Backstage Magazine Digital Edition: October 7, 2021

10.07.21

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Fall College Guide 2021:

5

unlikely courses that will make you a bankable star

Plus: What students

really think about returning to in-person learning

9 Pages OF CASTING NOTICES

Secrets of the Game A never-better

Martha Plimpton

maintains: “There’s no such thing as perfection”

Act. Write. Direct.

Be the Art and the Artist.

Onstage and on camera, BFA and MFA students at the School of Drama at The New School develop their unique identities as performers and collaborative makers in the heart of New York City.

Inspired by our faculty of working professionals and worldclass visiting artists, students build their acting, writing, directing, and creative technology skills, finding new forms of authentic expression and producing work that is relevant, engaging, and powerful.

Deeply committed to the art and the artist, we help students develop their agency and independence, preparing them for a world that increasingly demands informed, agile interdisciplinary talent.

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Contents

vol. 62, no. 28 | 10.07.21

Cover Story

Having Cover Story a Good Time Prospecting for Gold

The Green Room 6 The winners are in for the longdelayed Tony Awards The Green Room

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

8 This week’s roundup of who’s 10 Case Walker on starring “The Other Two” casting what whom

Though “Mass” is Martha Plimpton’s most somber and hitting it big on social media screen role to date, the 10 Annie Murphy reflects on Your official guide to the Oscar hopeful insists: “Schitt’s Creek” Advice 2020 Oscar nominations “If it’s not fun, what page 16 14 NOTE FROM THE CD are we doing it for?”

Advice page 20

Does your child actually want

to act?

13 CRAFT

Survive and thrive

16 #IGOTCAST Ally #Stankard 13 IGOTCAST

Mark Beauchamp

16 CAREER DISPATCH Take time toAGENT care MAN 14 SECRET

The power of intention

Features 4 Features BACKSTAGE 5 WITH…

Dastmalchian 4 David BACKSTAGE 5 WITH...

David Alan Grier 12 REACHING HIGHER Boston 12 MEETConservatory THE MAKER at Berklee Cathy Yan, “Birds of Prey” 14 THE ESSENTIALISTS director Nick Powell, composer

HE ESSENTIALISTS 18 14 IN T THE ROOM WITH

Jeremy Woodhead, Kerry Barden and Paul Schnee hair and makeup designer 26 DID SOMEBODY SAY 15 IN THE SKILLS ROOM WITH ‘SPECIAL NEEDED’?

Victoria Thomaswill expand These five classes your horizons 21 OUR DREAM BALLOT And the 2020 Oscar SHOULD 28 CLASS IS (BACK) IN SESSION have gone to…

Four students sound off on returning to in-person learning 32 ASK AN EXPERT Amy on principal and 56 ASK ANRuss EXPERT background work Erica Hart on how to connect with a casting director

Casting Casting 22 New York Tristate

30 New York Tristate 27 California 38 California 28 National/Regional 49 National/Regional Cover illustration by John Jay Cabuay.

Cover designed

by Ian Robinson.

Martha Plimpton photographed

by Zoe McConnell on Aug. 28 in London. On cover and this page: jacket and trousers by the Deck. Shoes by Louboutin. Additionally in story: dress by Safiyaa. Shoes by Givenchy.

Red blazer by Edward Sexton. Cover designed by Ian Robinson.

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BACKSTAGE, vol. 62, no. 28 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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EVAN YIONOULIS Richard Rodgers Dean and Director of the Drama Division DERRICK SANDERS Associate Director TANYA BARFIELD and DAVID LINDSAY-ABAIRE Co-Directors of the Lila Acheson Wallace American Playwrights Program

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Backstage 5 With...

David Dastmalchian

By Allie Volpe

From the stages of Chicago to live-action adaptations of some of his favorite comic books, David Dastmalchian brings a singular appreciation and focus to his work. This year alone, the actor is appearing in “The Suicide Squad” and “Dune.” The latter marks Dastmalchian’s third time working with director Denis Villeneuve, a collaboration he fostered through hard work and a good reputation.

What advice would you give your younger self? Be very vigilant in surrounding yourself with people who elevate you as a person. As a young artist, competition, envy, jealousy— those are going to be inherent. You should acknowledge those among your friends. But while recognizing those feelings, it’s important to remember to celebrate and elevate one another.

character I auditioned for, he was written as overweight, bearded, and scruffy, like a hermit or hoarder. When I read the character, I saw him so differently. I saw him looking like beige wallpaper. I thought he would blend in no matter where he was. I had a beige sweater vest, and the way I combed my hair felt like I wanted to disappear wherever I was standing. I felt that was a good instinct for what the director was looking for.

How did you get your SAG-AFTRA card? I was not supposed to audition for anything outside of school when I was at the Theatre School at DePaul, but I’ve always believed rules are there to be challenged and broken. I auditioned for a commercial outside of school for [the] Nintendo 64 [game] “Cruis’n World,” and I booked the commercial. I joined the union.

What performance should every actor see and why?

Watching the Chicago actors do their thing night after night— actors like Linda Reiter or John Judd—I’ve learned so much watching them. I always think about Emily Watson in “Breaking the Waves”; everything Meryl Streep has ever done; and finally, John Cazale. Every time he was in a scene with another actor, he elevated their performance.

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

One example where I did book the role was “Prisoners.” The

“Relationships and reputation are everything.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: DFREE/SHUTTERSTOCK.COM

What is your worst audition horror story? I got the opportunity to audition for “Ant-Man” in 2014. The character I was auditioning for was this Russian computer hacker, and based on the sides I was given, I created a character I felt very strongly about. And of course, a dialect, which I worked very hard on. I got to have what’s called a chemistry test where Paul Rudd, who had already been cast, was going to be improvising some scenes with the guys auditioning. I showed up in the clothing, hair, with the voice that I believed represented this character, and we started doing some improv. [Afterward,] I was in the waiting room, and Paul Rudd went in and introduced himself. And he said, “How long have you been in the U.S.?” Paul Rudd is from Kansas, and he grew up about 10 minutes away from where I grew up. I said [in dialect], “Mr. Rudd, I come over for the assistant manager at the Long John Silver’s in Oak Park Mall.” He looked at me like: You know where the Oak Park Mall is? and then I said, “Paul, I’m from Overland Park, too.”

STARS AREN’T BORN, THEY’RE MADE

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Adrienne Warren in “Tina—The Tina Turner Musical”

Awards

Your Tony Winners (Finally) Are… The long-delayed 74th ceremony crowned Broadway’s best

By Jack Smart

BACKSTAGE 10.07.21

of the awards portion of the proceedings; the ceremony was presented via streaming (on Paramount+) for the first time in Tonys history. A primetime special, “The Tony Awards Present: Broadway’s Back!” then aired on CBS, hosted by Leslie Odom Jr. and including concert performances from nominated musicals. Despite the pandemic rendering several 2020 Broadway productions ineligible for Antoinette Perry Award consideration (only four musicals, four play revivals, and 10 plays qualified), a still-strong crop of contenders finally

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claimed recognition, including Matthew Lopez’s play “The Inheritance” and the new musical “Moulin Rouge!”

In the musical acting categories, rising star Adrienne Warren was recognized for playing the titular role in “Tina—The Tina Turner Musical”; meanwhile, “Moulin Rouge!” lead Aaron Tveit—who, in a strange twist and a Tonys first, was the sole leading musical actor nominee—did indeed claim the prize.

The featured performer winners were Lauren Patten of Alanis Morissette musical “Jagged Little Pill” and another “Moulin

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MANUEL HARLAN

HONORING THE BEST OF THE 2019–20 Broadway season, the 74th Tony Awards took place at long last on Sept. 26, about a year and a half after their originally scheduled date.

Following the pandemic’s abrupt interruption of that season, the American Theatre Wing and the Broadway League announced nominees last October, timing the ceremony-celebration to happen alongside the reopening of New York City theaters.

Audra McDonald, a nominee for “Frankie and Johnny in the Clair de Lune,” served as host

Rouge!” star, seven-time Tony nominee and first-time winner Danny Burstein.

“We are so privileged to get to do this, to be on Broadway, to have a life in the theater, to distract, to tell the stories that represent the many and not the few, by the many and not the few, for the many and not the few,” said Tveit in one of the evening’s many emotional speeches.

In addition to winning best new play, “The Inheritance” earned the directing award for Stephen Daldry, plus two acting prizes: Andrew Burnap and Lois Smith, the latter becoming the oldest Tony-winning performer at age 90. Rounding out the play acting categories were MaryLouise Parker of Adam Rapp’s “The Sound Inside” and David Alan Grier of Charles Fuller’s “A Soldier’s Play,” which also won best play revival.

Lopez accepted the new play honor, noting that he is the first Latinx writer to win in the category’s history. Despite setting a record as the most-Tony-nominated non-musical ever with 12, Jeremy O. Harris’ “Slave Play” came away empty-handed.

Winning five awards out of its five nominations was “A Christmas Carol,” which dominated the play design categories.

The night’s clear results leader was “Moulin Rouge!” which in addition to the best musical prize totaled 10 wins, earning recognition for Alex Timbers’ direction; Sonya Tayeh’s choreography; Derek McLane’s scenic design; Catherine Zuber’s costume design; Justin Townsend’s lighting design; Peter Hylenski’s sound design; and Katie Kresek, Charlie Rosen, Matt Stine, and Justin Levine’s orchestrations.

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

given a generally uneventful assignment: to sit overnight in a windowless room in the basement of the White House and monitor a phone that never rings—until the night that it does. The agent’s new mission exposes a potential Russian mole in the nation’s capital. While no actors have been attached to the project, Automatic Sweat Casting is taking the lead on adding an ensemble. Production is set to begin in January 2022. No specific location has been confirmed, but filming is likely to take place stateside.

What’s Casting

‘Grease’ Gets a Prequel Series Paramount+ has greenlit the Pink Ladies’ origin story

By Rebecca Welch

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

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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“The Night Agent” Netflix is getting political with “The Night Agent.” The streaming giant has greenlit

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this hourlong drama, which weaves its way through a conspiracy that has infiltrated the highest echelons of the American political system.

Based on the Matthew Quirk novel of the same name, it follows a young FBI agent who’s

FILM

Adrienne Warren Is Unstoppable

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!

FRESH OFF HER TONY AWARD WIN for “Tina–The Tina Turner Musical,” Warren has joined the cast of “The Woman King.”

The feature film, which additionally stars Viola Davis, Thuso Mbedu, and John Boyega, is a historical drama based on Africa’s Kingdom of Dahomey in the 18th and 19th centuries. Directed by Gina Prince-Bythewood, the project features an original screenplay by Dana Stevens, with a current draft by Stevens and Prince-Bythewood.

Warren will reprise her “Tina” role when the show reopens this month on Broadway, with plans to depart Oct. 31.

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MARGAUX QUAYLE CANNON

“Grease: Rise of the Pink Ladies” It’s time to slip back into those skintight leather pants, because beloved musical “Grease” is back with “Grease: Rise of the Pink Ladies,” a prequel series on Paramount+. Set before the original film’s Danny and Sandy

romance, the series will find four young outcasts—Frenchie, Rizzo, Marty, and Jan—trying to make it through their teen years and having a little fun along the way. Forgoing a more conservative social life, the girls band together to live on their own terms, eventually forming the infamous Pink Ladies. The series has yet to announce any actors on the project, but Indigo Casting has been tapped to find talent.

Production on the musical comedy is set to start in January 2022 in California and Vancouver.

“Smallwood” Based on the true story of professional bowler Tom Smallwood, this CBS series will tell an unlikely sports story.

When Tom loses his 9-to-5 job after 15 years, he’s thrown into unknown territory as he scrambles to find a way to support his family. With his wife beside him, he decides to chase his dream of becoming a pro bowler. Bonnie Zane is casting the multicamera comedy, and she’s already added Chi McBride, Katie Lowes, and Pete Holmes. Production on the series, written and executive produced by Mark Gross, is set to start in early November in Los Angeles.

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RETURNS TO IN PERSON CLASSES NOW INTERVIEWING SESSIONS BEGIN: OCTOBER 25, 2021 | JANUARY 3, 2022

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were the ones that definitely had to be explained. And then of course, growing up, like, 14 to 18, you just become a lot more self-aware and more aware of the world you’re in. My appreciation for the comedy and the writing in general just grew a ton as I became more aware of how incredible the writers are.”

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huge production; this is going to be so serious. But then on set, we’re just having fun. We’re all professional; we all prepare and do the work. But when we get to set, whatever character work you’ve done is there, and we just have fun and enjoy the art of acting.”

Case Walker Dives In

The young star of “The Other Two” on how he got his start on social media

By Phoebe Yates

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.

BACKSTAGE 10.07.21

originally gained a following on social media platforms like Musical.ly and TikTok, joined us to discuss filming “The Other Two” and choosing not to cater to algorithms.

Walker treated working with his co-stars as a master class.

“They’re all just super talented.

They do a lot of listening. They know what they want to do, but they’re really good at: ‘Hey, is this what Chris and Sarah want? OK, I’m gonna do that.’

Then in the scenes, too, they have a lot of fun. I went into this show like: Oh, this is a

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TELEVISION

More ‘The Other Two’ Is Coming

By Casey Mink

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

ON THE HEELS OF ITS MUCH-LAUDED second season, HBO Max has announced a third-season renewal of its comedy “The Other Two.” Starring Heléne Yorke, Drew Tarver, Molly Shannon, and Case Walker, the series debuted on the streamer in August, having made the jump over from Comedy Central. HBO Max, though not releasing data, said that the Chris Kelly and Sarah Schneider series has been the streamer’s most popular show since its summer premiere.

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CHRISTINA TURINO

CASE WALKER KNOWS A thing or two about overnight success. On Season 2 of HBO Max’s “The Other Two,” created by Chris Kelly and Sarah Schneider, he plays Chase Dreams, a nascent pop star for the YouTube era. The show centers on Chase’s siblings— Cary (Drew Tarver) and Brooke (Heléne Yorke), two washed-up millennials who hit a wall even as their brother and mother (Molly Shannon) rise to stardom. But Walker functions as the show’s heart and elevates Chase beyond a mere Justin Bieber parody. The actor, who

He admits some of the series’ niche jokes have gone over his head.

“I was, like, 14 or 15 when we did the pilot, and they mentioned Debra Messing in that episode.

The name jokes where they were mentioning people would just fly over my head. Like, Debra Messing? Cool? Those

As a budding social media star, Walker found an outlet for his creative pursuits.

“I’ve always been a performer and an entertainer since I was a kid—the classic ‘play the guitar around the fireplace for the grandparents’ kind of kid. In middle school, I really needed a creative outlet, so I started posting everything I did on social media. My singing, my comedy, Musical.ly, and Instagram—just having so much fun. I ended up using it as a vehicle to get to the acting thing and to get out to L.A. My parents, I got them on board, because they weren’t going to just fly me out to Hollywood.

So they were like, ‘Let’s do this thing. He’s making it happen on social media!’ I was on a broken iPod in my room in Colorado.

I just started making videos, then used that to launch my acting career; and it’s been a really cool journey, and I’m so grateful for it. I just dove into it hard and have been working at it for five years now.”

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Reaching Higher

Boston Conservatory at Berklee

By Benjamin Lindsay

A Boston Conservatory student performs in “Red Noses”

What makes your program different from other top-performing arts programs in the country? What are its guiding tenets, and what’s it all about?

Jermaine Hill: One of the things that I was drawn to was the idea that the conservatory is really student-focused and that radical generosity is sort of central to who we are and what we believe in. We believe

BACKSTAGE 10.07.21

that there needs to be a binary between a strict conservatory, pre-professional training program and a generous liberal arts program. Both of those things can exist. We can be radically generous [while] training artists, art scholars, changemakers, activists—all of those can have equal value.

We reject the idea of the “triple threat.” Why is our talent a

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threat? It should be something that is uplifting and supportive and positive and wonderful and beautiful. And why limit it to three? It’s not just singing, acting, and dancing. There’s creating and devising and choreographing and directing and looking at uplifting underrepresented and marginalized voices through our academic programs. It’s studying on-camera, it’s voiceover work. We’re really committed to creating an environment in which students can do all of those things and bring forth their authentic selves.

Patsy Collins Bandes: We think of our students and our community as citizen artists.

