • Seeking—Equity Actors: 18+.

• Seeking submissions from WI. • For consideration, submit video to

MCTCasting@Outlook.com. Submissions deadline is Sept. 30. Video Preparation Instructions: Prepare two contrasting monologues not to exceed four minutes total. Slate at the top of the video.

• Equity’s contracts prohibit discrimina-

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

• Pays $641/wk. Equity SPT Contract.

‘Once On This Island’

• Casting Equity actors for “Once On This

Island.”

• Company: Oregon Shakespeare

Festival. Staff: Nataki Garrett , artistic dir.; Evren Odcikin, associate artistic dir.; Lili-Anne Brown, dir.; Mark Meadows, music dir.; Breon Arzell, choreo.; Lynn Ahrens, book-lyrics; Stephen Flaherty, music; JZ Casting, casting.

• Rehearsals begin Feb. 2, 2022; runs

Apr. 12-Oct. 30 at Oregon Shakespeare Festival, Angus Bowmer Theatre in Ashland, OR. Note: All performers must be fully vaccinated against COVID-19 as defined by the CDC (i.e., more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine) by first rehearsal, Feb. 2, 2022.

• Seeking—Equity Actors: 18+.

• Seeking submissions from OR. • For consideration, submit headshot and

resume to jzcastingsubmit@gmail.com with “Once on This Island (OSF) - AEA Self-Submissions” in the subject line.

Submissions deadline is Sept. 23.

Indicate role (s) you are most interested in being considered for.

• OSF believes in diversity and represen-

tation in casting and encourages actors of all ethnicities, races, gender identities, ages, and body types, as well as performers with disabilities, to audition.

OSF is a repertory company and some performers from “Once On This Island” may be considered and hired to perform or understudy in other concurrent productions, including “King John” and “The Confederates,” and be given opportunities to be involved in additional readings, workshops and digital productions while at OSF. • About the show: This creative team will

take an ensemble musical/story theatre approach to the play with all performers playing storytellers stepping into the characters. The production will explore Afro-Caribbean inspired spirituality and rituals.

• About gender: Come as you are.

Audition for the role you want.

Whatever your gender expression — you are welcome and will be considered.

BACKSTAGE 09.23.21

Gutierrez, CSA, casting assoc.; Nancy McManus, casting assist.

• About colorism: The story features col-

orism as a plot point, and casting will reflect that in some characters, relative to the entire cast.

• Starts February 2022 in South Africa.

• Seeking—Boy: male, 9-11, white, should

• Equity’s contracts prohibit discrimina-

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

• Pays $1,096/wk. Equity LORT B+ Non-

Rep Contract.

‘Rudolph The Rednose Reindeer’

• Seeking video submissions for Equity

actors for roles in “Rudolph The RedNosed Reindeer.”

• Company: Casa Manana, Inc. Staff:

Wally Jones, prod.; Jeremy Dumont, dir.; James McQuillen, music dir.

• Rehearsals begin Nov. 8; runs Nov.

20-Dec. 23 in Fort Worth, TX. Casa Mañana holds rehearsals during the day.

Performances include weekends and weekday matinees. For students who attend school, excuse letters may be requested.

• Seeking—Equity Actors: 18+.

• Seeking submissions from TX. • For consideration, submit video to sub-

Feature Films ‘Boy Kills World’

• Casting “Boy Kills World.” Synopsis:

This is the whimsically gritty story of a deaf and mute young man named Boy, who is raised by a shaman to be the assassin to avenge the bloodthirsty tyrant that runs their town, Hilda Van Der Koy, who murdered Boy’s family.

• Be aware that, due to language and vio-

lence, this is a film for mature audiences and is not a children’s movie.

• Company: Nancy Nayor Casting. Staff:

Nancy Nayor Casting; Sam Raimi, Zainab Azizi, Roy Lee, Andrew Childs, Stuart Manashil, Dan Kagan, Alex Lebovici, Simon Swart, Wayne Fitzjohn, prods.; Moritz Mohr, dir.; Nancy Nayor, CSA, CD; Jasmine

nayorcasting.com.

