Backstage Magazine, Digital Issue: December 30, 2021

12.30.21

Jamie Dornan, Redefined How

Halle Berry seized her moment behind the camera

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Which films will shake up the 2022 awards race?

10 Pages OF CASTING NOTICES

NEW YORK CITY’S MOST AMBITIOUS SUMMER TRAINING PROGRAM! New Resident Artist Scholarship A full tuition award for the experienced actor just announced!

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Contents

vol. 62, no. 36 | 12.30.21

Cover Story

Bringing Cover Story Him Prospecting forHome Gold Your officialJamie guideDornan to the 2020 Oscar nominations reflects on page 16 how he went from A-list model to starry leading man page 14

The Green Room 6 Netflix and Snapchat establish

grants for minority creators The Green Room

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

8 This week’s roundup of who’s 9 Alana Haim “Licorice Pizza” casting whatonstarring whom 10 Annie Murphy reflects on Advice “Schitt’s Creek”

11 NOTE FROM THE CD

My top casting moments of Advice the year

13 C RAFT 12 Survive IGOTCAST # and thrive Bianca Shaw

13 # IGOTCAST 12 SECRET AGENT MAN

Mark Beauchamp Count your blessings 14 SECRET AGENT MAN The power of intention Features

3 BACKSTAGE 5 WITH...

Features Gaby Hoffmann

4 B ACKSTAGE 5 WITH...

10 MEET THE MAKER

David Alan Grier Halle Berry, “Bruised” director

12 EET THE MAKER 11 M THE ESSENTIALISTS

Cathy Yan, “Birds of Prey” Teressa Hill and Ana Lozano, director hair and makeup department

14 13

heads THE ESSENTIALISTS Jeremy Woodhead, IN THE ROOM WITH hair and Robin D. makeup Cook designer

15 THE ROOM WITH 19 I TNHE NEW NORM

Victoria Thomas Is this the year the Academy expands its definition of 21 “Oscar-worthy”?

OUR DREAM BALLOT And the 2020 Oscar SHOULD goneTO to…KILL 20 have DRESSED The “House of Gucci” 32 costume ASK AN EXPERT designer breaks Amy Russ on principal down the film’s looks and background work 32 ASK AN EXPERT Elaine Del Valle on how much Casting makeup to wear for self-tapes 22 New York Tristate

Casting 27 California

22 York Tristate 28 New National/Regional 26 California

Cover illustration by John Jay Cabuay.

CoverNational/Regional designed by Ian Robinson.

28 Jamie Dornan photographed by Chad Griffith on Nov. 16 in New York City. Grooming by Kumi Craig. Cover designed by Ian Robinson.

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12.30.21 BACKSTAGE

Backstage was founded in 1960 by Ira Eaker and Allen Zwerdling

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BACKSTAGE, vol. 62, no. 36 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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Backstage 5 With...

Gaby Hoffmann

By Allie Volpe

As a child actor in the 1980s and ’90s, Gaby Hoffmann didn’t quite have a passion for the craft, though she enjoyed being around performers. So she took a break from acting, eventually returning in her 30s for acclaimed performances on “Transparent” and “Girls.” Her latest is Mike Mills’ “C’mon C’mon,” in which she plays the mother of young Jesse (Woody Norman), whom she entrusts to the care of her brother, played by Joaquin Phoenix.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: KATHY HUTCHINS/SHUTTERSTOCK.COM

You started acting when you were super young. Do you have any memories from your first days on a professional set? I have very fond moments from “Field of Dreams,” which was my first movie, mostly because I loved hanging out with the baseball players. I was majorly in love with Ray Liotta and pretty sure he was majorly in love with me. I was 6, so let’s assume he wasn’t. I really loved being on movie sets when I was a kid because I loved hanging out with adults.

What’s the wildest thing you ever did to get a role? There was a movie I saw at Sundance; it blew me away and it made me want to act. It was Sebastián Silva’s movie “The Maid.”

Soon thereafter, I got a call from my agents asking me if I spoke French. I had this instinct, and I knew immediately it was Sebastián. I said, “Tell him I speak French.” He knew immediately that I didn’t speak French once I was in the room, but he hired me anyway. We became friends, and he [later] called me and said, “Will you come to Chile in the next week and make an all-improvised movie called ‘Crystal Fairy [& The Magical Cactus]’?” which was a huge turning point for me, creatively.

gave a very good audition, but on top of that, I tried to correct Edward Albee’s grammar—which is so stupid. He told me so in the moment and was clearly very offended. I corrected one of our great playwrights.