We don’t want people to come here to be stripped down and made into some cookie-cutter

What advice do you have for the audition room, and what do prospective students need to prepare? PCB: The biggest thing that people should bring into the audition room is their authentic selves.

Who are you as a human being?

And I know it’s hard to say, “Don’t be afraid in the audition room,” because it’s terrifying.

But I have never heard so much laughter as I have sitting with our audition team. They are some of the most joyous people, and they want to see people who come in as their own unique individual. Bring your 16 bars, bring your monologues, but bring what really shows who you are as a human being.

JH: The audition process is tricky, because in our culture, we aim for perfection, which is so subjective and so stifling, creatively. What we can all aim for is excellence, and that’s that individual rising to the top.

For the full interview with Collins Bandes and Hill, visit backstage.com/magazine.

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PHOTO BY ERIC ANTONIOU/BOSTON CONSERVATORY AT BERKLEE

KNOWN FOR ITS RIGOROUS AND RENOWNED TRAINING PROgrams across dance, music, and theater, Boston Conservatory at Berklee is the City on a Hill’s crown jewel of performing arts education. Chair of the Theater Division Patsy Collins Bandes and assistant chair of the Theater Division Jermaine Hill pride themselves on getting contemporary theater and musical theater students Broadway-ready—or ready for anything a career in the arts may throw at young professionals. The two recently took our higher education questionnaire to discuss what they look for in the audition room, how to choose the right program for you, and more.

version of something, right?

We want people to come here and learn how to be a better version of who they already are and to think about how they are going to use their art to change the world. That looks like a lot of different things. And for many people, particularly in our musical theater program, Broadway is that goal. But it could also be regional theater, it could be creating their own company, it could be fringe theater, it could be working in a completely different industry.

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culture +

Spotlighting the people and projects you need to know Note From the CD

Does Your Child Actually Want to Act?

By Marci Liroff

I RECEIVED A CALL THE other day from a friend. She told me that her 7-year-old daughter was asking about becoming an actor. I gave her the same advice I give every parent of a young child who expresses an interest in getting into the biz: “Get her involved in school plays, and tell her to wait and come back again next year and explain why she wants to be an actor.” In her book “The Hollywood Parents Guide,” Bonnie J. Wallace—author, manager, and mother of Dove Cameron—writes: “If I have one piece of advice, I’d say to make sure the adventure is child-led and that the child genuinely loves the work of acting, rather than the idea of being famous.”

The craft of acting looks like so much fun from the outside.

The accolades, attention, praise, and special treatment all seem pretty darn cool. That said, as

a parent, have you ever really thought through what it takes to be a successful actor and what responsibilities you’ll have throughout this endeavor?

Expenses: These come from shepherding your child through training, plus basic day-to-day costs and the costs associated with actually booking the job.

Classes, training, and coaching: Yes, some kids are just born with talent; but as time goes on, they will need a foundation to build upon.

Most successful adult actors I know still take classes to keep their instrument sharp, just as professional athletes train daily. Unless you’re an actor yourself, you should not be coaching your child. Coaching fees generally run between $75 and $200 per hour. Do you have that amount of money in your

THE ESSENTIALISTS

NICK POWELL composer

Broadway is back, and so is “The Lehman Trilogy,” Stefano Massini and Ben Power’s epic play that had been slated for a spring 2020 opening until, well, you know the rest. Composer NICK POWELL hopped on the phone from London to discuss working with director Sam Mendes (the two also collaborated on “The Ferryman”) and the risk of using music as a substitute for storytelling.

Music must be more than just pretty.

“I’m super aware that music can sometimes cover up dramaturgical flaws, because music is a balm, isn’t

By Casey Mink it? So I’m very keen to interrogate exactly what the music is achieving in any one moment. And if it’s just to create a sense of emotion, then it’s incorrect—because it should be specific.

You should always know exactly what you’re doing with it. Otherwise, it can become sort of like a soft bed, and I don’t think it communicates anything specific to an audience.”

Powell and Mendes shared an unspoken language.

“It was a very exciting, creative room to be in…. What bit went where, that just sort of started

budget, considering your child may land two to three auditions per week?

Self-tapes: Our industry has pivoted to the use of selftapes as the first step in the audition process. They help casting directors cover many locations, while also holding live auditions. Since the pandemic began, we’re no longer seeing actors in person, so the self-tape has become even more crucial. At minimum, you’ll need a video camera or a high-quality smartphone; a tripod, lighting, and a backdrop; and a dedicated quiet space and a talented reader to play opposite your child. The days of the parent performing this

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role are waning, because they usually produce a bad audition unless the parent is a skilled actor.

Your time: Unless your child has a driver’s license and a car, you’ll be schlepping them to and from every audition, meeting, wardrobe fitting, and rehearsal, as well as to set when they book a job. How does that work with your schedule? When they book a job, they will need a parent, guardian, or legal chaperone on set. Will you be able to accompany your child on set, or will you have to hire someone?

These are only a few of the things to consider when your child comes to you with this very special request. Acting as a career is much more than just a fun hobby.

Want more?

Read our full Note From the CD archives at backstage.com/ magazine

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ILLUSTRATION: MARGAUX QUAYLE CANNON; “THE LEHMAN TRILOGY”: JULIETA CERVANTES

Headshots: Because your child’s “look” will change every six to eight months or so as they grow up, you’ll need to get a new set of headshots regularly. Professional kids’ photo shoots can run anywhere from $350–$750 in the U.S.

in rehearsals—just making stuff up. Sam would give me a look if they were working out a scene, and that kind of meant: Play something. And then I’d make something up, and if he shot me dagger eyes, I knew it wasn’t working. But if he didn’t do anything at all, it meant he was tolerating it.”

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Spotlighting the people and projects you need to know

#IGOTCAST. Ally Stankard

By Jalen Michael

But I was determined to stick to the plan:

1 2 3

Take as many TV and film classes as humanly possible Book a fancy job on TV or in film

Get my momma out the hood and pay off my debt with the money from my fancy job

Career Dispatch

Take Time to Take Care

By Rosanny Zayas

The following Career Dispatch essay was written by Rosanny Zayas, who stars on “The L Word: Generation Q” and is a graduate of the Juilliard School.

If I could go back to drama school, one of the things I’d do differently would be to explore more fearlessly.

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Boundaries are meant to be broken.

“Be the actor [that] casting directors remember by trying to do what other actors will not do. To put it simply: Be confident [and] unique, and don’t be scared to step outside your comfort zone.”

The only bad question is the one you don’t ask.

“When I saw that the CD [of a recent project] was only looking for males in my age group, I was able to shoot him an email and inquire whether or not a female could audition. The director allowed me to send in an audition, and sure enough, I was sent an email saying the writer-director was willing to change the script to a female role if I wanted the part!”

Backstage makes it simple.

“I keep using Backstage because of its simplicity.

It is a user-friendly platform that allows for actors to easily reach casting directors, and vice versa.”

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

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ILLUSTRATION: SPENCER ALEXANDER; STANKARD: ANTHONY GRASSETTI

HOW DO I EVEN BEGIN TO talk about college? It’s such an important decision we ask 18-year-olds to make. To go, or not to go, that is the question.

For many, it’s our first real encounter with the world, leaving home to discover new parts of ourselves. For others, it could be what our parents told us was the right thing to do. Either

way, I hope I can impart some wisdom and help you on your journey with a few tips.

I went to a few institutions in my day, one of which I only just recently graduated from: Juilliard, that massive glass building next to Lincoln Center.

Yes, it was incredibly difficult to get into, and somehow, I graduated. But like many students entering graduate studies or universities, I couldn’t afford to go there. How could anyone? To live in New York City is crazy expensive—and I was born there, so believe me, I know.

But it wasn’t until I graduated that I felt a particularly painful kick in my ass: loans. That’s right, I borrowed money to hang out with these fancy people.

Uh-oh—now I had to pay it back.

Well, sorry to burst young Rosanny’s bubble, but that didn’t happen. I didn’t work for a while, and I spent any savings I did have on classes. And guess what? My student loan payment due date was creeping up behind me like Penn Badgley’s character on “You.” I had to make a tough decision: Keep taking acting opportunities that didn’t pay, or find a survival job.

I needed the peace of mind of being able to get through the day financially, so I found a job that didn’t suck the life out of me. Caretaking kept me sane and helped redirect my ideas of “success.” It isn’t always what we see on the internet or TV; it starts by looking inward.

If I could go back to drama school, one of the things I’d do differently would be to explore more fearlessly. I remember a really great comedian came and taught us a funny bit in which you intentionally trip yourself going up the steps.

I couldn’t do it. How could I fall? Even though I knew I’d be there to catch myself, I couldn’t let go of the fear of looking bad. Now I say: Let yourself fail. Try something new, and discover who you become.

ALLY STANKARD finds success as an actor by making connections, keeping it fresh, and asking the right questions.

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Spotlighting the people and projects you need to know

Kerry Barden and Paul Schnee

The new TV adaptation of “I Know What You Did Last Summer” involved entirely remote casting

By Jack Smart

FILM, TELEVISION, COMEDY, DRAMA, AWARD-WINNING OR popcorn fare: Kerry Barden and Paul Schnee have cast it all. The visionaries behind “Spotlight,” “The Help,” and the “Pitch Perfect” movies, plus this year’s “Stillwater,” “Palmer,” and “Panic” have adapted brilliantly to Hollywood’s COVID-19 era, sifting through thousands of self-tapes and conducting virtual chemistry reads. The fruits of Barden/Schnee Casting’s labor are especially apparent in the largely unknown cast of their first major 2021 project, Amazon Prime Video’s teen horror series “I Know What You Did Last Summer,” based on the popular novel and film of the same name.

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finding] series regulars first, of course, because that’s where you start putting the puzzle pieces together. And then it was interesting, because some of the series regulars were not really series regulars, because of the way this story is told— you know, people die! So it was a fun process with that going on—not being able to tell people

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This is the question on every actor’s mind these days: What are the requirements for a good self-tape? PS: Generally speaking, replicating what we do in the room is probably the best thing to do, at least in your initial self-tape. Which is to say, [use] as plain a background as you can find; I don’t think anyone needs to go out of their way and buy one of those blue backdrop things or anything.

But a fairly straight-on headand-shoulders shot, make sure we can see your face…and a slate of 20 seconds of: “Hello, my name is, I live in so-and-so”— just a little something that we might get a feel for who you are, that we’re not getting because we’re not in the room.

The missing thing [in auditions today] is just picking up on the vibe of a person. So it’s nice to have a 10- or 20-second slate, just so we can see what you’re like as a human. KB: That’s all an actor has to offer, their ideas and themselves…. Also, what we try to do in our office is to get a reader that actually is an actor, so that there’s something for the person that comes in for the audition to play off of.

Some actors forget that that’s an important factor in their self-tapes; sometimes it seems like they’re reading with their mother or whoever’s available.

Want more?

Read the full interview at backstage.com/magazine

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RAQUEL APARICIO

Tell us about “I Know What You Did Last Summer” and its challenges. How did you go about casting the pilot and beyond?

Kerry Barden: We had a few little indies that we were working on during the pandemic, but this was the first big project. And it was straight to series, too, which was great. So the casting process was [about

who made it through the whole season. Paul Schnee: One thing that the pandemic has afforded us—I can’t speak for all of our colleagues—but I know that since we’re not in the room where, say, I could see 50 people in New York and Kerry could see 50 people in L.A. in a day, now we can see several times that—because there’s no schedule; there’s no time constraints on self-tapes. So, since Amazon said, “We’re open to discovering some people,” we looked through a lot of new talent. KB: It’s a whole new process for all of us in casting, because we’re getting, as Paul said, at least three times as many tapes…and we’re not able to work in the room with the people. We can’t

give them immediate feedback.

We have to give it and get another tape—another series of tapes—with hopefully our notes being taken through to these talents by the agents and managers. It’s a longer process and not quite as efficient, but we’re making it work.

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Having a Good Time Though “Mass” is Martha Plimpton’s most somber screen role to date, the Oscar hopeful insists: “If it’s not fun, what are we doing it for?”

By Casey Mink - Photographed by Zoe McConnell

MARTHA PLIMPTON IS, AS THE KIDS might say, booked and busy. Calling from Pittsburgh on a recent Monday evening, the lifelong actor is buoyant and generous with her time, despite having worked all day on set. Then again, being spread too thin is just about the best problem an actor can have. “Isn’t that the nature of the beast?” she says, laughing.

Plimpton had planned to use the weeks of late summer to do press for her new film “Mass,” a four-hander from freshman filmmaker Fran Kranz. But as luck would have it, she instead booked a television job at what was almost literally the 11th hour. Given 36 BACKSTAGE 10.07.21

hours, to be exact, between reading the script and starting production as the new project’s lead, she’s been at work nonstop.

For an actor who requires hours of scrupulous preparation before each new role, the feat sounds impossible. Fortunately for Plimpton, she’s no such actor. “I don’t have a set schedule for what I do for a job. I don’t have a checklist of, like: First I do this, then I do that, and I do this,” she says. “I don’t really work that way. I think the main impetus behind that, though, is just the desire to have fun. From my experience in my time doing this, I’ve found the best way to have fun is just to fucking do it.”

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Plimpton isn’t sure exactly when or how she developed this “just jump in” mindset, as she calls it, and she acknowledges it isn’t something that everyone can merely decide to do. She reckons it’s a working style that’s naturally evolved over her time in the industry—which, by the way, began when she was just 8 years old. She was born in New York City to actors Shelley Plimpton and Keith Carradine, who met while starring in the original Broadway production of “Hair” in 1969. So it wasn’t that performing was in her blood; performing was her blood.

“It’s the only thing I’ve ever done. I’ve never had any other job,” she says, when asked whether being an actor was inevitable. “So, I guess the answer would be yes?”

Plimpton did not attend an acting conservatory, or any acting school for that matter.

Now a fixture of the small screen on series like “Generation,” “Younger,” “The Real O’Neals,” and “The Good Wife” (which earned her an Emmy), she’s learned as she’s worked.

From her earliest days on professional sets in 1980s cult classics like “The Goonies” and “The Mosquito Coast,” she made herself a sponge, absorbing knowledge and expertise from those around her.

“It all soaks in; you pick it all up, and you take what you like and leave the rest,” she says. “I absolutely learned on the job. I learned from working with lots of different kinds of people and lots of different styles of filmmaker and styles of actor. And I’m still learning.”

She worked consistently in film and regional theater throughout her teens and early adulthood, until arriving at a period in her late 20s and early 30s when things dried up. This was the ’90s, and as a female character actor, there just weren’t many roles for which she was well-suited. “There’s not a lot of work for women in their 20s and 30s unless they’re the lead, right? There’s almost no character work. And the character work that is there tends to be really boring,” she laments. (She does acknowledge that this has improved somewhat over the last decade or so.)

It was during this rough stretch that she had a conversation with her mother, one that completely changed her perspective on the industry and her place in it. “My mother was saying, ‘Look, do you want to be a working actor or do you want to be a movie star?

Because movie stardom, you can’t get that. It picks you,’ ” Plimpton remembers. “She said, ‘You can either be frustrated because you’re not getting picked to be a movie star, or you can be an actor. You can be a working actor and go from there.’

“Always listen to your mother,” she concludes, taking a beat. “I mean, if she’s worth listening to.” So Plimpton made the choice to stop chasing stardom and start pursuing a life as a working actor. Which isn’t to say she suddenly became immune to the slog of that venture and all that goes with it, but it led her to a place where she could “chill backstage.com

out a little bit—not be so hard on myself.”

She recalls that she even gave her audition process a much-needed burst of levity: “I was just like, You know what? Give yourself a break.

“It’s the ebb and flow of this business. It’s a toughie sometimes, and it can do a number on your ego,” she continues. “But if you can, just try and not take it personally, and

There’s all kinds of jobs we could be doing that are no fun at all, right?

And we’re lucky enough to be doing this crazy thing.

23

remember that you love what you do and it brings you joy and you have fun doing it.

There’s all kinds of jobs we could be doing that are no fun at all, right? And we’re lucky enough to be doing this crazy thing where we wear wigs and we dress in other people’s clothes and we talk funny—and we get paid for it.”