• Pay TBD

‘Brave the Dark’ Background Roles ture film starring Jared Harris and Nicholas Hamilton.

• Company: HBG Casting.

• Shoots between Sept. 18-Oct. 25 in

Lancaster, PA.

• Seeking—Students: all genders, 18-24,

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

• Pays $526/wk. Equity TYA Contract.

• Seeking submissions worldwide.

• Send submissions to associate@nancy-

• Seeking background actors for a fea-

missions@casamanana.org.

Submissions deadline is Sept. 24. Video Preparation Instructions: Prepare a short holiday song in the style of the show or audition with any of the four songs in the link provided https://drive. google.com/drive/ folders/1BcvF8WJyA26kolOw6mT2vJuc_DdMJez?usp=sharin. Note: All stage manager positions have been filled.

• Equity’s contracts prohibit discrimina-

appear 9 -11 years old but must be 10 by March 2022. Boy grows up in an odd family; his parents appear to be guerrilla fighters against the current regime.

When his family is killed by the tyrant Hilda Van Der Koy a grief-stricken Boy vows to get vengeance, and throws his lot in with Shaman, who promises to train him to be the warrior who can one day kill Hilda. Supporting. Note: This role requires a boy who is physically agile, someone who has gymnastics, dance, or martial arts training. The role no longer requires a martial arts “expert” as was previously mentioned.

This is the title role of “Boy”. This is an extraordinary role, despite being nonverbal. Looking for someone who can express with their face and body his thoughts and feelings. Age note: Boy (Child) Must be 10 years by March 2022, because of work hour regulations in South Africa.

all ethnicities, must be 18 to play Teen.

High School Students. You will not be considered without a note that includes the requested information: city, states, if you have a car and directo email if we need to contact you quickly.

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

gmail.com.

• Submit city, state, and if you have a car.

• Pays $182/8 for union talent; $11/hour

for nonunion (guaranteed 8-hour pay).

Student Films ‘Date’

• Casting “Date.” Synopsis: Obnoxious

Brad has a first date with Megan at an outdoor restaurant. Confident in his socially odd behavior, Brad loses Megan’s interest as the date progresses and the crowd starts to take notice.

• Company: ACC CinemaWorks. Staff:

Rowan Wesolick, dir.

• Shoots Oct. 10 from 4-10 p.m. in Austin,

TX.

• Seeking—Brad: male, 21-28, all ethnici-

ties, very animated guy. Megan: female, 19-28, all ethnicities. Waiter: all genders, 18-35, all ethnicities. Monique: female, 21-30, all ethnicities.

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

• We will need to set up a time to do a

zoom recorded audition.

• Dinner, $15 for gas, film reel, copy of

final cut.

30

‘The Dragons’

• Casting voiceover roles for “The

Dragons,” a short film. Synopsis: Eden, a janitor at an art museum, and his sister Freya set their sights on an artwork.

They recruit their friends of like-minded thieves, sell them the promise of a better life by selling the artwork, and construct a plan for the heist. However, their naïve ambition and self-confidence strays them from reality.

• Company: SCAD. Staff: Shawndre

Young, casting dir.

• Shoots Sept. 26-27 in Atlanta, GA. • Seeking—Joyce Bertrand: female,

25-35, smart, apathetic, and orderly, Joyce is a group-care case worker who, despite her impressive work ethic, has held the same designation for over a decade. Far from affable, Joyce has garnered a reputation as someone who holds grudges over petty or trivial issues. She leans towards the ‘nature’ side of the ‘nature vs nurture’ debate, and judges each child in the group care based on that belief. She is often less sympathetic to the children she deems unfit for society. Mrs. Rivera: female, 30-60, the matron of an underfunded group home. Outspoken and tough, with a tendency to utilise physical and emotional abuse to maintain control, she espouses strict discipline and demands subservience from her wards.