What performance should every actor see and why? Tilda Swinton in “I Am Love”; Sally Hawkins in “Happy-Go-Lucky”; Meryl Streep, obviously, in basically everything. I love watching Frances McDormand do anything.

What advice would you give your younger self? At 39, after 34 years of acting—with a fairly large break in the middle—I feel like I’m only just now getting interested in it in a really serious way. It’s the same advice I keep giving myself: Just keep showing up and trusting that there’s something there to find if you can be present and get out of your way.

What is your worst audition horror story? I once went to an audition that I really didn’t want to go on but I thought that I should, because it was for an Edward Albee play. I don’t think I

“I decided to say yes to anything that came my way for a full year and go at it with an open heart and mind.”

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PETE HAMMOND

“An irresistible ensemble” BRIAN TRUITT

“Brilliant, moving, must-see movie”

“Ali’s performance is SHEER MASTERY ” C AT H E R I N E S P R I N G E R

Backstage_FYC_FP_CODA+SWN_9x10.75_2.indd 1

AWA R D S WAT C H

12/22/21 3:53 PM

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New Media

Netflix + Snapchat Further Commit to Diversity

Both companies have established grants for minority creators

By Diep Tran

BACKSTAGE 12.30.21

midcareer Indigenous producers working in television, film, and/or documentary. Applicants must be attached to one or more current projects, with rights to the intellectual property they are seeking to adapt.

Program participants will have the chance to meet with major studios and attend workshops led by influential writers, directors, producers, and casting agents. They will also receive training in project development, financing, distribution, and marketing.

“We’re so excited to announce our partnership with Netflix in launching the IllumiNative Producers Program to ensure

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Indigenous creatives are empowered and uplifted in an authentic and powerful way. It is our hope to equip Indigenous creatives with resources and tools to advance their careers in the entertainment industry,” said Crystal Echo Hawk, founder and executive director of IllumiNative, in a statement.

Applications for the program are now open, and the deadline to apply is Feb. 21, 2022. The program will begin in April 2022.

Meanwhile, Snap Inc. is launching 523, a six-month program that will provide $60,000 plus mentorship to small minority-owned businesses, who will then create content for

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SUTIPOND SOMNAM/SHUTTERSTOCK.COM

NETFLIX AND SNAPCHAT, two of today’s most prolific new media companies, have announced grants designed to elevate marginalized voices.

Netflix is teaming up with IllumiNative, an Indigenous nonprofit, to launch a yearlong training program for Indigenous filmmakers. The IllumiNative Producers Program will provide $25,000 for chosen creators to develop their projects; it will also offer workshops, plus access to networking opportunities and mentorship from industry leaders.

The IllumiNative Producers Program will provide mentorship to seven early and

Snapchat. The deadline to apply to the program is Jan. 31, 2022.

According to Snapchat, “the 523 program is designed to support and spotlight small, minority-owned content companies and creatives that traditionally lack access and resources—particularly when compared to larger competitors and publishers. The goal is to help them build their businesses and audiences through the creation of Shows for Discover.”

The platform defines “minority-owned” as any business that is at least 51% owned and operated by individuals who identify as BIPOC, female, nonbinary, LGBTQ+, veteran, or disabled.

Selected participants will create Shows for Snapchat— three to five–minute videos that live on Snapchat’s Discover section, which is built for curated content.

Applicants must be representatives of small businesses that have a gross annual revenue below $5 million and less than 20 full-time employees.

Twenty small businesses will be selected for the 523 program, which will run from April 1–Sept. 30, 2022. Participants will be paid $10,000 per month for six months. They will also receive one-on-one mentorship with Snap Inc.’s content and media partnerships team to create shows, workshops on creative strategy, and marketing; Snap will additionally provide marketing support.

The company will also connect participants with the program’s sponsors, which include AT&T, McDonald’s, Nissan, State Farm, Target, Unilever, and Uber Eats.

Winners will be announced on March 1, 2022.