Which brings us to her approach, her process—how she does what she does. She insists that, on set, no matter what kind of scenes are on the schedule for the day, she always prefers to be surrounded by laughter, noise, and a slight air of human chaos than hushed assistant directors and isolated prep in a corner. Not only does this allow her to more readily access what she’s feeling on the day and use it in her performance; it also eliminates the risk of overpreparing.

“There’s a lot of work involved, but you know, who thinks about [it like] that? If you talk too much about it, it loses its zing. It loses its spicy pepper,” Plimpton says. By that same token, if you get bogged down worrying that you’re blowing a scene, the worst

10.07.21 BACKSTAGE

thing you can do is dwell on it. “Either ask for another take, or trust that they got what they needed and that you’re not the expert,” she says. Either way, it’s not the end of the world, and the day will end exactly the same as the one before it: “And then, in a few hours, no matter what, you’ll be home,” Plimpton says.

She doubles down on citing the importance of laughter on set, even for projects that are immensely weighty and unfunny, as “Mass” is. The film is a chamber drama centered on four parents coping with the aftermath of a tragedy; it’s best to head into the movie unaware of its additional conceits, allowing each layer to peel away as the plot unfolds. Ann Dowd, Reed Birney, and Jason Isaacs star alongside Plimpton, and the film is set for the most part in a single dour room in a church. Given its heavy material, it is tough to believe that outside of “action” and “cut,” the atmosphere on the set was jovial.

“We did a lot of laughing on the set, an enormous amount of laughing. I like to go right into it and just put everything out on the table,” Plimpton says. “It makes it much easier to do it that way than to feel like I’ve got to work up to something.” She also insists that, even though she’s playing a character who’s carrying immense grief and pain, she didn’t have to premeditate about how to get there.

She only needed to show up willing to play.

“It’s really all there in the script. And there really wasn’t much other delving or other work, for me anyway, except to just be in it and just go in there and do what the scripts asked me to do.” Her scene partners, of course, were also hugely helpful, and the group got exceptionally close in a short amount of time.

“We would get together in our hotel rooms and have cheeses and wines and go through the script and talk it through. We shared so much,” she says. “We developed a trust that would make it possible for us to be in there. And we all realized that we would make lifelong friends, having gone through this particular movie, this kind of story, together. Ann says it all the time: ‘You’ll never be rid of me.’ I mean, they’re part of my life now forever.”

The film itself, with its single setting and emphasis on long sequences of dialogue, evokes a play, which also helped the quartet of actors—all of whom are stage veterans— wade through the muck. Plimpton learned a lot from taking part in such a specific working experience. But regardless of the medium, genre, whom she’s working with, or any other variables, she insists that each one teaches her something new.

Though she might not immediately know what that something is, she knows it will eventually make its way into her perfectly imperfect approach to acting. She wouldn’t have it any other way.

“Look, there’s a reason that certain Indigenous tribes will weave a mistake into every rug,” she says. “There’s no such thing as perfection. And seeking it will just give you an ulcer.”

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Did Somebody Say ‘Special Skills Needed’?

These five classes will expand your horizons

By Alex Ates FUN FACT: ONE OF THE MOST CRUCIAL PARTS OF AN ACTOR’S résumé is their “fun facts” or “special skills” section. Whether it’s juggling, tap dancing, dialects, or tumbling, directors and casting professionals often delight in the unique skills of an auditioner for three reasons: l A particular skill might be helpful or relevant to the specific project they’re casting. l Special skills are conversation starters in the audition room; it’s common for casting directors to glance at the special skills portion near the end of an audition to hear the backstory of an eye-catching talent or trick. l It’s a chance for directors to learn a little bit about you and find out which auditioners are actually interesting people.

Interesting skills will help you stand out from the pack, and they can sometimes lead to side hustles when you’re between gigs. What if acting training wasn’t just about studio classes, but also about courses that teach you a skill that complements your craft and supports your practice as a working actor? We’ve identified some undergraduate classes at well-known college programs around the country that could bolster that special skills section.

Photography I at New York University’s Tisch School of the Arts While the Tisch curriculum at NYU is pretty strict for

specific disciplines, Open Arts courses allow students to learn interdisciplinary skills like photography. It’s an art form that has been both watered down

and popularized thanks to easy access to high-quality cameras on smartphones. However, knowing the craft is a key skill for actors, because headshots are essential casting tools. If you can take quality headshots, you can not only save money but also make some by photographing your friends (at a “pay it forward” discounted rate, of course).

Graphic Design for NonMajors at the University of Michigan

Like photography, graphic design is an essential skill for actors, because they need to know how to promote themselves.

Having a working knowledge of Adobe Photoshop, Illustrator, and InDesign will allow you to create sleek résumés, touch up headshots, and create professional website materials. This skill is also essential if you want to self-produce or start a theater company with your friends; designing quality posters and programs is a must.

Performing Sketch Comedy at Emerson College

Emerson was one of the first schools to offer a degree in the Comedic Arts, opening up various classes on the craft of being funny. Dissecting comedy can be a dangerous act; as Mark Twain said, “Explaining humor is a lot like dissecting a frog; you learn a lot in the process, but in the end, you kill it.” Still, comedians, like jazz musicians, need to hone their chops. After all, sketch is a natural medium for actors, as it encompasses both performance and writing. Consider Beck Bennett and Cecily Strong of “Saturday Night Live,” who both have BFAs in acting and have found fame thanks to their sketch skills.

Acting for the Microphone at the University of California, Los Angeles

Audiobooks and audio news articles have exploded in popularity thanks to smartphone apps, and recent technology has made high-quality recording affordable even without access to a recording studio. Many actors pay the bills by staying home and using a DIY setup to perform audiobooks, voice video game characters, or create audio descriptions. Acting for the microphone is a skill that’s not only special—it’s strategic.

The Interview at North Carolina School of the Arts

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GOODLUZ/SHUTTERSTOCK.COM FIRSTNAME/LASTNAME

No matter what you do, interviewing is a skill that can pay off both personally and professionally.

Consider how many actors build a persona or clout by self-producing podcasts. There’s also the increasing popularity of documentary theater, such as Broadway’s “Come From Away” and the work of Anna Deavere Smith, who solidified her stardom by theatricalizing interviews. Training in this art can benefit applied theater projects, man-on-the-street comedy routines, satirical news bits, or podcasting.

[I wanted my school] to create a space where it is welcoming of Black people and people of color, and for us to tell our stories, to continue to take the initiative, to be proactive rather than reactive.

New York Film Academy

VICTORIA MOZITIS, BFA IN MUSICAL THEATER, RIDER UNIVERSITY: I defi-

nitely was going back [to campus], whether class was online or not. Of course, I feel like throughout the past year and a half, I’ve learned not to expect anything. I was hoping to go back fully in-person, but there were still those doubts.

How has it been so far?

ASC: As of now, masks are required in every class. In all my performance classes, we are wearing masks. And while it’s not ideal, it could be worse; we could be on Zoom! Myself, my professors, my peers—we’re just so happy to be together.

We’ve been rehearsing masked and social-distanced. But for the performances themselves, we’re going to be maskless. As soon as we’re offstage, we whip a mask on backstage. Just being back in rehearsals is weird, but it almost feels like it’s been no time.

AM:

Class Is (Back) in Session

“Back to school” takes on a whole new meaning for these four students who have returned to in-person learning after 18 months on Zoom

By Matthew Nerber THOUGH THERE IS STILL SO MUCH UNCERTAINTY, THE INDUSTRY IS beginning to bounce back from the pandemic. The next generation of actors and creators are returning to in-person training after a year and a half. So what’s it like to be back in class in the age of COVID-19? Here, four college students from around the country share their thoughts on where we are and where we need to go.

ALEXA ST. CLAIR, BFA IN MUSICAL THEATER, ROWAN UNIVERSITY: I

was nervous all summer because I didn’t know what to expect. I was like, What if I don’t like class in person? I loved it so much over Zoom.

But luckily, I was able to do a lot of

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theater this past summer, and that kind of got me back in the swing of things—into performing and being in the theater scene again.

ALYSSA MARCHANT, BFA IN ACTING, SOUTHERN METHODIST UNIVERSITY:

I was always hoping that we’d be back, that we’d be maskless. But I knew that was pretty unrealistic.

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CHRISTOPHER PORTLEY, MFA IN ACTING, CASE WESTERN RESERVE UNIVERSITY: My expectation of

going back [in] the fall was for my institution to reflect the world, reflect humanity, reflect Black people, people of color, women— reflect it all and not minimize it.

masks when we’re in spaces with each other, and we make sure we’re sanitizing and stuff like that. But we’re in the space with each other, which is really great, even in that capacity.

VM: I took in-person class for granted, especially my dance classes. I have a jazz class this semester, and in the first class, our energy was amazing. And I feel like I’ve improved as a dancer because now I’m enjoying taking up space and dancing with other people.

What can universities be doing better during this time?

ASC: I think we can all be a little more sensitive. This is a pandemic; this is something nobody has experienced before. We can take a step back, be a little more empathetic [and] understanding, continue these conversations about mask safety and vaccinations, and just listen a little bit more to everyone.

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JULIEN JEAN ZAYATZ/SHUTTERSTOCK.COM

What were your expectations leading up to the fall semester?

It was, like, two weeks before school actually started again that the mask mandate came back.

The main thing was that we were coming back with a full in-person season, and there was still so much unknown about [how that would work].

CP: We’re fully in-person. We have

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

Submit a Notice |

New York Tristate Plays ‘Macbeth’

• Seeking Equity actors for roles in

“Macbeth.” Note: Local actors encouraged to submit. Actors of all gender identities and ethnicities encouraged to submit.

• Company: Bay Street Theater. Staff:

Allen O’Reilly, dir.; John Sullivan, assoc. prod.

• Runs Oct. 14-22 at Bay Street Theater in

Sag Harbor, NY.

• Seeking—Macbeth/Third Murderer:

male, 35-45, a warrior, yet vulnerable, Has a strongbackground in stage combat. Lady Macbeth/Witch 2/Lady Macduff: female, 35-45, possibly 5’9”5’10”. Banquo/Attendant/Porter/ Doctor/Seyton: male, 40-50. Sergeant/ Macduff/First Murderer/Attendant: male, 40-50, a warrior, stoic, has a strong background in stage combat. Witch1/ Ross/Gentlewoman/Second Murderer: female, 50-60. Malcolm/Witch 3/ Fleance/Guest/Servant: male, 20-25, excellent movement skills andversatility.

Duncan/Siward: male, 55-65, may also be involved in combat.

• Seeking submissions from NY. • Submission Instructions: Bay Street

Theater is currently accepting video submissions only from Oct. 4-11, 2021.

Prepare a Shakespearean monologue.

Slate your name and the name of your audition piece. Include picture and resume with your submission. All submissions should be sent to https://forms.gle/ VCj1KqH2G4w9yXhC9. Submissions deadline is Oct. 11.

• Equity’s contracts prohibit discrimina-

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

• Pays $526.50/wk. Equity TYA Contract.

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

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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.

Musicals

Casting picks of the week

‘Man of La Mancha’

• Seeking Equity actors for principal

roles in “Man of La Mancha.” Synopsis: “Man of La Mancha” tells the story of the “mad” knight Don Quixote as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.

BY LISA HAMIL

stage

‘Life x 3’ Join Yasmin Reza’s Cathedral City, CA Equity production

• Company: Plaza AEA Productions, Ltd.

Staff: Mitch Leigh, music; Joe Darion, lyrics; Dale Wasserman, book; Plaza AEA Productions; Kevin F. Harrington, exec. prod.; viewing auditions: Kevin F. Harrington, dir.; Merete Muenter, choreo; Karen Yelaney, musical dir.; Jamibeth Margolis, CSA-casting dir.; Meredith Hoddeson, casting assist.; Bruce, Rebold, artistic dir.

chorus calls

‘Aladdin’ Find “a friend like me” in NYC

musical

• Rehearses Nov. 8-19 at a studio in NYC;

show runs Nov. 20-Dec. 12 at Plaza’s Broadway Long Island at Elmont Memorial Library Theatre, Elmont NY. Note: A 30-minute Long Island Railroad train ride.

‘Man of La Mancha’ Create your own adventure in Elmont, NY

Quijana as Don Quixote): male, 30-69, an actor, playwright, and would-be knight. He is a romantic—some sane crazy—and has a vision of a far better and nobler world, where knights and chivalry rule the day. He plays Cervantes and a gentle man who thinks he is a knight errant. High lyric baritone (E). Manservant (Sancho): male, 20-69, strong character tenor C to high G. Devotedand loyal, he is Cervantes/Quixote’s manservant.

Sancho is funny, curious and greedy.

He is a good man with common sense.

Aldonza (Called Dulcinea by Quixote): female, 20-45, mid 40s. Soprano low Ab to high Ab. She is a kitchen wench/ prostitute who Quixote sees as the fine Lady Dulcinea. Guarded, defiant, a survivor. Beneath her tough exterior is a woman with a noble, gentle heart who has given up hope. The Governor (The Innkeeper): male, 40-69, bass low G to C#. The Governor is the leader of the inmate society in the prison. He is a powerful man who oversees Cervantes’ trial. As the Innkeeper he is skeptical of Don Quixote but kind – a gentle giant. The Duke (Dr. Carrasco, Knight of the Mirrors): male, 20-59, baritone low C to Db. As Carrasco, he is Antonia’s fiancé. An arrogant man of science and reason. He thinks Don Quixote is a madman and insists that he return home for treatment. Padre: male, 30-69, lyric tenor F to high G. A

‘House That Will Not Stand’ Protect your home in New Orleans, LA.

stage

• Seeking—Miguel de Cervantes (Alonso

student film

‘Infinity’ Contemplate eternity in this San Francisco, CA thriller

kind, thoughtful, sympathetic but passive priest. He is well-intentioned, but not strong enough to stand fully behind his beliefs. Antonia: female, 20-49, soprano. Quixote’s niece and Dr. Carrasco’s fiancée. A seemingly sweet and caring young woman, but she actually cares more about her needs than her uncle. Housekeeper: female, 40-69, soprano/mezzo.

Quixote’s housekeeper. She is not thrilled to be working for a man whom she considers to be mad. May double as Maria. Maria: female, 40-59, alto character voice. The exasperated wifeof the Innkeeper. She sees, and expects, the worst of all who enter the inn; especially Quixote. May double as the Housekeeper.Production states: “Note: Please sing Housekeeper material for this role.”

• Seeking submissions from NY.

30

• For consideration, email video, with

your photo/resume attached as a pdf in Vimeo or unlisted YouTube format to casting.plazaAEA@gmail.com with your full name and the role you’d like to be considered for in the subject line.

• Be prepared to sing a song of your

choice from the traditional musical theater repertoire (with your own accompaniment). Show off voice and range.

As an alternative to singing a song of your choice, you may sing an excerpt from ‘Man of La Mancha.’ Sheet music, teaching tracks, and accompaniment tracks for these roles are accessible at https://www.dropbox.com/sh/lqnim2cyuun2lq2/AABugEh7MWmb_ssMc8_ btFa0a?dl=0. State your name and the title of your song at the top of the video. If you are using an iPhone to record, be sure to film horizontally and in a well-lit space. Submissions deadline is Oct. 12.

• For more info, visit www.

PlazaBroadwayLongIsland.com.

• Pays $455/wk., plus LIRR railroad travel

expenses and Uber transportation to/ from local station and theatre. Equity LOA ref COST Contract.

‘Rock of Ages,’ Principal Roles

• Casting Equity actors for principal roles

in “Rock of Ages.”

• Company: Harborside Productions LLC.

Staff: Richard Dolce, producing artistic dir.; Vic DiMonda, assoc. prod. dir.; Chris D’Arienzo, book; Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry, Poison and Europe among others, music-lyrics; Igor Goldin, dir.; Jeff Cox, musical dir.; Mara Newbery, choreo.; Wojcik/Seay Casting, casting; Scott Wojcik, Gayle Seay, Holly Buczek, and/or Courtney Hammond, casting.

• Rehearsals begin Dec. 28; runs Jan.

13-Feb. 27, 2022 in Northport, NY.

• Seeking—All Roles: 18+.

• Seeking submissions from NY. • Sing your own show appropriate mate-

rial or use the accompaniment at https://wscasting.com/the-engemantheater- epa-and-ecc-self-submit-infoshow-roa/ based on your voice part.