Not abusive by nature, but regretful altercations with wards in the past have convinced her that cold-hearted methods are the only efficient tools for dealing with them.

• Seeking submissions from SC and GA. • Send submissions to syoung37@stu-

dent.scad.edu.

• For consideration, submit video reel.

• No pay.

Scripted TV & Video ‘The Garden’

• Casting a trailer for “The Garden,” an

episodic series (8 episodes are written for “season one”). There are two main characters, one male and one female.

The story is about Adam and Eve. The beginning of the episode one takes place as Adam and Eve are being expelled from the Garden and then continues up to episode eight Adam’s death.

• Company: Matthew and Company

Productions. Staff: Matt Trub, dir.; Kay Trub, prod.

• Shoots fall of 2021 in the Austin, Central

Texas area.

• Seeking—Adam and Eve: female, male,

22-35, all ethnicities, should be young, athletic, tough, simple, somewhat self absorbed, compassionate, first man and woman. No nudity. Female ability to sing is a plus.

• Seeking submissions from TX. • Send submissions to matt@matthe-

wandcompany.com.

• For consideration, in your cover letter,

note your availability. Include a video with your submission. Female ability to sing is a plus.For more info about this backstage.com

National/Regional casting

project, visit https://thegardenmovieseries.com. Producer states: “The trailer will be a vital part of the new website.”

Local Commercials

look and energy match the brand.

trailer.

Home Services, Atlanta

Corporate & Internet Videos (Voiceover)

• Pays $450/day. One to two days for the

Multimedia DMD Bedding Photo Shoot

• Casting a photo shoot for our various

bedding sets, production will be at our studio in Houston, TX. Local submissions only.

• Company: Thrasio. Staff: Fabian Owens,

content prod.

• Shoots Oct.13-14, two full days. Dates

may shift. Production will be at our studio in Houston, TX. Production days are typically 8 hours.

• Seeking—Male 40-55: 40-55, all eth-

nicities, male in bed, reading, sleeping, making bed. Female 25-40: female, 25-40, all ethnicities, female reading in bed, sleeping, making bed.

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

• Arrive camera ready, light make up,

foundation/concealer, with hair down and option to put in a pony tail. This is a shoot for bedding soft goods so the idea you are either waking up or getting ready for bed. Men neatly trimmed facial if you maintain a beard etc. You will bring your own wardrobe: Loungewear, loose fitting pants/pajamas, leggings, t-shirts or long sleeve lightweight shirt.

• Neutral colors, no bright colors, or dis-

tracting patterns. Avoid burgundy or cream colors because they match the product. White, grey, soft pastel colors.

Talent will bring options.

• If you are not already a vendor in pro-

ducer’s system you will need to fill out the vendor application forms. Net pay is typically 30-45 days from when the shoot wraps.

Social Shoot - Lifestyle/Food Photography • Seeking 3 unique families for a social

shoot at the Main Event in Grand Prairie.

Lifestyle/Food photography with short video clips being captured. Families preferred.

• Production states: “Really just a fun

family day full of play and food while we capture some great content!”

• Casting for talent in a commercial for a

home services company in the Atlanta, GA area.

• Company: Pence Media.

• Shoots either Oct. 27 or Nov. 3 in the

Atlanta, GA area.

Black / African Descent, Latino / Hispanic, White / European Descent, this a for a non-speaking role of a tech in a home services commercial.

Customer: female, male, 30-60, Asian, Black / African Descent, Latino / Hispanic, White / European Descent, this for a non-speaking role in a home services commercial.

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

• For consideration, include photos of

yourself/family in your submission.

• Pays $250 a day plus meals.

backstage.com

• Company: The Premise Studio. Staff:

Luke Covert, dir.; Jeremy Hess, prod.

• Records remotely. Talent must have

access to prosumer/professional level audio equipment. Performance/authenticity is more important than audio fidelity in this case.

• Pay is $400 for the day and does not

include travel.