INCLUDING

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BEST PICTURE BEST ACTING ENSEMBLE CRITICS CHOICE AWARD NOMINATIONS

B E N E D I C T C U M B E R B AT C H , K I R S T E N D U N S T, J E S S E P L E M O N S , K O D I S M I T- M C P H E E , THOMASIN MCKENZIE, GENEVIÈVE LEMON, KEITH CARRADINE, FRANCES CONROY

BE ST AC TOR B E N E D I C T C U M B E R B AT C H

BE ST SUPPOR TING AC TOR K O D I S M I T- M C P H E E

THE BEST PICTURE OF THE YEAR.”

“

“A ACADEMY AWARD® NOMINEE

BEST SUPPORTING ACTRESS KIRSTEN DUNST

NEW GOLD STANDARD FOR ENSEMBLE ACTING.

A TRIUMPH IN EVERY SENSE OF THE WORD.”

BENEDICT CUMBERBATCH

KODI SMIT-MC SMIT-MCPHEE

PETER TRAVERS,

“A

POWERHOUSE ENSEMBLE.”

WINNER • B E S T E N S E M B L E NEW YORK FILM CRITICS ONLINE, SATELLITE AWARDS™

WINNER • B E S T AC T O R KIRSTEN DUNST

BENEDICT CUMBERBATCH

ATLANTA FILM CRITICS CIRCLE, BOSTON ONLINE FILM CRITICS ASSOCIATION, CHICAGO FILM CRITICS ASSOCIATION, DALLAS-FT. WORTH FILM CRITICS ASSOCIATION, NEVADA FILM CRITICS SOCIETY, NEW YORK FILM CRITICS CIRCLE, NEW YORK FILM CRITICS ONLINE, PHILADELPHIA FILM CRITICS CIRCLE, PHOENIX CRITICS CIRCLE, PHOENIX FILM CRITICS SOCIETY, PORTLAND CRITICS ASSOCIATION, SOUTHEASTERN FILM CRITICS ASSOCIATION

JESSE PLEMONS

WINNER • B E S T S U P P O R T I N G AC T O R KODI SMIT-MCPHEE

BOSTON ONLINE FILM CRITICS ASSOCIATION, CHICAGO FILM CRITICS ASSOCIATION, DALLAS-FT. WORTH FILM CRITICS ASSOCIATION, FLORIDA FILM CRITICS CIRCLE, LOS ANGELES FILM CRITICS ASSOCIATION, NEW YORK FILM CRITICS CIRCLE, NEW YORK FILM CRITICS ONLINE, ONLINE ASSOCIATION OF FEMALE FILM CRITICS, PHILADELPHIA FILM CRITICS CIRCLE, SOUTHEASTERN FILM CRITICS ASSOCIATION, ST. LOUIS FILM CRITICS ASSOCIATION, UTAH FILM CRITICS ASSOCIATION, WASHINGTON D.C. AREA FILM CRITICS ASSOCIATION

WINNER • B E S T S U P P O R T I N G AC T R E S S KIRSTEN DUNST

ACADEMY AWARD® WINNER

KEITH CARRADINE

FRANCES CONROY

ATLANTA FILM CRITICS CIRCLE, BOSTON ONLINE FILM CRITICS ASSOCIATION, PHOENIX CRITICS CIRCLE , SOUTHEASTERN FILM CRITICS ASSOCIATION

GENEVIÈVE LEMON

THOMASIN MC MCKENZIE

A FILM BY ACADEMY AWARD® WINNER JANE CAMPION

FILM.NETFLIXAWARDS.COM

SCAN HERE

Jane Campion, Benedict Cumberbatch, Kirsten Dunst, Kodi Smit-McPhee and Jesse Plemons discuss the magnetism of The Power of the Dog and working together.

What’s Casting

Blockbuster Gets the Netflix Treatment Randall Park will star in a workplace comedy centered on the rental empire

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!

“Blockbuster” Gone are the days of perusing

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“The Crowded Room” Fresh off the record-breaking success of his latest Marvel venture, “Spider-Man: No Way Home,” Tom Holland is preparing to begin work on

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

FILM

Tom Holland Dances Into His Next Gig

By Casey Mink

JUST AS “SPIDER-MAN: NO WAY Home” is hitting theaters, its central web-slinger, Tom Holland, has lined up his next leading role. The actor has signed on to put his robust dance training to use to portray iconic singer-dancer-entertainer Fred Astaire in an upcoming biopic. Little else is known about the project at this time, which will come courtesy of Sony Pictures.