Email your submissions as either a direct link or an attached file to engemanepa@gmail.com. Prefer to not receive links that need to be downloaded. Submissions deadline is Oct. 8.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a backstage.com

Manhattan School of Music

MSMNYC.EDU

Office of Admissions and Financial Aid Manhattan School of Music 130 Claremont Avenue, New York, NY 10027 917-493-4436 admission@msmnyc.edu

it all happens here.

casting New York Tristate 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 $476/wk. (negotiable). Equity LOA

ref COST Contract.

Chorus Calls ‘Aladdin,’ Chorus

• Seeking video submissions from Equity

singers who dance well to comprise the ensemble, play featured roles and possibly understudy principal roles for “Aladdin.” The musical stage production of “Aladdin” on Broadway is a spectacle adventure based on a tale that has been reimagined time and again across many cultures. We acknowledge the tremendous cultural responsibility inherent in adapting this timeless fable that is based on tales from Africa, Arabia, China, Europe, India, Persia and Russia and beloved across generations and cultures, and our adaptation is deeply indebted to the rich and diverse tapestry that is Middle Eastern and North African (MENA) cultures, languages and aesthetic traditions.

• Company: Disney Theatrical

Productions. Staff: Disney Theatrical Productions, prod.; Casey Nicholaw, dir.-choreo.; Alan Menken, music; Howard Ashman & Tim Rice, lyrics; Alan Menken & Chad Beguelin; additional lyr-

ics; Chad Beguelin, book; Michael Kosarin, music supervisor; Aron Accurso, music dir.; Felicia Rudolph, CSA (Tara Rubin Casting), casting.

• Rehearses and performs in NYC. • Seeking—Equity Actors/Singers: 18+.

• Seeking submissions from NY. • For consideration, submit video, head-

shot, and resume via https://tinyurl. com/ALADDINBwayECCSsubmit.

Submissions deadline is Oct. 5. Video Preparation Instructions: Prepare a video of you singing the show material best suited for your vocal part from https://tinyurl.com/ ALADDINBwayECCSmaterials or a brief traditional up-tempo musical theatre song using your own accompaniment.

No reels. Include a full body slate at the beginning of your video, and only submit an unlisted YouTube (not private), Vimeo, Dropbox or Google Drive Link.

• The audition process is open to actors

of all races and ethnicities, gender identities and ages, as well as performers with disabilities. Note that this production will use smoke and haze in accordance with guidelines established with Actors’ Equity Association.

• 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 $2,323/wk. Equity Production

(Disney) Contract.

with your full name and the role you’d like to be considered for in the subject line.Submissions deadline is Oct. 12.

‘Man of La Mancha’

• All chorus candidates must submit a

“Man of La Mancha” tells the story of the “mad” knight Don Quixote as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.

• Singers: sing 32 bars of your choice

• Casting “Man of La Mancha.” Synopsis:

• Actors of all ethnicities are encouraged

to audition. Note that all actors in “Man of La Mancha” play prisoners most of whom also play additional roles. No one is exclusively a character in the story of Don Quixote without also being a prisoner.

• Company: Plaza AEA Productions, Ltd.

Staff: Mitch Leigh, music; Joe Darion, lyrics; Dale Wasserman, book; Kevin F. Harrington, Plaza AEA Productions, exec. prod.-dir.; Merete Muenter, choreo.; Karen Yelaney, music dir.; Jamibeth Margolis, CSA CD; Meredith Hoddeson, casting assist.; Bruce Rebold, Plaza AEA Productions, artistic dir.

• Rehearses Nov. 8-19; runs Nov. 20-Dec.

12 at Plaza’s Broadway Long Island at Elmont Memorial Library Theatre, Elmont, NY (Long Island – a 30 minute Long Island Railroad train ride).

• Seeking—Muleteers: male, 25-39.

Fermina: female, 20-29.

• Seeking submissions from NY. • For consideration, submit the video,

along with your photo/resume attached as a pdf in Vimeo or unlisted YouTube format to casting.plazaAEA@gmail.com

vocal or a dance audition.

from the traditional musical theater repertoire (with your own accompaniment). Show off voice and range. As an alternative to singing a song of your choice, you may sing an excerpt from “Man of La Mancha.” Sheet music, teaching tracks, and accompaniment tracks are accessible at: https://www. dropbox.com/sh/wquh6ahrj5ifonw/ AACsDTUyvc93v0ppKJr9e1Ewa?dl=0.

State your name and the title of your song at the top of the video.

• Dancers: record yourself dancing the

combination available at https://www. dropbox.com/sh/wquh6ahrj5ifonw/ AACsDTUyvc93v0ppKJr9e1Ewa?dl=0.

There is one dance combination. It is the same for male and female identifying performers. Wear proper character shoes with a heel or sneakers/jazz shoes. If you are using an iPhone to record, please be sure to film horizontally and in a well-lit space.

• To learn more about the company visit

www.PlazaBroadwayLongIsland.com.

• Plaza is an Equal Opportunity Employer

dedicated to building a culturally diverse and equitable environment.

Plaza does not discriminate in matters of employment, recruitment, admission or administration of any of its programs on the basis of race, color, creed, religion, sexual orientation, national or eth-

muhlenberg.edu/theatre 484.664.3335

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World-class studio training and a first-rate liberal arts education.

Bachelor of Arts degree in Acting, Dance, Directing, Stage Management, Design & Technical Theatre, plus complete musical theatre training.

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Explore our top-ranking B.F.A. programs in contemporary theater and musical theater at bostonconservatory.berklee.edu/theater, and learn about our new three-year B.F.A. in commercial dance at bostonconservatory.berklee.edu/ commercial-dance.

casting New York Tristate nic origin, disability, gender, gender identity, gender expression, or genetic information. EOE.

• 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 $455/wk. (plus LIRR railroad travel

expenses and Uber transportation to/ from local station and theatre). Equity LOA ref COST Contract.

‘Rock of Ages,’ Singers & Dancers

• Casting Equity singers and dancers for

chorus parts in “Rock of Ages.”

epa-and-ecc-self-submitinfo-showroa/ . Email your submissions as either a direct link or an attached file. Prefer to not receive links that need to be downloaded. Singers submit to engemanECCsinger@gmail.com.

Dancers submit to engemanECCdancer@gmail.com.

Submissions deadline is Oct. 8.

• Equity’s contracts prohibit discrimina-

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

• Pays $476/wk. (negotiable). Equity LOA

ref COST Contract.

• Company: Harborside Productions LLC.

Staff: Richard Dolce, producing artistic dir.; Vic DiMonda, assoc. producing dir.; Chris D’Arienzo, book; Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry, Poison and Europe among others, music-lyrics; Igor Goldin, dir.; Jeff Cox, musical dir.; Mara Newbery, choreo.; Wojcik/Seay Casting, casting; Scott Wojcik, Gayle Seay, Holly Buczek, and/or Courtney Hammond, casting.

• Rehearsals begin Dec. 28; runs Jan.

13-Feb. 27, 2022 in Northport, NY.

• Seeking—Singers & Dancers: 18+.

• Seeking submissions from NY. • For audition materials, visit https://

wscasting.com/theengeman-theater-

Student Films ‘Butterfly Effect’

• Casting “Butterfly Effect.” Synopsis:

Recently diagnosed with asthma, a young adult struggles to make himself heard amidst family drama that leaves him feeling cramped up and infuriated.

The young adult’s struggles to communicate with his dysfunctional family reflects humans’ neglect of our planet in the global warming crisis. Earth is calling out for help, but are we listening to what it has to say before it’s too late?

• Company: New York University. Staff:

• For consideration, submit headshot and

• Rehearsals sometime between Oct.

• No pay, but transportation fees and

Janet Yu, dir.; Jerry Liu, prod.

17-23; shoots Oct. 30-31 in various locations around New York City.

• Seeking—Jaemin: male, 18-24, Asian,

an 18 year-old Korean boy who just received his asthma diagnosis report; due to his distant and disconnected relationship with his parents, he struggles to communicate and make himself heard; despite being an introvert, he finds it easier to talk to a complete stranger rather than his parents; looking for someone who can play an 18 year old; don’t have to speak Korean. Sejin: female, 30-55, Asian, Jaemin’s mother; a business woman and the head of the household; she is always busy and tired which naturally leads her to be ignorant towards her family and especially Jaemin; should be able to speak Korean (doesn’t have to be perfectly fluent.). Jongbum: male, 30-55, Asian, Jaemin’s dad, an office worker; he earns less money than his wife, which makes him insecure; he drinks a lot and it causes fights with his wife; he thinks he cares about Jaemin and acts like a good father, but he knows nothing about his son at all; should be able to speak Korean (doesn’t have to be perfectly fluent.). Man: male, 25-45, all ethnicities, mysterious stranger, living in the forest near the river; he calms Jaemin’s heart and makes Jaemin comfortable.

• Seeking submissions from NY.

acting reel to jzl240@nyu.edu. food will be covered.

Sundance Collab Generic Scene • Casting Sundance collab generic

scene. Production states: “Our cinematography three class requires us to shoot a short scene between 1-2 pages.

The interpretation of the scene will depend on the talent available. The scene shot at the sound stage at Feirstein will use high-end production equipment, an excellent opportunity for reel content. Only apply if full vaccinated. Proof required to access CUNY facility.”

• Company: Feirstein Graduate School on

Cinema. Staff: Ajit Dias, dir.

• Key dates: Four different productions

with different interpretations of the same script on Mondays, 2-6 p.m., Nov. 8, Nov. 15, Nov. 22, and Nov. 29 at (Brooklyn Navy Yard) Sound Stage at Feirstein Graduate School of Cinema, located at Steiner Studios, 15 Washington Ave, Brooklyn, NY 11205.

• Seeking—Actor 1: 18+, Role tailored to

actor ability and skills, developed collaboratively with the actor. Actor 2: 18+, Role tailored to actor ability and skills, developed collaboratively with the actor.

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

• Indicate dates available.

• Finished product will be provided for

your reel.

Musical Theatre

B.F. Ain. Theatre arts

www.molloy.edu/theatre-arts Manhattan & Rockville Centre, NY

Untitled-2 1

9/24/2021 12:21:37 PM

casting New York Tristate

Local Commercials NYS COVID-19 Vaccine PSA

• Casting real New Yorkers who may have

Online Commercials & Promos

had doubts about getting vaccinated but ultimately chose to get a vaccine for NYC Department of Health and Mental Hygiene’s COVID-19 Vaccine PSAs.

Enable Healthcare Commercial

Angela Citrola, casting.

• Shoots in New York City or Pomona, NY.

• Seeking talent for a short online com-

mercial for Enable Healthcare.

• Company: Sixty First Productions.

Staff: Helena Kincaid-Nalladurai, prod.

• Company: Citrola Casting. Staff:

Location will be determined at a later date.

• Shoots one day between Oct. 4-15 in

NYC.

• Seeking—Real Pregnant Women- You

or Anyone You May Know: female, 18-44, Black / African Descent, real pregnant women who were hesitant at first to get the vaccine but ultimately decided to. Note if you are pregnant, or if you are submitting on behalf of someone you know who is not on Backstage.

Real Haitian Native Creole Speakers: 18-44, Black / African Descent, Seeking a Haitian person who speaks Creole and English who was hesitant about the vaccine, but ultimately decided to get it.

Note if you speak Creole or if you are submitting on behalf of someone you know.

• Seeking submissions from NY. • Send submissions to angela@citrolac-

asting.com.

• Pays $300 flat if chosen.

Vaccination Commercial (CT) • Casting a 30-second commercial

encouraging vaccination in Connecticut for the Department of Public Health.

• Production states: “Commercial will

highlight young adults attending/during happy hour. No lines needed. Filming will take place in the Hartford, CT area.

This commercial is designed to help raise awareness and reduce vaccination stigma in the African-American millennial/Gen Z community. In search of four actors, to embody as a group of friends attending happy hour.

• Covid-19: Actors must be vaccinated.

We need proof of a negative Covid-19 test two days before filming. Actors will only remove masks when needed for filming.”

• Seeking—Doctor: all genders, 30-65, A

medical Doctor.

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

• Pays $200 flat rate for 2-4 hour shoot.

National Retailer Holiday Promo

• Casting a national retailer Christmas

promo.

• Grandma reunites with her family dur-

ing the holiday season. Mom and daughter joyfully embrace grandma and participate in festive activities.

• Company: Awakened Films. Staff:

Gillian Schuler, prod.

• Shoots Oct. 26 in Basking Ridge, NJ. • Seeking—Grandma: female, 59-75,

White / European Descent, nonspeaking role, warm and approachable, excited for the holidays. Mom: female, 35-45, White / European Descent, non-speaking role, warm and approachable, excited for the holidays. Daughter: female, 5-8, White / European Descent, non-speaking role, warm and approachable, excited for the holidays.

• Seeking submissions from NJ. • Send submissions to jason@awak-

enedfilms.com.

• For consideration, submit a demo reel

and own a vehicle to self-report.

• Pays $650 flat rate. Rate includes

travel and fresh manicure. Note: Must be able to self report to Basking Ridge, NJ on Oct. 26. Must submit proof of vaccination. Must submit negative Covid test 48 hours before Oct. 26.

• Company: KultureMEDIA. Staff:

Anthony Valentine, prod.

Promotional & Event Modeling

• Shoots Oct. 13 (mid afternoon; three-

four hours) in downtown Hartford, CT. • Seeking—Group of Friends: all gen-

ders, 21-30, Black / African Descent, four millennial adults to portray friend group attending happy hour. Looking for individuals who can portray friendship, social comfort and joy.

1960’s Good Humor Man

• Casting a male model to play the role of

a 1960’s Good Humor ice cream man at a festival in NYC.

• Seeking submissions from CT. • Send submissions to valentine@kul-

• Company: Big Apple Bride Events. Staff:

turemag.com.

Sarah Stefanski, event planner.

• For consideration, submit reel and

• Works Oct. 15-17 (Fri.-Sun.; 12-5 p.m.

resume (if you have one) and list the city you are currently located. No lines needed.

each day) in NYC.

• Seeking—1960’s Good Humor Ice

Cream Man: male, 18-40, interact with guests and hand out ice cream bars.

• Pays $125 for the day.

• Seeking submissions from NY. • Send submissions to sarah@bigapp-

lebride.com.

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

BACKSTAGE 10.07.21

• Pay will be discussed with interested

models.

36

backstage.com

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Summer Teen Ensemble

casting California

Stage Staff & Tech

Poison and Europe among others, musiclyrics; Igor Goldin, dir.; Jeff Cox, musical dir.; Mara Newbery, choreo.; Wojcik/Seay Casting, casting.

require actors who excel in subtle psychological nuance and sharp character definition.

‘Macbeth,’ Stage Manager

13-Feb. 27, 2022 in Northport, NY.

• Rehearsals begin Jan. 4, 2022; runs Jan.

• Seeking Equity stage managers for Bay

Street Theater’s “Macbeth.” Local stage managers encouraged to submit.

• Company: Bay Street Theater. Staff:

Allen O’Reilly, dir.; John Sullivan, assoc. prod.;.

• Runs Oct. 14-22 at Bay Street Theater in

Sag Harbor, NY.

• Seeking—Stage Manager: 18+.

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

cover letter to https://forms.gle/pLvM3npyWhmyzRsq8. Submissions deadline is Oct. 11.

• Equity’s contracts prohibit discrimina-

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

• Pays $701/wk. Equity TYA Contract.

• Rehearsals begin Dec. 28; runs Jan.

• Seeking—Stage Manager: 18+.

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

engemanEPA@gmail.comwith the subject line “ROA Stage Management.”

Submissions deadline is Oct. 8.

• Equity’s contracts prohibit discrimina-

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

• Pays $571/wk. (negotiable). Equity LOA

ref COST Contract.

Southern California

‘Rock of Ages,’ Stage Manager • Seeking a stage manager for “Rock of

Ages.”

• Company: Harborside Productions LLC.

Staff: Richard Dolce, prod. artistic dir.; Vic DiMonda, assoc. prod. dir.; Chris D’Arienzo, book; Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry,

Plays ‘Life x 3’

• Casting Equity actors for roles in “Life x

3,” by Yasmina Reza. All characters

• Company: Coachella Valley Repertory.

Staff: Joanne Gordon, dir.