• Seeking—Chloe: 18-40, Chloe (not her

real name), is a real person, the details of the story are all accurate. She is a survivor of human trafficking. She was tricked into it by a friend she’d known since she was twelve, and was trafficked for months across many state lines.

Online Commercials & Promos

• Seeking submissions worldwide.

• Send submissions to luke@wakeenand-

Pet Odor Spray Testimonial, Cat/Dog Owners

company.com.

• Note your availability and turn around

time. The content itself will be 2-3 minutes long and we’ll require several reads and possibly a few pickup lines.

• Casting a remote shoot that would fea-

ture talent along with a pet cameo, for a pet odor spray. Production states: “We are looking for pet owners that can talk about their pet smells and demonstrate a popular home pet spray that is not toxic to pets.”

• Pays $400. Audio to be used online and

for an in-person charity fundraising event for a non-profit.

• Company: TubeScience. Staff: Sarah

Furlong, casting.

Stage Staff & Tech

• Talent works remotely.

• Seeking—Pet Owner(s): all genders,

45-65, all ethnicities, this role is open to couples and pairs of any kind or single pet owners. Production states: “You will be sent the product and be talking about pet odors and demonstrating the product.”

‘Cinderella’

• Seeking Equity assistant stage manager

for play “Cinderella.”

• Seeking submissions nationwide.

• Send submissions to casting@tube-

• Company: Aurora Civic Center

Authority. Staff: Brenda Didier, dir.-cochoreo; Tiffany Krause, co-choreo; Joey Stone, assoc. dir.; Korey Danielson, music dir.; Celia Villacres, assoc. music dir.; Maegan Burnell, stage mgr.; Tim Rater, president-CEO; Jim Corti, artistic dir.

science.com.

• Pays $200 for project, all media buyout,

non union.

few charismatic individuals who’re willing to film themselves talking about and demonstrating the product. This is a work-from-home gig, must have an iPhone 8 or newer. Androids are acceptable but the camera quality must be good.

ethnicities, family out having fun at Main Event. Mom: female, 25+, all ethnicities, having fun with her kids at main Event.

Dad: male, 25+, all ethnicities, having fun with his kids at main Event.

Daughter: female, 7-14, all ethnicities, having fun with her family at Main Event.

Son: 7-14, all ethnicities, having fun with his family at main Event.

non-profit. Trigger/Content Warning: Script contains straightforward language about a very abusive real life story.

Voiceover actress will be speaking in the first person. Only apply if you’re comfortable with that type of content.

com.

• Shoots Sept. 28 and/or 29 (8 a.m.-4 • Seeking—Family: all genders, 7+, all

• Casting an abuse survivor voicever for a

• Seeking submissions from GA. • Send submissions to Erin@pencemedia.

Phone Charger Ad

p.m.) in Grand Prairie, TX.

Non-Profit, Abuse Survivor Voiceover

• Seeking—Tech: male, 30-50, Asian,

• Company: Make Every Moment The

Main Event.

• Pay provided.

• Casting a phone charger ad. Seeking a

• First rehearsal Oct. 12, 2021; tech Nov. 4,

2021; runs Nov. 10, 2021-Jan. 9, 2022 in Aurora, IL.

• Seeking—Stage Manager: 18+.

• Seeking submissions from IL. • For consideration, mail resume to Rose

Quealy, 8 E. Galena Blvd., Ste. 230, Aurora, IL or email to RoseQ@paramountarts.com. Submissions deadline is Sept.

23. Stage Manager Pre-Production Oct. 5.

• Company: WKND Digital.

• TBD shot on your phone.

• Seeking—Phone Charger User: all gen-

ders, 20-35, A person describing how much they love their new phone charger.

• Pays $840/wk. Equity LOA ref COST

Contract.

• Seeking submissions nationwide.

• Send submissions to video@wknddigital.

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

com.

• Submit a video expressing your interest

in the role so we can determine if your

31

Gigs Facebook Oculus Holiday Campaign

• Seeking Brand Ambassadors to repre-

sent Facebook while educating consumers on the products, while promoting sales at a live event promoting Facebook Oculus/ Portal.