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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.

the aisles for that one special film to take home and pop into the VCR. In the age of streaming, all Blockbuster rental stores have shuttered but one. But in the early days of its mail-delivery DVD rental system, Netflix actually tried selling to Blockbuster for $50 million, but the former declined. Now, in an ironic twist, Netflix has picked up a 10-episode series centered on their former rival.

“Blockbuster,” set at the company’s last brick-and-mortar store, is a forthcoming workplace

comedy from creator Vanessa Ramos (“Superstore,” “Brooklyn Nine-Nine”), starring Randall Park. He’s the only actor currently attached, but Wendy O’Brien Casting is filling out the rest of the ensemble.

Production is scheduled to kick off in January 2022 in an unspecified location in the United States.

“Barbie” Greta Gerwig, of all people, is bringing Barbie to life in a new film. She’s directing and co-writing “Barbie,” based on the popular Mattel toy.

The movie follows the titular doll who, after she’s expelled from Barbieland for not being perfect enough, must learn to make her way in the real world. Noah Baumbach will co-write the script alongside Gerwig, and Margot Robbie will star as Barbie; the actor is also producing via her company LuckyChap. Currently casting with Allison Jones, the film has also tapped Ryan Gosling to play Ken. Production is set to start in March 2022 in the U.K.

MELINDA SUE GORDON

Apple TV+’s “The Crowded Room,” a new anthology series about mental health. Instead of battling supervillains, he’ll be taking on inner demons when he steps into the shoes of notorious accused rapist Billy Milligan. Based on Daniel Keyes’ award-winning biography “The Minds of Billy Milligan,” the series follows the criminal, who was the first person to be acquitted due to dissociative identity disorder. Details of the series are being kept under wraps, but our Spidey sense tells us that Avy Kaufman Casting is attached. The project is set to start shooting in late winter 2022 in New York.

Cooper Hoffman, Alana Haim, and Milo Herschlag in “Licorice Pizza” Backstage Live

On Her Terms

Alana Haim shares the advice she’s lived by as an actor and Grammy-nominated musician

By Madison Mora

The following audience Q&A 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 takeovers and to submit your questions.

FILM

Spike Lee + Netflix Make It Official MELINDA SUE GORDON

MARGAUX QUAYLE CANNON

By Casey Mink

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HERE TO MAKE HER FEAture film debut, it’s Alana Haim! Best known as one of the three sisters that form the band HAIM, she’s now breaking into 2022 awards chatter thanks to her leading performance opposite Cooper Hoffman in Paul Thomas

ADD SPIKE LEE TO THE GROWING list of creatives who have inked partnerships with Netflix. The Oscar-winning filmmaker has signed a multiyear deal with the streamer. The partnership follows Lee and Netflix’s collaborations on the film “Da 5 Bloods” and the series “She’s Gotta Have It.” “There is no better way for me and my company, 40 Acres and a Mule Filmworks, to begin the new year than [to] renew our partnership with…da fearless leaders of Netflix,” Lee wrote in a statement.

Anderson’s “Licorice Pizza.”

Reflecting on her unlikely journey to the big screen, the 29-year-old multihyphenate offers her hard-won advice for pursuing a life in the performing arts, no matter the medium.

Acting used to scare her.

“I always wanted to try acting, because what a fun adventure that would be! But fear always held me back. I mean, Paul, when he offered me this movie—one of the first things I asked him was, ‘Are you sure?

Because I have no acting experience.’ What a legacy of films he has; and I just wanted him to succeed with this project, because it was such a beautiful script. And he was like, ‘No, I got you. Don’t worry about it. You can do it.’ And to have someone say, ‘You can do it’ like Paul Thomas Anderson— it really did give me a lot of confidence.”

Forge your own path.

“I would be lying to you if I said that I was confident, even

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in music. Every day, you ask yourself: How is this happening? Can I do this? And really, I’m very lucky that I have my siblings with me 90% of the time—starting in this business and having a wolf pack behind me that cheered me on. And [we] were always there for each other. When I think about music, I think about me and my siblings, and us starting out as a band. The one thing we promised each other was: No matter what, we’re going to carve our own path. And I think a lot of people were trying to impose their opinions on how we should dress, what songs we should play. You know: ‘Oh, maybe you should do this! This is the right path.’

Me and my siblings never took any of that advice. We wanted to make sure that if we were going to succeed in this business, it was on our terms.”