25-Feb. 6 in Cathedral City, CA.

• Seeking—Henry: 30-40, an academic

scientist anxious about promotion and about to publish his long-delayed research. The evening’s events are replayed three times, each time with different intentions and responses.

Sonia: 30-40, Henry’s wife. A former lawyer, she is sharp, smart, and attractive. Impatient with inadequacy, she spars with her husband and plays to win. The evening’s events are replayed three times, each time with different intentions and responses. Hubert: 40-55, an astrophysicist of some renown, he is sophisticated, smart, and believes all women find him irresistible.

He wields power with delight and style The evening’s events are replayed three times, each time with different intentions and responses. Inez: 40-55, smart but worn-down by her husband’s arrogance and repeated infidelity. She is insecure and uncomfortable in her own skin. The evening’s events are replayed three times, each time with different intentions and responses.

• Seeking submissions from CA. • Prepare a two- to three-monologue of

your choice. Email submissions to Joanne.Gordon@csulb.edu. Submissions deadline is Nov. 11. Southern California actors encouraged to submit.

CHOOSE TO BE EXTRAORDINARY!

• 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 $$493/wk. Equity SPT 6 Contract.

‘Strange Courtesies’

• Seeking Equity actors of all ages, ethnici-

ties, and genders for San Jose Stage Company’s upcoming live and in-person production in collaboration with AfricanAmerican Shakespeare Company of “Strange Courtesies.” Synopsis: Citizens of South Africa are confronting a painful past through the Truth and Reconciliation Commission, which has heard thousands of reports about murders, tortures and other human rights abuses of the apartheid era. “Strange Courtesies” explores the potential restorative power of truth telling; the significance of sympathetic witnesses; and the tasks of both perpetrators and bystanders in the TRC process. Can dignity be restored to victims and their families while offering a basis for individual healing, and promoting the reconciliation of a divided society?

• Company: San Jose Stage Company.

Staff: Randall King, artistic dir.; Cathleen King, exec. dir.; L. Peter Callender, playwright.

• Rehearsals begin Jan. 11, 2022; runs Feb.

2-27 in San Jose, CA.

®

Located in central North Carolina, High Point University is a private liberal arts school offering BA degrees in theater performance, technical theater, collaborative theater, and dance. Students in our Company get hands on experience in all aspects of theater and dance production through an active season of mainstage and student-produced works. Learn more at www.highpoint.edu/theater

We sing. we dance. we play. we design.

An amazing education is waiting for you at the

usf.edu/arts/theatre-and-dance

casting California • Seeking—Equity Actors: 18+.

• Seeking submissions from CA. • For consideration, submit video via

https://zfrmz. com/189YnaufC7SmjC0TvflW. Submissions deadline is Oct. 15.

• Video Preparation Instructions: Prepare

a contemporary monologue in a South African dialect totaling no more than two minutes. Ensure that your video recording is uploaded to a streaming service such as YouTube or Vimeo with all access permissions set to allow anyone with the video link access.

• Local Bay Area stage managers encour-

aged to submit. San Jose Stage Company is committed to equity, diversity, and inclusion in casting and uses a color and culturally conscious approach to casting.

Stage managers of any race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials.

• 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 $562/wk. Equity BAT Tier 3

Contract.

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

‘Trayf,’ Equity Video Submissions

• Casting Equity actors for “Trayf.”

• Company: Geffen Playhouse. Staff:

Maggie Burrows, dir.; Phyllis Schuringa, casting dir,-artistic assoc.

• Rehearsals begin Feb. 1, 2022; runs

Mar. 1-Apr. 10, 2022 or May 1, 2022 in Los Angeles, CA. • Seeking—Zalmy: male, 19, White /

European Descent, Chasidic Jew from Crown Heights, Brooklyn; poet, scholar, searcher; leads with his heart more than his head; whether school or friendships, things have always come easy for Zalmy; he’s well-liked, and though he feels out of his depth in a great many things, he can always rely on wit and genuine warmth to see him through sticky situations; brave and curious, he has an immediate and driving hunger to drink deep of life and experience all it has to offer, including knowledge of music, women, and secular customs outside the accepted traditions of his orthodox community; he loves his best friend, Shmuel, but is not above keeping secrets if he must; quick and warm. Shmuel: male, 19, White / European Descent, Chasidic Jew from Crown Heights, Brooklyn. Shmuel is genuine, earnest, and fiercely loyal to his childhood best friend Zalmy; the orthodox version of an emo band geek; Shmuel cares deeply about most things; his heart is pure, his desire to please is strong, and he has absolutely no poker face; the poster child for the Chabad lifestyle, Shmuel plays by the

book and wants nothing more than to ride around New York in a truck with his best friend forever, performing good deeds and sharing his passion for Judaism; as he experiences his most important friendship growing apart, he reacts by clinging tighter; he doesn’t understand the concept of “space;” togetherness with those he loves is his highest ideal; an innocent. Jonathan: male, 25-29, White / European Descent, charismatic, impulsive, unpredictable, fun; a former 90s badboy musician, now on a quest to find meaning and purpose in his life; a natural zealot who throws himself wholeheartedly into new ideas and ways of life, moderation is not a concept in his repertoire; raised Catholic, Jonathan is eager to find acceptance and belonging in the orthodox community of Crown Heights after discovering that his father was one of the Jewish children who escaped theholocaust through adoption abroad; loves his girlfriend Leah and hopes she’ll come along for the journey, because he’s determined to follow it through, no matter what; a bit shifty, hard to pin down but magnetic. Leah: female, 25-29, all ethnicities, secular Jew living in Manhattan; Leah put herself through law school and works her butt off to earn her place at the table; she’s tenacious, dedicated, loyal, witty, and believes that she can have it all through sheer force of will; her relationship with Jonathan is the place where she felt free to rebel from the expectations of her family and community,

enjoying their once-rich life of adventure; but now that her Catholic boyfriend is obsessed with converting to orthodox Judaism, she feels her carefully constructed world unraveling at the seams and will do everything she can to keep it together; sharp and dry.

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

ute monologue. Email your downloadable video to aea.epa.geffen@gmail. com. Submissions deadline is Oct. 11.

• Pays $ $739/wk. Equity LORT Non-Rep

(LORT D) Agreement.

Musicals ‘Follies’

• Seeking video submissions from Equity

actors for “Follies.” Note: Mature and BIPOC actors are encouraged to submit. Theater requires all artists who work at SFPH to be vaccinated against Covid-19.

• Company: San Francisco Playhouse.

Staff: Bill English, dir.; Dave Dobrusky, music dir.; Nicole Helfer, choreo.; Dori Jacob, casting dir.

• Rehearsal/table read begins May 31,

2022; design run begins June 19, 2022; tech runs June 25-26; final dress runs June 29; performs June 30-Sept. 10 with a possible extension through Sept. 24, 2022 in San Francisco, CA. • Seeking—Equity Actors: 18+, all ages,

backgrounds and identities who are

UNIVERSITY OF ILLINOIS DEPARTMENT OF THEATRE

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TENNESSEE WILLIAMS JOHN O’KEEFE PHIL BOSAKOWSKI DAN COFFEY SHERRY KRAMER LEE BLESSING DON NIGRO DEBORAH PRYOR DARRAH CLOUD CHARLES SMITH SHEM BITTERMAN SANDRA DIETRICK KEN PRESTININZI STEVE FEFFER W. D AV I D H A N C O C K H E AT H E R M C C U T C H E N REBECCA GILMAN T O D D R I S TA U CARSON BECKER MIKE GEITHER PETER ULLIAN NAOMI WALLACE K AT E A S P E N G R E N KEITH HUFF KEITH JOSEF ADKINS RICK CLEVELAND LISA SCHLESINGER RICHARD STRAND ROBERT ALEXANDER L E A H R YA N LORENZO SANDOVAL LEVY “LEE” SIMON AMY WHEELER DAVID ADJMI KIRSTEN GREENIDGE VICTORIA STEWART PETER GIL-SHERIDAN RANDY NOOJIN SARAH HAMMOND ANTON JONES AUSTIN BUNN S A M U E L D. H U N T E R MELISSA LEILANI LARSON SEAN LEWIS KIM EUELL SARAH SANDER TONY MENESES KEVIN ARTIGUE A N D R E W P. S A I T O J E N S I LV E R M A N LOUISA HILL BASIL KREIMENDAHL BONNIE METZGAR D E B O R A H YA R C H U N MICAH ARIEL JAMES SARAH CHO SAM COLLIER SCOT T BRADLEY M A R I S E L A T R E V I Ñ O O RTA

casting California very skilled dancers (specifically tap) to fill a variety of roles including Sally Durant Plummer, Emily Whitman, Theodore Whitman, Sandra Crane, Heidi Schiller, Young Heidi, Roscoe, Young Buddy, DeeDee West, Young Carlotta, Ensemble, and Swings. All roles except”Roscoe” require tap skills.

• Seeking submissions from CA. • Choose the side that best suits your

identity, and a brief song of your choosing or use the “Beautiful Girls” accompaniment provided. Script, score, sides & accompaniment available at the link on Backstage.com. If you do not have a reader available, you may use a monologue of your choosing. For consideration, email your taped audition, headshot & resume casting@sfplayhouse.org.

Submissions deadline is Oct. 11.

• Taped submissions will be accepted

followed by in-person callbacks, date TBD. • For more info, visit www.sfplayhouse.

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 $783/wk. Equity Bay Area Theatre

(BAT Tier 5) Contact.

‘Hair’

• Seeking video submissions from Equity

actors for “Hair.” A note from the Director: A group of long-haired, freespirited, “Age of Aquarius” hippie activists protesting against the Vietnam War, racism and environmental destruction.

In turn they are promoting civil rights, peace, freedom of expression and bond over love, sex, drugs while protesting the status quo. It’s about young people coming together convinced that they can build a better America that can truly fulfill its promise. “Hair” is as relevant now as when it premiered in 1967 as it celebrates, humanity, community and change and parallels what is happening in the current civil rights movement and global warming. It’s message of hope and healing too, is so important after this tragic time of COVID. • Note: Production will contain full fron-

tal nudity in a limited, non-gratuitous, body-positive manner.

• Company: J&B Theatrical Productions.

Staff: Michael Arabian, dir.; Michael Butler, Matthew Herrmann, Jon Cutler, Jeanne Cutler, prods.; Conwell Worthington, supervising prod.; Christian Nesmith, music dir.; Julie Arenal, choreo.; Michael Donovan, CSA & Richie Ferris, CSA, casting dirs.; James Rado & Gerome Ragni, book & lyrics; Galt MacDermott, music.

• Rehearsals begin Nov. 15; runs Dec. 3,

2021-Jan. 20, 2022 with possible extension at El Portal Theatre (the big theatre) in North Hollywood, CA. Note: This show does perform through the

holidays. All actors must be fully vaccinated.

• Seeking—Equity Actors: 18+, all

ethnicities.

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

resume, and a self-tape in which you sing a song either from the score (music is provided at https://drive.google.com/ drive/folders/1nO5NQ4qMfFqGvaEdhA YWBw8o_Kjuc7-E?usp=sharing) or a short song appropriate to the show to md@michaeldonovancasting.com.

Slate your name, that you are fully vaccinated, whether you’re Equity or not, and your vocal range. Also do a full body shot. Submissions deadline is Oct. 14.

• Equity’s contracts prohibit discrimina-

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

• Pays $600/wk. Equity Contract pend-

ing negotiations.

Student Films ‘Friends x Lovers x Enemies’ • Casting “Friends x Lovers x Enemies.”

Synopsis: Two previously acquainted

men willingly have their memories wiped of each other and must determine whether they are friends, lovers, or enemies, guess wrong and the prize money isn’t the only thing they’ll have to forget.

• Company: Chapman University

(Orange, CA). Staff: Jon-David Carollo, dir.

• Rehearses Oct. 30; shoots Nov. 6 in

Orange, CA.

• Seeking—Yon: male, 18-40, all ethnici-

ties, A man in his 30’s. direct in his approach to the game, thoughtful yet stubborn, with time running out his growing angst makes him difficult to work with. Ben: male, 18-40, all ethnicities, A man in his 30’s, his introspective nature gives him an advantage on his own thoughts but he must contend with Ben’s psyche if he is to save them both.

• Seeking submissions from CA. • Send submissions to carollo@chapman.

edu.

• Auditions will be held Oct. 9 and Oct. 10

via Zoom. For consideration, submit headshots, a cover letter (if possible), and any video of your acting capabilities whether that be in a showreel or simply self-recorded.

• Transporation provided. Producer

states: “This is an unpaid job that gives actors an opportunity to build their reel and exposure as the film will be submitted to many film festivals. Hot meals are provided onset and will be in a controlled environment free of any weather obstructions. When the film is complete you will be sure to receive a full

Relate, Create, Collaborate

at Indiana University theatre.indiana.edu

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Acting, Costume Design, Costume Technology, Directing, Dramaturgy, Lighting Design, Playwriting, Scenic Design, and Theatre Technology

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casting California cut in its highest quality for you to share your talent and hard work.”

‘Infinity’

• Casting “Infinity,” a thesis film.

Synopsis: “Infinity” is a thriller about Raymond, an SFPD detective whose alcohol addiction creates an alter ego that is adamant about murdering people but doesn’t want to hide any longer.

Will Raymond overcome alter ego’s plan or will the alter ego overpower Raymond? This film is inspired by “Dr. Jekyll and Mr. Hyde,” and “Fight Club.”

• Company: San Francisco State

University. Staff: Diksha Sharma, dir.; Evan Fields, prod.; Autum, assoc. prod.; Claire, sound designer; Delle, AD; Yang, prod. designer.

• Shoots TBD a weekend between Nov. 11

and 21 in San Francisco, CA.

• Seeking—Raymond: male, 28-35,

Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, Southeast Asian / Pacific Islander, White / European Descent, (protagonist), is a very innocent character, who had an abusive father that has led him to become an alcoholic; he is constantly fighting himself rather his alter ego who is adamant to get caught; he is someone who has constantly something on his mind and appears to be in his thoughts; no one knows about his deep dark secrets.

Warner: female, 35-40, all ethnicities, is a senior officer at SFPD, she is really good at her job and trusts the people she works with; she doesn’t mind

breaking few rules here and there as far as they don’t cause harm to anyone; she is genuinely concerned for Raymond and considers him as an important part of SFPD; but even after being so smart with her detective work, she doesn’t see what is coming at her.

Dr Khan (Therapist): male, 40-50, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, is the only person in the entire film who knows more about Raymond than anyone else; he is the only one a little suspicious but can’t breach his client’s privacy. Blake: male, 45-50, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, Southeast Asian / Pacific Islander, is the alter ego that Raymond lives with and fears the most; Blake is humorous, smart, intuitive, and charming but doesn’t fall for it as he is also a serial killer; he very lovingly and politely murders his victims and finally wants credit for his work; he also appears to be homosexual. Michael: male, 35-45, all ethnicities, Raymond finds Michael with his son in the parking lot; he reminds him of his father and the relation they have; if you have a child actor about the age of 12-14 that could play the part of the son. John: male, 12-14, all ethnicities, Raymond watches John and his father, Michael in the parking lot and this reminds him of his relationship with his father; the child actor can be

accompanied by his father who is also an actor; this would make casting more realistic.

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

• Include a video with submission and

mention your availability.

• Meal, copy, and credit provided.

‘Jenna Has to Live’

• Casting “Jenna Has to Live,” a short film

written and directed by third Year LMU Grad Katie Hopkins. Synopsis: Jenna’s health plummets after she illegally sells her insulin to make rent. She rations her remaining insulin to survive, but her pestering coworker’s unshakeable presence has her questioning if surviving is the same as living.

• Company: Loyola Marymount

University. Staff: Katie Hopkins, dir.graduate student; Sasja Smith, exec. prod.; William Streissguth, DP; Sara Lighthart, 1st AD.

• Shoots Nov. 12-14, and 19-21 in 30 mile

radius in Los Angeles, CA.