Note: This is a great holiday gig for actors!

• Company: The Lynne Experience -

Experiential Casting Agency. Staff: Lynne Carole, owner.

• Runs Oct. 2, 2021-Jan. 16, 2022 (Sat/

Sun. from 11 a.m.-5 p.m. for 16 weeks) in multiple locations.

• Seeking—Brand Ambassador: 18-60.

• Seeking submissions from CA, CO, CT,

FL, GA, HI, IL, IN, KS, MA, ME, MI, MN, MO, ND, NH, NJ, NY, OH, OK, OR, PA, SD, TN, TX, UT, VT and WI. • Apply on Backstage.com.

• For consideration, submit your name

and contact info and indicate which location is best for you.

• Pays $17-$19/hr.

Festivals & Events NFL Vikings Home Opener, Brand Ambassadors

• Seeking brand ambassadors to work at

NFL Vikings Home Opener. Job details plus requirements: Generate buzz through passion and engagement.

Hand out premium items to consumers to build brand awareness and excitement with consumers. Engage consumers by sharing key messaging points in line with the client mission.

Encourage consumers to visit the footprint. Enthusiastically create memorable brand experiences for consumers. Assist Manager on-site with additional duties as needed.

Remain engaging, professional, and positive throughout the entire event.

• Company: The Lynne Experience -

Experiential Casting Agency. Staff: Lynne Carole, owner.

• Shoots Sept. 26 (8:30 a.m.-4:30 p.m.) in

Minneapolis - US Bank Stadium.

• Seeking—Brand Ambassador: all gen-

ders, 18-50, Name of Promotion: GMR U.S. Bank Vikings Home Opener 2021.

Must be punctual and arrive on time.

Ability to effectively communicate with multiple consumers and clients.

Able to demonstrate creative problem-solving skills. Ability to interact well with consumers. Able to work outdoors and stand/walk for the entirety of the event. Enthusiastic, outgoing, and engaging personality with strong customer service and communication skills. Wardrobe: Branded uniform provided, shoes and pants TBD. • Seeking submissions from MN. • Send submissions to promos@lynnexp.

com.

• Send your full name, phone number,

email address, your resume, a recent picture via email.

• $20/hr plus a $20 parking stipend.

09.23.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q: Our Expert

An ideal self-tape offers an opportunity for me to get to know an actor, even if I haven’t seen them physically in the room. Especially now, [with] so much of our self-taping occurring virtually, I don’t necessarily have the opportunity to really dive in and get to know the scope of the actor’s work. An ideal self-tape gives me a glimpse of the depth of what an actor can do, even within the confines of the material that we send them.

I want a self-tape that looks like the actor who is going to show up on set; sounds like the actor who is going to show up on set; and gives us a little sense of who this actor is, how they’re going to work, and how they’re going to fit into the greater scheme of our creative team and full cast. Though sometimes it provides just a little bit of material, I have to learn a lot from that initial self-tape.

So for me, an ideal self-tape is the beginning of the story—the beginning of the conversation with the actor in this role—and it gives me a full sense of what I’ll be getting if we hire the actor.

I don’t have a nonnegotiable element. Perhaps, in the broadest sense, I want you to use the material I sent; I want it to be appropriate for what we’re working on. That’s really it. Even when we get it, and if you have an issue and need an extra day, ask—we may be flexible. Or I might say the team is going to review everything on Friday morning and make an offer Friday afternoon, so, no, you can’t have the weekend. But at least you can ask, and we can give you that information.

We really don’t have nonnegotiables. We’re here to elevate the actor, amplify those voices, and be supportive. I know it’s cheesy and every casting director says this, but we really are there to champion them. *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 09.23.21

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; EISENBERG: FADEOUT MEDIA

Daryl Eisenberg is a casting director and managing partner with Eisenberg/ Beans Casting.

How would you describe the ideal selftape? Are there any nonnegotiables?

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