Haim sees more movies in her future.

“The fact that I can even talk about maybe doing another project is a dream. I loved it so much; it was such an incredible experience. If I get to do this again, I would be so grateful and so excited. But if this was it, and it was just me and Paul and Cooper—again, it was the best experience of my life, and I’ll think about it until the day I die. But I’m crossing my fingers that I get to work again, because that would be great.”

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

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Halle Berry, “Bruised” director

By Benjamin Lindsay

Danny Boyd Jr. and Halle Berry on the set of “Bruised” HALLE BERRY DOESN’T sugarcoat it: “Bruised” is the hardest thing she’s ever done.

From the physical demands of playing an aging MMA fighter who gets back in the ring (she trained in boxing, wrestling, and four forms of martial arts to prepare), to the hurdle of directing her first feature film (on an indie budget, no less), she admits that she doesn’t

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when there are few left. Still, “Bruised” feels like the work of a seasoned artist taking control of a career that, in recent years, seemed to have veered slightly off course. Her character, Jackie Justice, is a woman fighting to do the same in the ring, and the parallels are not lost on Berry.

“I’ve always been a fighter,” she says. “From childhood into my early adulthood, and even when I entered into this business, I’ve always had to fight to make a way out of no way for a performer like myself—be it Black, be it a woman—and to prove I’m something other than what I was perceived to be.”

Once she was given the opportunity to bring Michelle

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JOHN BAER/NETFLIX

“I’ve always had to fight to make a way out of no way for a performer like myself—be it Black, be it a woman—and to prove I’m something other than what I was perceived to be.”

know if she’d be able to do it all over again. “I think I might be one and done, directing myself,” she says.

Thankfully, that doesn’t mean we’re done seeing “Directed by Halle Berry” in film credits. “I have many stories I want to tell in my head, and I’m going to advocate for that, and I’m going to fight to do that,” she says.

Last month, she signed a multipicture deal with Netflix to star in and produce a number of projects going forward.

Berry is best known as a history-making Oscar winner (for 2001’s “Monster’s Ball”), a Bond girl, an original fan-favorite member of the X-Men, and a bankable movie star in an era

Rosenfarb’s “Bruised” script to the screen, Berry knew she needed to surround herself with a team of experienced creators who knew the technical ropes better than she did.

In the early days of preproduction, she sought the advice of other filmmakers and held onto one tip: Carefully consider every head of department, “and then trust them and trust the process. Don’t micromanage. Hire whoever you think is best for the job, and let them bring to you the best of themselves.” Following that advice, however, led to a hiring process that took “longer than normal.”

“I just sat down with people I wildly respected, and throughout the course of interviewing and meeting, the people who were like-minded and supportive of what I wanted to do very quickly rose to the top for me,” she says. “They ignited me with their own ideas and their own creativity, and that, I felt, was additive to what I was trying to do.”

Aside from taking a collaborative approach, the advice the multihyphenate has for actors who hope to follow in her footsteps is, simply put, “not a mystery: You just have to decide to do it and then do it.

“If you want to be seen in a certain light and there’s no role for you, create it,” she adds.

“That requires being focused, being tenacious, not taking no for an answer, and really having a desire to do something that you love. It’s about believing in yourself, believing that you can do it. That’s half the battle.

I know when I wasn’t so sure, someone said to me, ‘You have to do this. Of course you can do this!’ They gassed me up—but through [them] gassing me up, look what I did! I got to the other side of it. So that’s what I say to every young artist out there: Just make up your mind and decide to do it.”

ILLUSTRATION: MARGAUX QUAYLE CANNON; “BEING THE RICARDOS”: GLEN WILSON

Meet the Maker

culture +

Spotlighting the people and projects you need to know

THE ESSENTIALISTS

TERESSA HILL AND ANA LOZANO hair and makeup department heads Doubts about Nicole Kidman’s onscreen likeness to Lucille Ball were put to rest when Aaron Sorkin’s “Being the Ricardos” dropped on Amazon Prime Video earlier this month. That’s due in part to the film’s hair and makeup department heads, TERESSA HILL and ANA LOZANO, respectively.

Less is more.