• Seeking—Johnathan: male, 12-13,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, is the Type 1 Diabetic son of Mary, the young mother who buys Jennas insulin; he loves his mom and trusts her to keep him safe and healthy at all costs. Julian: male, 20-30, Black / African Descent, supporting lead; Julian is Jenna’s coworker at the diner, but he wants to develop a deeper friendship with her; he has a soft spot for Jenna since his younger sister also has Type 1

Diabetes, but sees Jenna as too serious for their age; easygoing and dependable, he spends his time trying to make her smile when she seems sad or stressed and absorbs any icy jabs she returns with humor; but Julian can only be pushed so far, and when it’s clear that Jenna’s health is deteriorating and she refuses his help, his patience runs out and he must decide if he’s putting energy into a lost cause; skills: must have a working knowledge of Type 1 Diabetes.

• Seeking submissions from CA. • Send submissions to khopkin6@lion.

lmu.edu.

• In your cover letter include a blurb

about how you emotionally connect to the production.

• Meals, copy and credit provided.

‘The Night’

• Casting “The Night,” a graduate thesis

film by Red Jitar of Loyola Marymount University. Synopsis: It’s film noir about an immature high school kid who tries to overcome his fears in order to protect his mother when a strange man intrudes their home after midnight.

• Company: Loyola Marymount

University. Staff: Red J., dir.

• Shoots Oct. 30-31 in Los Angeles, CA

(12hr each day.).

• Seeking—Wallace: male, 17-20, Black /

African Descent, 16 to 19 years old, Black male; approx 5’7-5’10, 140 -160lbs; Wallace is an immature, unmotivated and selfish high schooler who would prefer to play video games all day than

in partnership with ASOLO REPERTORY THEATRE

MFA IN ACTING

Tuition waiver & stipend • Professional company membership • 6-week London study program • Professional Showcase • AEA membership on graduation

AUDITIONS AVAILABLE THROUGH U/RTA

PRIVATE AUDITION DATES: VIRTUAL: JAN 10 & FEB 7, 2022 NEW YORK CITY: JAN 22 & 23, 2022 CHICAGO: JAN 30 & 31, 2022

Cast of Asolo Rep’s production of Rhinoceros including third year Conservatory company.

Photo by Cliff Roles.

CALL 941.351.9010 EXT. 2311 | JCOURTEMANCHE@FSU.EDU | ASOLOREP.ORG/CONSERVATORY

Dance Design & Production Drama Filmmaking Music

“UNCSA has taught me that after the preparation is done, the most courageous and fruitful thing you can do as an artist is to trust, let go and enjoy the work in the here and now.”

— Jason Sanchez, School of Drama

UNCSA.EDU/DRAMA

casting California actually care about his friends and family; for the longest time, he never really went out of his way to support Mother even when she was struggling in life. He has become estranged from Mother but when he realizes that The Strange Man poses a serious threat to the family, he decides to take action. Mother: female, 40-50, Black / African Descent, 35 to 45 years old, Black female; mother is a single mom who struggles to make ends meet, working two jobs and saving every penny to provide for her son; despite all this, she feels neglected and under appreciated by Wallace; she is concerned that Wallace has wasted his life through his video game obsession and general lack of social grace. The Strange Man: male, 30-45, Black / African Descent, 30 to 40 years old, Black male; approx 6’06’5. Deep voice; The Strange Man is a very neat, polite and quiet man; however, he has an imposing and strong frame that intimidates Wallace and makes seem like a bigger threat than he actually is; despite not being the villain, The Strange Man antagonizes Wallace by pointing out the boy’s lack of care for his mother; this causes them to have intense friction and conflict.

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

yeah.net.

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

• Submit online demo clips if possible.

• Pays leading actor $150/Day and sup-

porting actors $100/Day. Meals provided. Actors must be vaccinated and have proof of vaccination.

‘The Story of Bhuvi & Seven’

• Casting “The Story of Bhuvi & Seven,” a

student film. Production states: “This is a virtual production motion capture project. The actor’s performance will come out in the animated version of the short film.”

• Company: USC School of Cinematic

Arts. Staff: Vigneshwar RB, casting dir.

• Shoots Oct. 22 at 1-4:50 p.m. in Robert

Zemeckis Center, USC School of Cinematic Arts, Los Angeles, CA. Note: Rehearsal schedule is flexible.

• Seeking—Bhuvi: female, 18-22, all

ethnicities, a happy-go-lucky girl from the land of the poor. She doesn’t feel sad about her state of life. On one of her daily strolls, she comes in contact with Seven, the humanoid security bot, which is stuck under a wooden log. Will she help the bot or not and what happens after is the story?

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

• For consideration, submit demo reel.

Apply only if you are available at the above mentioned date. The actor has to submit a negative Covid test result before coming to set. This is a USC student project and the school’s Covid protocol will be followed.

• Copy and credit provided.

Print & Digital Modeling Holiday Postcards Photoshoot

• Casting background extras (male:

roack-a-billy vibe, greaser, old-timey cowboy, 20s-30s) to pose and 4 female extras (ex-beauty queens, retired pageant queens, 20s).

• Company: Boot Barn Casting. Staff:

Boot Barn, prod. mgr.

pushed for any COVID- 19 related reason the model contract will be considered void and any payment will be canceled. This includes if a production is canceled or if a model must cancel due to experiencing COVID- 19 symptoms.

• Company: Cast Partner. Staff: Lizzy

Weinraub, casting.

• Shoots Nov. 1-5 in L.A.; fit dates TBD.

Note: Some talent may be upgraded to different shoot dates of Nov. 8-12.

• Seeking—Real Kickboxing Coaches:

Pharmaceutical Oct. 2021 Shoot

male, 40-50, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent. Real Expert Mud Runner: female, 30-35, Latino / Hispanic. Real Expert Mechanical Bull Rider: male, 30-40, White / European Descent. Real Expert Wakeboarder: male, 30-35, Black / African Descent, White / European Descent. Real Expert Derby Player: female, 25-30, White / European Descent. Real Expert Boxer: female, 30-35, Black / African Descent.

Real Expert White Water Rafter: male, 35-45, Ethnically Ambiguous / Multiracial. Real Expert Female Kickboxer: all genders, 30-35, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent.

upcoming pharmaceutical shoot (print and nonunion video).

ner.com.

• Shoots Nov. 2 (10-2 p.m.) in Joshua

Tree, CA.

• Seeking—Greaser/Rock-A-Billy Vibe:

male, 18-35, Greaser/Old Timey Cowboy/Rock-A-Billy Vibe. EX-Beauty Queens: female, 18-40, EX/Retired Beauty Pageant Queens.

• Seeking submissions from CA. • Send submissions to sfalvo@bootbarn.

com.

• For consideration, submit a full-body

photo of yourself and include your measurements.

• Pay $200 each for project in cash after

wrap. Note: Costumes will be provided.

Talent should arrive HMU ready.

• Seeking talent for various roles in an

• Note: Multi-day booking not guaranteed.

• COVID- 19 Cancellation: In the event

that a production must be canceled or

• Seeking submissions from CA. • Send submissions to apply@castpart-

• HCP Main/Hero Role Rate • Session: $500+20% per 10 hour session

- to be paid in 2021

AUDITION SPOTLIGHT

WIN

• Paid Booking with CBS2 LA • Neumann TLM 102 Studio Mic + NDH 20 Headsets • Kaotica Eyeball • ACM Talent Representation • 2 Tix to the 2021 Voice Arts® Awards Gala

ENTER AT:

SOVAS.org/Audition-Spotlight

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™

casting California New York Tristate • Wardrobe fitting fee (2 hours): $75 +

20% agent fee - to be paid in 2021

• Usage/Exclusivity: $6500 + 20% agent

fee - to be paid in 2022

• Hero Options: Additional 1 year: $3575

+ 20%, with same usage and exclusivity as above; additional 2 years: $7150 +20%, with same usage and exclusivity as above.

• HCP Secondary Role Rate: • Session: $500+20% per 10 hour session

- to be paid in 2021

• Wardrobe fitting fee (2 hours): $75 +

20% - to be paid in 2021

• Usage/Exclusivity: $3500 + 20% agent -

to be paid in 2022

• Secondary Options: Additional 1 year:

$1925 + 20%, with same usage and exclusivity as above; additional 2 years: $3850 +20%, with same usage and exclusivity as above.

• HCP Backup Rate: Must to come to set

for covid precaution reasons - will be released or upgraded once testing is complete).

• Session: $350+20% for a 10 hour

session

• Wardrobe fitting fee (2 hours): $75 +

20%.

Stage Staff & Tech ‘Follies,’ Stage Manager

• Seeking stage managers for future con-

and in-person production in collaboration with African-American Shakespeare Company of “Strange Courtesies.”

Staff: Bill English, dir.; Dave Dobrusky, music dir.; Nicole Helfer, choreo.; Dori Jacob, casting dir.

Butler, Matthew Herrmann, Jon Cutler, Jeanne Cutler, prods.; Conwell Worthington, supervising prod.; Christian Nesmith, music dir.; Julie Arenal, choreo.; Michael Donovan, CSA & Richie Ferris, CSA, casting dirs.; James Rado & Gerome Ragni, book & lyrics; Galt MacDermott, music.

2022; design run begins June 19, 2022; tech runs June 25-26; final dress runs June 29; performs June 30-Sept. 10 with a possible extension through Sept. 24, 2022 in San Francisco, CA.

2021-Jan. 20, 2022 with possible extension at El Portal Theatre (the big theatre) in North Hollywood, CA. Note: This show does perform through the holidays.

Feb. 2-27 in San Jose, CA.

sideration. All stage manager positions for “Follies” have been filled. Note: Theater requires all who work at SFPH to be vaccinated against Covid-19.

• Company: San Francisco Playhouse.

• Rehearsal/table read begins May 31,

• Seeking—Stage Manager: 18+.

• Seeking submissions from CA. • For future consideration, email resume

to Susi Damilano at susi@sfplayhouse. org. Submissions deadline is Oct. 1.

• Rehearsals begin Nov. 15; runs Dec. 3,

• Seeking—Stage Manager: 18+.

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

org.

supervising producer Conwell Worthington at conwell@jbtheatricalproductionsllc.com. Submissions deadline is Oct. 14.

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.

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

• For more info, visit www.sfplayhouse.

• Equity’s contracts prohibit discrimina-

• Pays $951/wk. Equity Bay Area Theatre

(BAT Tier 5) Contact.

‘Hair,’ Stage Manager

• Seeking Equity stage managers for

“Hair.”

• Company: J&B Theatrical Productions.

Staff: Michael Arabian, dir.; Michael

• Equity’s contracts prohibit discrimina-

• Pays $600/wk. Equity Contract pend-

ing negotiations.

‘Strange Courtesies,’ Stage Manager • Seeking Equity stage managers of all

ages, ethnicities, and genders for San Jose Stage Company’s upcoming live

• Company: San Jose Stage Company.

Staff: Randall King, artistic dir.; Cathleen King, exec. dir.; L. Peter Callender, playwright.

• Rehearsals begin Jan. 11, 2022; runs • Seeking—Stage Manager: 18+.

• Seeking submissions from CA. • For consideration, fill out this form

entirely and submit cover letter and resume (PDF versions only) via https:// forms.zohopublic.com/sanjosestagecompany/form/ StageManagerSubmissions/formperma/gIGeYkf-dgd3uy-_oi713ZesAyTPaYzAxGCfr-4Bs4w. Submissions deadline is Oct. 15.

• Local Bay Area stage managers encour-

aged to submit. San Jose Stage Company is committed to equity, diversity, and inclusion in casting and uses a color and culturally conscious approach to casting. Stage managers of any race, ethnicity, gender, sex, sexual orientation, age, and ability are encouraged to submit their materials.

• 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.

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National/Regional casting • Pays $680/wk. Equity BAT Tier 3

Contract.

‘Trayf,’ Stage Manager Submissions

• Seeking Equity stage managers for

future consideration. Note: All stage manager positions for “Trayf” have been filled.

• Company: Geffen Playhouse. Staff:

Maggie Burrows, dir.

• Rehearsals begin Feb. 1, 2022; runs

Mar. 1-Apr. 10, 2022 or May 1, 2022 in Los Angeles, CA.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from CA. • For future consideration, submit

resume to Isaac Katzanek, Production Manager, at aea.epa.geffen@gmail. com. Submissions dealine is Oct. 11.

• Pays $911/wk. Equity LORT Non-Rep

(LORT D) Agreement.

National/ Regional

and compliant work environment.

• Seeking—Equity Actors: 18+, all

ethnicities.

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

resume to casting@lepetittheatre.com.

Indicate which role(s) you are reading for in the subject and sides will be emailed back to you shortly along with instructions for a taped audition. If applicable, taped callback instructions will follow. Submissions deadline is Oct. 6.

• 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 $318/wk. Equity SPT 2 Transitional

1.5 Contract.

‘Our Town’

• Seeking video submissions from Equity

actors for roles in “Our Town.”

• Company: Nebraska Repertory Theatre.

Plays ‘Choir Boy’

• Seeking video submissions from Equity

actors for “Choir Boy.”

• Company: Le Petit Theatre du Vieux

Carre. Staff: Nicholas L. Ashe, dir.; Kenna Moore, assoc. artistic dir.

• Rehearsals begin Dec. 14, 2021; runs

Jan. 14-30, 2022 in New Orleans, LA. Note: Production will adhere to Le Petit Theatre’s Covid Policy to ensure a safe and compliant work environment.

• Seeking—Equity Actors: 18+, all

ethnicities.

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

resume to casting@lepetittheatre.com.

Indicate which role(s) you are reading for in the subject and sides will be emailed back to you shortly along with instructions for a taped audition. Some roles require singing. If applicable, taped callback instructions will follow.

Submissions deadline is Oct. 5.

• 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 $318/wk. Equity SPT 2 Transitional

1.5 Contract.

Staff: Arthur Feinsod, dir.; Andy Park, artistic dir.; Brad Buffum, PSM. • Rehearsals begin Mar. 8, 2022; runs

Apr. 15-24, 2022 at the Nebraska Repertory Theatre in Lincoln, NE.

• Seeking—Dr. Gibbs: male, 30+, all eth-

nicities, George’s father and the town doctor, Dr. Gibbs is also a Civil War expert; his delivery of twins just before the play opens establishes the themes of birth, life, and daily activity; he and his family are neighbors to the Webbs.

Mrs. Gibbs: female, 30+, all ethnicities, George’s mother and Dr. Gibbs’s wife; Mrs. Gibbs’s desire to visit Paris--a wish that is never fulfilled--suggests the importance of seizing the opportunities life presents, rather than waiting for things to happen; at the same time, Mrs. Gibbs’s wish for the luxurious trip ultimately proves unnecessary in her quest to appreciate life. Mr. Webb: male, 30+, all ethnicities, Emily’s father and the publisher and editor of the Grover’s Corners Sentinel; Mr. Webb’s report to the audience in Act I is both informative and interactive, as his question-and-answer session draws the audience physically into the action of the play. Mrs. Webb: female, 30+, all ethnicities, Emily’s mother and Mr. Webb’s wife; at first a no-nonsense woman who does not cry on the morning of her daughter’s marriage, Mrs. Webb later shows her innocent and caring nature, worrying during the wedding that she has not taught her daughter enough about marriage.

• Seeking submissions from NE. • Prepare two contrasting monologues

Carre. Staff: Abigail Jean-Baptiste, dir.; Kenna Moore, assoc. artistic dir.

(one serious, one comic) of one to two minutes length, with at least one of them being a piece from a modern American play written between 1920 and 1990. Begin your video by stating your name and which role(s) you with to be considered for.

Mar. 4-20, 2022 in New Orleans, LA. Note: Production will adhere to Le Petit Theatre’s Covid Policy to ensure a safe

https://go.unl.edu/emxy As per AEA covid policy, video auditions will be accepted until Oct. 22 at 11:59 p.m.

‘House That Will Not Stand’

• Seeking video submissions from Equity

actors for “House That Will Not Stand.”

• Company: Le Petit Theatre du Vieux

• Rehearsals begin Feb. 1, 2022; runs

backstage.com

• For consideration, submit video at

49

10.07.21 BACKSTAGE

1 YEAR MFA IN ACTING

26 SEP 2022 – 18 AUG 2023 Renowned for producing artists such as Olivia Colman, Josh O’Connor and Sir Daniel Day-Lewis, Bristol Old Vic Theatre School offers an intensive one-year MFA program for artists who currently reside outside the UK. For further details and information on how to apply, please see: oldvic.ac.uk/mfa

casting National/Regional • Note: The roles of stage manager, Joe

Crowell, George Gibbs, Rebecca Gibbs, Wally Webb, and Emily Webb have been cast.