“The first thing Aaron Sorkin told us is: We are not taking a photograph; we are doing a painting. Everyone knows Lucille Ball, Desi Arnaz, the four main characters. You always want to do something similar to them, but

By Casey Mink

in the end, I think we all agreed on doing subtle things in their hair, makeup, and wardrobe, so that even if the actors don’t have the same face, you still see them on ‘I Love Lucy.’ They look like them, even if they are not exactly the same.”

—Ana Lozano Don’t ever discount Kidman.

“The hype started before the film even began, right?

Everybody said, ‘Nicole—she’s not going to be able to do it.’ But everything that we saw on those monitors, we were proud of. In the morning, Javier walked

in and then Desi walked out, and it was our job to help facilitate that.

We’d see Nicole go into a trailer, and every time they left our trailer, they were embodying the essence of those characters.” —Teressa Hill

Note From the CD

My Top Casting Moments of the Year

JOHN BAER/NETFLIX

ILLUSTRATION: MARGAUX QUAYLE CANNON; “BEING THE RICARDOS”: GLEN WILSON

By Marci Liroff

WHILE YOU MAY BE HITTING your capacity for year-end best-of lists (“Best Gadgets of 2021,” “20 Kitchen Items You Must Have in the New Year,” etc.), I’m here to offer one exclusively for you actors out there: the best casting moments of the year.

Let’s start with the team behind Jane Campion’s masterful “The Power of the Dog”: Nikki Barrett, Tina Cleary, Carmen Cuba, and Nina Gold. The casting of Kodi Smit-McPhee was particularly inspired. Now 25, the Australian performer began acting professionally at 14. I first noticed him in a 2007 film called “Romulus, My Father” opposite Eric Bana. Many of his performances as a child and teen actor in the years since have been absolutely breathtaking, but none as much as his turn in “The Power of the Dog.”

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Smit-McPhee plays Peter, a fragile, bookish teenager in 1925 Montana. He stands out like a sore thumb and ultimately becomes a target for the brutality of Benedict Cumberbatch’s unforgiving ranch owner Phil.

Smit-McPhee’s gawky physicality and ability to project wallflower-ish sensitivity make him the perfect fit for this character. You’d never suspect him of anything, which makes the twist ending of this film all the more gutting.

Another performance that grabbed my attention this year was from an even younger actor: 12-year-old Woody Norman in “C’mon C’mon.” He stars as Jesse, the nephew of Johnny (Joaquin Phoenix) and son of Viv (Gaby Hoffmann). Having cast a lot of kids myself, I’m always on the lookout for new and authentic

performances—and these days, it’s hard to find child actors who seem like “real kids” rather than little adults. To see them acting like their natural selves onscreen is a rare thing. Many have adopted bad habits such as indicating (e.g., miming their heart being broken when talking about a broken heart) and overacting (think: performing in the cartoony style of a Nickelodeon show in an otherwise grounded story).

The relationship between Norman and Phoenix’s characters is heartbreaking and beautiful to watch; it captures the magic and fear of aging and change. Casting directors Mark Bennett and Jennifer Venditti struck gold.

No list would be complete without giving a shoutout to Cindy Tolan. She and legendary filmmaker Steven Spielberg are responsible for my favorite ensemble of the year in “West Side Story.”

Having cast several films for

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Spielberg myself, I know how thorough he likes to be in his searches. Tolan oversaw multiple open calls for the better part of a year to find the perfect cast. The result is a stunner like Rachel Zegler making her film debut as María, and theater vets like David Alvarez (Bernardo), Ariana DeBose (Anita), and Mike Faist (Riff) getting their shot at Hollywood fame.

As actors stepping into the shoes of characters played so memorably in the original 1961 film, they had to find a way to redefine their roles while still nodding to their predecessors.

Thanks to Tolan’s keen eye for talent and Spielberg’s vision, they pulled it off with style and grace.

Want more?

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

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culture +

Spotlighting the people and projects you need to know

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Thank you to all the nonbinary actors who have gone out of their way to educate me about the proper use of pronouns. I’m Joe Ignorant about this stuff, and I’m playing a lot of much-needed catch-up.

Those actors used a gentle voice and a sense of humor to help make me a more woke dude.

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Secret Agent Man

Count Your Blessings I HAVE DECIDED TO START the new year with my very first gratitude journal. There’s a lot of negative energy in this business, and my therapist claims that focusing on the positives will make me a better agent. I’m all about self-improvement, so I’m going to force myself to see the good that’s out there.