• Seeking—Equity Actors/Singers: 22+.

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

Agreement.

resume, and audition video to zeecastingsubmissions@gmail.com. If there are any roles in the season that you would like to be considered for in particular, feel free to identify that in your submission.

Email all video submissions as a google drive folder that has granted access.

Submissions deadline is Oct. 8, 2021.

Submit two contrasting monologues or a song and a monologue, under five minutes. You may use a song of your choosing, or select from the provided accompaniment below.

Portland Center Stage 20212022 Season

watch?v=9xDuNJva1-k&ab_ channel=ChoralGuide

• 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 $657/wk. (SPT 8) Equity

• Seeking video submissions from Equity

actors for the Portland Center Stage 2021-2022 Season. Season includes: “The Great Leap” (Lauren Yee, playwright; Zi Alikhan, dir. Co-production with Artists Repertory Theatre.

Rehearsals begin Dec. 21; runs Jan. 15-Feb. 13, 2022), “Gem of the Ocean” (August Wilson, playwright; Chip Miller, dir. Mainstage. Rehearsals begin Feb. 8, 2022; runs Mar. 5-Apr. 3, 2022), and “Rent” (Jonathan Larson, playwright; Chip Miller, dir. Mainstage. Rehearsals begin Apr. 26, 2022; runs May 21-June 26, 2022).

• Company: Portland Center Stage. Staff:

Andrea Zee, NY casting dir.; Marissa Wolf, artistic dir.; Chip Miller, assoc. artistic dir.; Rachelle Schmidt, artistic assoc.

• Runs in Portland, OR.

• Soprano - https://www.youtube.com/

• Alto -https://www.youtube.com/

watch?v=YiWTrCF1uAk&ab_ channel=ChoralGuide

• Tenor - https://www.youtube.com/

watch?v=nue2MAEeeAI&ab_ channel=ChoralGuide

• Bass - https://www.youtube.com/

watch?v=oA2Naq94Z9E&ab_ channel=ChoralGuide.

• Pays $1,008/wk. Equity LORT Non-Rep

(LORT B) Agreement.

Musicals ‘Show Way’ and ‘Beastgirl’

• Seeking video submissions from Equity

actors for roles in “Show Way” and

“Beastgirl.” Actors will be signed on as Actor/ASMs. “Show Way” (Jacqueline Woodson, author; Schele Williams, dir.; Tyrone L. Robinson, composer; Tiffany Holmes, musical dir. Rehearsals begin Jan. 17, 2022; runs Jan. 27-Feb. 20) and “Beastgirl” (Based on the book by Elizabeth Acevedo; C. Quintana, writer; Janelle Lawrence, music; Rebecca Aparicio, dir. Rehearsals begin Mar. 3; runs Apr. 7-22). Stage manager positions are available for each show. These are in person productions.

or R&B style (your song can be a cappella and in English or Spanish). For “Show Way,” submit two contrasting songs in R&B or blues style, one that is a lyrical ballad and one that is an uptempo belt. Anything that might also demonstrate an ability to improvise.

• Equity’s contracts prohibit discrimina-

Young Audiences. Staff: Victor Vazquez, CSA, casting dir.; Harry Poster (Theater of Young Audiences), prod.

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.

VA.

Contract.

• Company: Kennedy Center Theater for

• Rehearses and performs in Arlington, • Seeking—Equity Actors: 18+.

• Seeking submissions from VA. • For consideration, submit video,

resume, and headshot via www.xcastingnyc.com/auditions. Submissions deadline is Oct. 14. Submission videos will not be accepted via email or if they are linked to an external website (such as Vimeo, Dropbox, We Transfer, YouTube). Video must be submitted into the Airtable form as an MP4 file upload.

• Video Preparation Instructions: Record

one to two minutes of one or two songs (if two songs, please keep at one minute each). You may use a song of your own choosing or use the accompaniment provided at https://www.dropbox.com/ sh/1ginvc10dd3u6lc/AAA88LpS0J5_ sAZF94p34F75a?dl=0. For “Beastgirl,” submit anything in Merengue, Bachata,

• Pays $550.25/wk. Equity TYA Tier 1

Feature Films ‘Sister Stalking’

• Casting one role in “Sister Stalking,” a

feature film from Cinequest Mavericks Studio. Synopsis: A young woman opens a door to discover a man claiming to be her brother and finds herself on a mysterious, scary, and often funny journey to unravel his claims, to halt his stalking, and to handle his allure and threats. Ultimately, she discovers her truth and her power.

• Company: Cinequest Mavericks Studio.

Staff: Angela Ostermeier, casting assoc.-prod.

Your Talent, On Stage The Conservatory of Theatre Arts at Webster University is the only undergraduate training program that has a major regional theatre and an opera company on campus.

The Repertory Theatre of St. Louis and The Opera Theatre of Saint Louis offer unparalleled opportunities for study.

The Conservatory also partners with The Muny, St. Louis’s summer home to professional musical theatre, the St. Louis Shakespeare Festival, Variety Children’s Theatre and the Arrow Rock Lyceum Theatre Majors include: • Performance (Acting and Musical Theatre) • Directing

• Scene, Costume, Lighting, Sound and Wig and Makeup Design

• Stage Management

• Technical Production

• Costume Construction

• Scene Painting

To learn more, visit: Photo from the 2019 production of Twelfth Night, or What You Will

webster.edu/conservatory

Leigh Gerdine College of Fine Arts

National/Regional casting

• Shoots in California.

• Seeking—Brandon: male, 15-21, all eth-

nicities, a neurotic know-it-all who fights the idea of not being cool with his sarcasm and asinine facts. He is a geek outsider who is a loyal confidant to Tina.

He takes a joy ride with Tina and Max so as to make sure Tina is protected from this wild guy; however, Brandon can’t handle the speed and the turns of the road nor his alcohol intake. He fails his responsibility as he vomits and passes out in the back seat. Waking up the next morning, finding himself in bushes, he fights his way out and can only conclude that he must have had the best time of his life last night. Brandon emerges as a surprisingly caring figure for Tina, providing her with a stable, albeit pitifully comical, force throughout. Supporting role.

• Seeking submissions from and CA. • Send submissions to angela.oster-

meier@cinequest.org.

• Include a resume, headshot, and reel or

previous sample video.

• Production has applied for a SAG-

AFTRA contract.

Short Films ‘Project Dynasty’

• Casting the proof of concept for

“Project Dynasty.”

• Production states: “Zone A Mandatory

Vaccination Status. Per the recently

revised Return to Work Agreement, this production intends to mandate vaccinations in accordance with the unions’ guidance and will require everyone working in Zone A (other than minors under the age of 12) to be fully vaccinated as a condition of employment and/or prior to entering the workplace.

Persons who cannot be vaccinated due to a disability, medical condition or a sincerely held religious belief, practice or observance may be entitled to an exception if a reasonable accommodation is available. For minors, this will also be required for the parent/on set guardian.

• “Fully vaccinated means (1) an individ-

ual has received both doses of an authorized two- dose vaccine (Moderna, Pfizer [or if obtained outside the U.S., AstraZeneca]) or one dose of the authorized one-dose vaccine (Johnson & Johnson) and (2) at least two weeks have passed. COVID-19 vaccinations may require a booster shot; if so, all employees will also be required to obtain the COVID-19 booster shot at the recommended intervals.”

• Company: Susanne Scheel Casting.

Staff: Susanne Scheel, casting dir.; Gail Quintos, casting asst.

• Shoot Dates: One shoot date and 2-3

pre-production days between October 18, 2021 and November 5, 2021.

• Shooting Location: Los Angeles, CA. • Seeking—Hatshepsut: female, 30-50,

Black / African Descent, One of the only known female Pharaohs of Ancient Egypt. 30s-40s. It is very important to

the filmmakers that Hatshepsut be cast as historically accurate as possible.

That being said, little is known about the exact physical features of Hatshepsut, but the available research shows that she would have similar features to people from modern day south Egypt, Luxor, Nubia, Northern Sudan, Ethiopia or other Eastern African countries. Hatshepsut was smart, resourceful and commanded authority. From an early age, she held a prominent title and grew up knowing that her father was a God and that she was divinely favored. She would have spoken Middle Egyptian (a dead language). The script will be performed in English with an accent similar to a present day Egyptian, Ethopic, Chadic, Berber or African Arabic accent. Please only submit actors who are based in the US and available to work immediately in the US. Thutmose III: male, 20-25, Black / African Descent, Male, early 20s, Hatshepsut’s Nephew, the “Napoleon of Egypt”. He would go on to be King of Egypt for 32 years. He is most famous for his aggressive military campaigns. It is very important to the filmmakers that Thutmose III be cast as historically accurate as possible. That being said, little is known about his exact physical features, but the available research shows that he would have similar features to people from modern day south Egypt, Luxor, Nubia, Northern Sudan, Ethiopia or other Eastern African countries. He should have the build of a warrior. He would have spoken Middle

Egyptian (a dead language). The script will be performed in English with an accent similar to a present day Egyptian, Ethopic, Chadic, Berber or African Arabic accent. Please only submit actors who are based in the US and available to work immediately in the US. • Seeking submissions nationwide.

• Send submissions to gail.quintos.cast-

ing@gmail.com.

• New Media.

‘Think Pink’

• Casting “Think Pink,” a short picture by

Mason Hubbard.

• Production states: “Play These Loud,

founded in 2020, offers a number of award winning pictures to its belt.

Recently with ‘Can’t Have You,’ starring Damian Hempstead. In 2019, the premiere for the second short, ‘Pysche in the Temple of Love,’ sold out to a max capacity in cinemas, and after 3 years since the premiere, Mason Hubbard has sprouted with the highly ambitious “Think Pink”; with 2 years in the making.”

• Company: Play These Loud. Staff:

Mason Hubbard, dir.

• Rehearses TBD in Mosman, Australia.

Note: Talent must be in traveling distance of Castle Hill, Australia.

• Seeking—Urethra: female, 18-21, White

/ European Descent, consumed by the cult of Symphant (a reimagination of Aliester Crowley’s occultist Thelema religion), Urethra was a juvenile when she was kidnapped and brainwashed into becoming a soul carrier for the

casting National/Regional

THEATRE & DANCE

STUDY ACTING, DANCE AND PRODUCTION DESIGN WITH A BACHELOR OF ARTS IN THEATRE OR DANCE 202.994.8072 • WASHINGTON, DC • ctad@gwu.edu

cult. The Symphanites plan to use her body to conjure the great Babalon (the great mother of abominations). Urethra is made subservient to the cult leader (Urethra’s groomer) Master Therion.

Her service being a sort of sexual slave to him and other Symphant members.

Stripped of her individuality, Urethra’s mannerisms reflect her degrading sanity as the character gradually loses any semblance of a typical human.Note: this role requires partial nudity.

Production states: “It is important to note that the character of Urethra will be depicted in a sexual manner and, on one occasion, in abstract, a compliation of facial expression demonstrating a scene of intercourse. While it’s intention is to capture this as tasteful and in an implicit manner, please do not apply if you are uncomfortable with scenes of sexual volence. The provided text of nudity has been sought by trained intimate councilor Amiee-Lee (advanced diploma - intimacy in film). The description of the scene will be discussed in person. Though for reference, the frame is of character Urethra, down to her knees facing away from the camera, showing the bottom half of her person; with limit of action, and, in fact, considered a still. We understand the seriousness of this practice, if you have further questions on the matter, we are more than happy to provide, and, comprise (actors may request a meeting with director, Mr. Hubbard).Further details can be provided upon enquiry and a formal consent form will be required upon acceptance of the role.”

• Seeking submissions from New South

Wales.

• Apply on Backstage.com.

• For consideration, include your name,

age, agency, and an audition of you attempting to cry in your submission.

• Company: University of Texas at Austin.

Staff: Dylan Harding, student.

• Auditions will be held Sept. 21 and 24,

with callbacks on Sept. 27; rehearses TBD; performs Oct. 12 at the University of Texas Austin in Austin, TX. • All dates except for the performance

are flexible, please reach out with any questions or concerns.

• Seeking—Anthony: male, 18-35, all eth-

nicities, He’s a soft-spoken amateur criminal working with Dignan. He spent some extended time in a mental hospital but as since been released. He’s a bit of a pushover but a truly chivalrous romantic. Dignan: male, 18-35, all ethnicities, He’s a hot-headed amateur criminal just trying to make ends meet.

He’s desperate to take control over any situation and will do anything to stick to his goal. He’s deeply principaled but thin-skinned. He has no idea how to fix a car.

• Seeking submissions from TX. • Send submissions to dylanfharding@

gmail.com.

• COVID-19: All actors will need to be

tested prior to the performance. UT Austin provides free and easy access to COVID testing for non-UT students. All of the necessary information will be provided via a pdf from the University, so please reach out with any other questions or concerns to the email listed. For more information you can also visit: https://healthyhorns.utexas. edu/ • The piece will be performed in-person

without masks in a large studio space, with an audience of roughly a dozen who will all be socially-distanced and masked. At least 3 rehearsals will also need to be in-person and unmasked, though more may be scheduled to happen virtually by request.

• No pay.

• Pays A$80-A$100/day. If shooting does

not exceed more than 3 days of production, talent will be provided with a fixed rate of A$350, including fees.

Shooting dates expected to take no more than 10 days.

Reality TV & Documentary ‘SUDS’ Premium Streaming Network Docu-Series

Student Films

• Casting nonunion actors to portray real

people for recreations in a documentary series for a premium streaming network.

‘Bottle Rocket’ Scene Performance

• Seeking talent for an in-class scene

• COVID-19 Notice: Production will com-

exercise for a UT Austin directing class. sic dry humor of Texas native Wes Anderson and the spirit of the Wilson brothers, this script launched the acclaimed writer-director’s career back in the ‘90s. Now you’ll have an opportunity to put your own spin on this iconic indie script. The scene will be performed live as part of an exercise for a UT Austin upper-division directing class. I am a senior with multiple years of experience in working with actors both behind the camera and onstage.

ply with applicable health and safety laws and regulations relating to the COVID-19 pandemic. Actors will be required to comply with Production’s then-applicable COVID-19 protocols, including any advance testing and negative test result requirements.

Employment will be contingent upon receiving a negative pre-employment test result. Current protocols require testing approximately three days prior to the start of services. All protocols, including timing and frequency of any required testing, are subject to change.

front of an entire class of fellow junior and senior RTF students, the majority of whom will be looking for actors to cast in thesis films and other projects in the coming spring semester and beyond.”

als on “SUDS”, all cast and crew must be fully vaccinated against COVID-19 prior to beginning work. We will consider reasonable accommodations as required by law for individuals who can-

• Student states: “’Wow!’ With the clas-

• “You will have an opportunity to act in

BACKSTAGE 10.07.21

52

• For the health and safety of all individu-

backstage.com

National/Regional casting

not be vaccinated due to age, a disability or a sincerely held religious belief, practice or observance. Note that anyone accompanying a minor to set must be fully vaccinated.

• Staff: Jason Crow & Barbara Stordahl,

casting dirs.

• Shoots Nov. 1-20 in LA. • Seeking—Max: male, 30-39, White /

European Descent, should be around 5’10”, heavier set, 220-240 lbs. A hardworking corporate accountant who needs a change of scenery. He’s competent and extremely able at his job, but hungers for more. Affable and good natured, he’s the best friend anyone could ever ask for, with an earnestness that could make any cynic a believer. Not afraid of a challenge, with a flame in his eye, he just needs the right opportunity to come along to lead him to greater success. (Think a beardless Zach Galifianakis) Large Role. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 12-15 days.

Vaughn: male, 30-39, White / European Descent, should be around 6’0”; thin, 150-170 lbs. Trouble, with a capital T, best describes this Used Car salesman. Crafty, hungry, and extremely open to suggestion, this ladies’ man isn’t afraid to jump into a new adventure at a moment’s notice.

Always looking for a good party, and quick to make friends, sometimes his decisions lead him astray and put him into situations that would make even the most confidant man tremble in fear. He needs a good-natured wing-

theatre.psu.edu

man to keep him honest and on course. (Think a younger Billy Bob Thornton) Large Role. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 12-15 days. Bill: male, 30-49, White / European Descent, should be around 5’10”, slight heavier build, 180200 lbs. Motivated event planner, who’s creative thinking separates him from the pack. He’s an honest and jolly soul, who truly believes that any problem can be solved with a little “out of the box” thinking. He’ll kill you with kindness, but also get the job done at the end of the day. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days. Benjamin: male, 30-39, White / European Descent, early to mid-30’s; should be around 5’10”- 6’0” ft. thin build 160-175 lbs. An energetic and driven publicist, he’s an over achiever who always wants to please the room. He’s been thrown into situations that would make most cower, but he’s but he’s able to strive forward on guts and guile. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days. Brandon: male, 40-49, White / European Descent, should be around 5’7”-5’9”, small build, thin, 150165 lbs. A Corporate executive for a major wine company, he’s all about building up the brand and expanding business across the globe. When he’s not making deals with famous actors to become spokespeople, he’s filming ads, and making sure the ship runs smoothly. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 2-4

days. Greg: male, 30-39, White / European Descent, should be around 5’10”, slight heavier build, 180-200 lbs.

Accomplished building contractor, his attention to detail is well known in the industry. His determination and cunning have allowed him to land some big deals and secure his financial future.

He keeps more secrets than friends, and won’t divulge more than he wants you to know, especially if he thinks you’re curious. Rate: $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days. Jack: male, 30-39, White / European Descent, should be around 6 ft, thin to medium build, 170190 lbs. A Madison Avenue ad executive through and through, he has forgotten more than most of his peers will ever know about the advertising business. Brash and confident, he knows what he likes and isn’t afraid to let everyone hear his thoughts. Rate: $210 + 10% agency fee per 12 hr. day.

Role could work 2-4 days. Jeremy: male, 18+, White / European Descent, 18+ to play 19; should be around 6’0”; thin, 140-160 lbs. An industrious 19 yr. old who knows a good deal when he smells one. Out to get what he wants, he won’t take no for an answer, and is willing to take his case to the courts in order to obtain what he thinks is rightfully his. Some view him as a determined teenager, while others believe he is a conniving swindler. He isn’t afraid of a good fight, but he would be wise to listen more and take advice from his elders. Rate: $210 + 10%

agency fee per 12 hr. day. Role could work 4-5 days. The Honorable Williams: female, 50-59, White / European Descent, should be 5’2”-5’6”, medium build, 110-130 lbs. Renowned state judge who has a history of presiding over cases of financial consequence. She treats her role with the utmost seriousness, but isn’t afraid to crack a joke and show a little levity when the occasion may arise. Rate: $210 + 10% agency fee per 12 hr. day.

Role could work 1-2 days. Ryan: male, 30-39, White / European Descent, should be 5’10”-6 ft, medium build, 170-190 lbs. An accomplished PR executive, he’s a cog in a big corporate machine. He’s worked hard, and earned the trust of his peers. Willing to get the job done at any cost, but also eager to share his opinion, he eagerly pokes fun at his co-workers as soon as an opportunity presents itself. Could work 2-4 days. Noah: male, 40-49, White / European Descent, should be around 6’0”, medium build, 165-175 lbs.

A former British Army mechanic who always knows how to solve the problem, he doesn’t shy away from tough jobs. He’s now in the private sector and excels in repairing older cars. Friendly and honest, he maintains strong relationships with the guys he used to serve with. Role could work 2-4 days.

Burt: male, 30-49, White / European Descent, should be 5’7”-5’10”, medium build, 150-175 lbs. A career maintenance chief for a refinery, he is a man of order and precision. “Thorough”

BACHELOR OF ARTS

THEATRE

BACHELOR OF FINE ARTS

ACTING MUSICAL THEATRE THEATRE DESIGN + TECHNOLOGY COSTUME/LIGHTING/ SCENIC/SOUND/ TECHNICAL DIRECTION STAGE MANAGEMENT

MASTER OF FINE ARTS

THEATRE DESIGN + TECHNOLOGY COSTUME DESIGN/ COSTUME PRODUCTION DIRECTING FOR MUSICAL THEATRE MUSIC DIRECTING FOR MUSICAL THEATRE

casting

National/Regional would be an understatement if someone had to describe his work ethic.

Some might say he’s slower than a snail, but he would contend that he’s just a perfectionist, that insists that every I is dotted and every T is crossed.

(Think Barney Fife). Role could work 2-4 days. Natalie: female, 20-29, White / European Descent, should be 5’5”5’7”, thin, 110-125 lbs. A party girl first and foremost, she likes the beach by day, but really comes alive at night.

She’s open to working, but prefers to be arm candy for right guy... the richer the better. Known to be a loose cannon, she sometimes lets her emotions get the best of her, but you know what they say, you only live once! Role could work 2-4 days. Rebecca: female, 40-49, White / European Descent, should be 5’5”-5’7”, lean to medium build, 125-140 lbs. A small-town realtor on the rise, she was ready to dominate the local market... until she had an untimely mishap with a bottle cap. One minute she’s shopping for sparkling water, the next minute she’s blinded by bottle cap hurtling at blazing speed toward her eyes. Who knew that seltzer could be so dangerous? Suffering from blurred vision, and a damaged psyche, she wants to take the seltzer company to task. Role could work 2-4 days. Bunny Harlowe: female, 20-29, White / European Descent, should be 5’4”-5’6”, thin, 115 lbs. Bartender/ Stripper. Actor should be prepared to be on stage in a bikini in a full body shot. A beautiful bartender who was the prettiest girl in her class. She really wants to dance, but needs to pay the bills, so she started working at a nightclub where the patrons want more show than tell. Every time she thinks she’s seen it all, she finds herself in the middle of a new story no one will ever believe. Role could work 1-2 days. Note: We may see her bare back on camera so actor may need to be in pasties, just on set /not on screen. Max’s Father: male, 60-69, White / European Descent, should be 5’10”, medium to large build, 200 lbs. A former appraiser, and always a proud father, he’s excited for his son’s success, but very curious of the inner-workings of his job. Fearless in most situations, he’s more apt to tell a joke under pressure than to let the other guy see him sweat. He’s ready for what life throws at him, even as he reaches his twilight years. Role could work 1-2 days. Young Vaughn: male, White / European Descent, 18+ to play late teens, should be around 5’9”, thin, 150-170 lbs.

Rowdy, with an exuberance for life, he’s excited for whatever life has in store. Still wet behind the ears, he’s not interested in consequences and wants to live each day to the fullest.

While excited to go to college, he’s more interested in earning a grade in partying than academics. Role could work 2-4 days. Vaughn’s Father: male, 40-49, White / European Descent, should be 5’10”-6’0”, medium to large build, 175 -195 lbs. Father to a rambunctious high school graduate, he aims to set his son on the right path. A man of discipline, he believes that a college education and hard work is the

BACKSTAGE 10.07.21

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way to find success. However, his impressionable son disagrees, which has led to many sleepless nights. Role could work 1-2 days.

• Seeking submissions nationwide.

• For consideration, submit a picture

(and resume if they have one) to sandtcasting@gmail.com. Casting will send out requests to tape if you are a fit.

Note: These roles will likely be NonSpeaking, however due to the nature of recreations they may be heavily featured.

• Pays $210 + 10% agency fee per 12-hr.

day.

National Commercials Lawn Care Company

• Major lawn care company would like to

help individuals or families in Nashville transform their lawn.

• Company: Liz Lewis Casting Partners.

Staff: Rachel Reiss, casting dir.; Sharon Carcamo, casting assist.

• Nashville, TN Area. Those chosen will

film remotely. Shoot: This will be self shot over the course of several months, 2 hours at a time for a total commitment of about 10 hours. Remote directed by production team. COVID Protocols: All footage to be shot from their own home using their own cell phone/ laptop.

• Seeking—Lawn Care Newcomer: all

genders, 20-70, Searching for individuals or families in the Nashville Area who need help with their lawn care. Must have a lawn that is in patchy/brown condition and want to transform that into a beautiful, lush lawn. Could be an individual, couple, or family. Must have their own yard. Grass type Bermuda grass. No Centipede, Kentucky Bluegrass or Tall Fescue.

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

• Tell us a bit about your lawn and who

you would be submitting with, or go to this link to submit with more information: https://docs.google.com/forms/d/ e/1FAIpQLScnzreBoQ7d17L918cwz25HF mnviUJokqoryQvSKZysAIqDag/ viewform?usp=sf_link.

• Pays $350/person plus lawn care prod-

ucts and services provided for free (Lawn Care company applies the product and takes care of the lawn. Does not include lawn trimming).

Singers ‘Sesame Street Live!’

Vocalists

• Casting dynamic vocalists for the

return of “Sesame Street Live!” a touring stage show.

• Company: Feld Entertainment Inc.

Staff: Jennifer Mahoney, dir.-casting & perf.

• Rehearsals begin in early 2022 in

Palmetto, FL. Contracts begin in early 2022 and run approximately 6 months. backstage.com

National/Regional casting Note: Successful candidate affirms that they are/will be fully vaccinated against the COVID-19 virus on or before their first day of employment.

Proof of vaccination is required and may be submitted via the Company’s secure website. Fully vaccinated is defined as 14 days after the second dose of a two-dose vaccine or 14 days after the single dose of a one dose vaccine.

• Seeking—Vocalist: all genders, 18+, all

ethnicities, youthful vocalists who move well.

• Auditions will be held Oct. 19 from 10

a.m.-2 p.m. (Sign-in, 9:30 a.m.) at NexGen Studios, 519 8th Ave., 12th fl., New York City, NY 10018. And Oct. 21 from 10 a.m.-2 p.m. (Sign-in, 9:30 a.m.)) at Pittsburgh Musical Theater, 327 S. Main St., Pittsburgh, PA 15220.

• Bring a non-returnable headshot and

resume. Candidates with facial hair should arrive clean shaven. Hair should be pulled up and away from the face. Makeup should be neutral and light. Prepare 16 bars of an upbeat pop / R&B song and provide sheet music. A pianist will be provided. Some candidates may be asked to participate in a basic movement exercise, be prepared with appropriate attire to move in. Performers must be at least 18 and authorized to work in the United States.

• Per CDC guidelines, we ask that you

observe social distancing and wear a mask when you are not singing in the audition. For requirements to enter the local audition venue, contact the studio directly.

• Competitive pay ($1030-1130/wk.), ben-

efits and domestic travel provided.

Stage Staff & Tech ‘A Comedy of Tenors,’ Stage Manager • Seeking Equity stage managers for “A

Comedy of Tenors.”

• Company: Riverside Theatre Inc. Staff:

Allen D. Cornell, artistic dir.; Kyle Atkins, assoc. prod.; Jimmy Brennan, dir.; Wojcik / Seay Casting, casting.

• Rehearsals begin Jan. 11, 2022; runs

Feb. 1-20 in Vero Beach, FL. Note: Full Vaccination is required.

• Seeking—Stage Manager: 18+.

• Seeking submissions from FL. • For consideration, submit to kylea@riv-

ersidetheatre.com or mail to Kyle Atkins, Associate Producer, 3250 Riverside Park Drive, Vero Beach, FL 32963. Submissions deadline is Oct. 29.

• Pays $1,454/wk. Equity LORT B+ Non-

Rep Contract.

‘I Hate Hamlet’

• Seeking Equity stage managers for “I

Hate Hamlet.” Note: Local stage managers encouraged to submit.

• Company: Maltz Jupiter Theatre, Inc.

Staff: Bill Fennelly, dir.; Andrew Kato, prod. artistic dir.; Eloisa Ferrer, company mgr.-prod. asst.; Paul Rudnick, writer. backstage.com

• Rehearsals begin Jan. 18, 2022; runs

Feb. 10-20, 2022 in Jupiter, FL.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from FL. • For consideration, email resume to

Eloisa Ferrer at eferrer@jupitertheatre. org. Submissions deadline is Oct. 11.

• The Maltz Jupiter Theatre is committed

to building diversity, equity and inclusion both onstage and throughout our organization. Be advised that The Maltz Jupiter Theatre will mandating Covid-19 vaccines as a condition of hiring for all actors and stage managers that form part of the production group. Actors and stage managers should be prepared to sign an affidavit attesting to the fact that they are or will be fully vaccinated 14 days prior to their first day of employment with the theatre.

More at jupitertheatre.org.

• Pays $1,454/wk. Equity LORT Non-Rep

(LORT B+) Agreement.

‘Jacob Marley’s Christmas Carol,’ Stage Manager

• Seeking an Equity stage manager for

“Jacob Marley’s Christmas Carol.”

• Company: Fulton Theatre Company.

Staff: Tom Mula, dir.

• Prep being Nov. 2; rehearsals begin Nov.

7; runs Nov. 30-Dec. 26 in Lancaster, PA. Note: Vaccination: All employees must be fully vaccinated against the Covid-19 virus prior to arrival at Fulton Theatre.

Covid Guidelines: All employees and Educational Fellowship Participants will adhere to all Federal, State, and local governments Covid-19 guidelines, CDC Covid-19 guidelines.

• Seeking—Equity Stage Manager: 18+,

all ethnicities.

• Seeking submissions from PA. • For consideration, email resume to

jobs@thefulton.org or mail to Timothy Markus, 12 N Prince St., Lancaster, PA 17603. Submissions deadline is Oct. 15.

• Pays $728/wk. Equity LORT D

Experimental Contract.

Lookingglass Theatre 20212022 Season, Stage Manager • Seeking stage managers and assistant

stage manager for the Lookingglass Mainstage 2021-2022 season. Season includes “Her Honor Jan Byrne” (Preproduction begins Oct.19; runs through Dec. 19 with a possible extension through Dec. 26) and “Lucy and Charlie’s Honeymoon” (Preproduction begins Dec. 28; runs through Apr. 10, 2022).

• Company: Lookingglass Theatre Co.

Staff: Sarah Burnham, dir. of prod.

• Season rehearses and performs in

Chicago, IL. Rehearsals will be five day work week; tech will be six day work week.

• Seeking—Stage Manager: all genders,

18+, all ethnicities, for both shows.

Assistant Stage Manager: all genders, 18+, all ethnicities, for “Her Honor Jane Byrne” • Seeking submissions from IL. • For consideration, submit resume to

Sarah Burnham at sburnham@lookingglasstheatre.org.

Marci Liroff C A S T I N G

D I R E C T O R

Private Coaching

Private Coaching

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

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.

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.

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.

Available in Los Angeles or worldwide thru Skype or Facetime.

• For more info, visit www.lookingglass-

theatre.org.

• Pays $732/wk. (SM) and $638/wk.

(ASM) Equity CAT IV Agreement.

55

10.07.21 BACKSTAGE

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

Ask An Expert Agents Auditions Film Marketing Television Theater Unions Voiceover

Q:

What’s the best way to establish a relationship with a casting director?

Can I reach out cold?

Our Expert Erica Hart is a casting director.

*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.

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backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; HART: COURTESY ERICA HART

If you’re trying to establish a relationship with a casting director, I think the best move is to reach out to them. Now is the time to shoot your shot: We’re all at home; we’re all looking at our computers. If I’m looking for something specific, I want to know who you are and what you can do.

With that said, if you’re going to reach out, bring the question back to yourself: How would you like someone to reach out to you? If there was a budding actor who saw your work and had questions, how would you want them to approach you?

I like short, sweet, to-the-point, focused, and succinct communication.

Specificity is key. I get a lot of emails and direct messages from people saying, “I’m an actor.” Cool. That’s great! No tea, no shade, but why are you contacting me? Did you see something that I’m casting that you’d be great for? Did you see something I had cast and you know my work, and you see the stuff that I do and you might be interested in something else? If you say, “Hey, Erica, I saw you on that Backstage panel, and I see that you’re casting for this show. Here’s my headshot, résumé, and reel. I look forward to hearing from you soon,” that gives me your objective, your materials, and a way to contact you.

Also, and I can’t stress this enough, if I’m looking for someone who has a black belt in jiujitsu, speaks fluent Italian, and can knit, and that’s you, let me know. Even if I know you, even if I’m your best friend, I might not know that you have a black belt in jiujitsu. Just say, “Hey, Erica, I saw you were casting this. I wanted to let you know that I have a black belt, and I think I’d be great for it.” Boom. Thank you so much. This is your career, and you have to take control of it.

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