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Thank you, headshot photographer, for using the same lighting setup you’ve used for years, the one that

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Almost every TV show requires proof of vaccination before they hire an actor.

So I want to thank the clients who lied about their status until the last possible moment, which forced me to pass on several offers. Your ability to ignore reality has made a deep impression on me. I must remember to ask how you sleep at night.

Hang on, let’s stop for a second. It looks like I took a wrong turn into Sarcasm City—sorry about that! Let me try again.

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All right, that feels much better. Starting a gratitude journal might be the smartest move I’ve made in quite some time! I suggest you make a resolution to acknowledge every success you had this past year—no success is too small. Every single one pushed you further along the path that leads to accomplishing your goals and finding the success you seek. As journalist Mignon McLaughlin once said: “Every day of our lives, we are on the verge of making those slight changes that would make all the difference.”

Happy New Year!

Bianca Shaw

By Jalen Michael BIANCA SHAW isn’t content to sit idly by in her life or her acting career.

Here’s how she fuels her ambition.

Seek challenges.

“Typically, I look for projects with interesting log lines, strong characters, detailed character descriptions, or great visuals that represent the tone of the project.

I am very drawn to women-led projects, as well as projects that require me to learn a new skill or push myself physically.”

Look beyond the obvious.

“I recently heard someone say, ‘Read all the materials provided, because you may learn more about who your character is by the way other characters talk about them when they’re not in the room.’

Information is knowledge, and knowledge is power.”

Keep this specific tip in mind.

“Allow yourself the opportunity to fail and grow. There is no success without failure, and I have often learned much more from what I have done wrong than what I have done right.”

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; SHAW: ELIAS RIOS

Here are my first three entries: Thank you to all my lovely clients who refuse to believe deadlines are a thing. I understand the due dates for your self-tapes are an infringement on your creative process, so I’m going to be a lot looser about this sort of thing. I’m sure that will work out just fine.

washes out everyone’s skin and removes all traces of life from an actor’s eyes. I appreciate your efforts, misguided as they may be. And a double portion of thanks for continuing to take your pictures outside, where you have no real control over the lighting.

I complain incessantly about the casting directors who say no to my pitches, but you know what? All those negative responses have made the positive ones more special. So from now on, I’m going to show gratitude for every yes, and I’m going to let every no slide right past me. (We would all do best to follow suit in this unforgiving industry.)

#IGOTCAST.

RAQUEL APARICIO

Here are my first three (revised) entries: I am very grateful to Mr. Eric Yuan, the man who created Zoom. Thanks to his brilliance, I can take meetings with actors from all over the world without having my Skype account crash like the Hindenburg.

This affordable service has already helped me earn a lot of money from new clients I never would’ve met otherwise.

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Spotlighting the people and projects you need to know

In the Room With

Robin D. Cook

The “Nightmare Alley” casting director shares how she executed Guillermo del Toro’s singular vision

By Jack Smart

themselves, you know? What I’m interested in is really, truly just being real to the scene and being present. Without an actor, I don’t have a job. So we want the actor to succeed. We are on their side; we always want them to get the job. I always say: Do your research, because I did my research, even for a meeting with you. That’s just what we do. Be off-book and be present, and ask questions. If you’re not happy with your audition, ask to do it again.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; SHAW: ELIAS RIOS

“I’M NERVOUS BEFORE EVERY AUDITION, BEFORE EVERY CASTing session,” says Robin D. Cook. It’s not something actors typically hear from a casting director. As she points out, investing in each actor’s success is a major component of her job. “I know the actor is nervous!” she adds. “But there’s something that comes out of those nerves that you can’t describe.” The Toronto-based CD’s decades-spanning work includes “My Big Fat Greek Wedding,” “Grey Gardens,” “Room,” and “The Handmaid’s Tale,” and it has earned her seven Emmy nominations and three Casting Society of America Artios Awards. “Nightmare Alley,” her latest of many collaborations with filmmaker Guillermo del Toro, is now taking awards season by storm. In the midst of casting an upcoming anthology series that del Toro is working on for Netflix, Cook offers her best career advice for working actors.

What is it like working with a visionary like Guillermo del Toro? I’ve been lucky enough to work with Guillermo for 10 years now…. When he’s on a film

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or series, he writes for people.

So, you know, I can’t take the credit for Cate [Blanchett] or Toni [Collette]. That’s Guillermo.

Same with Sally [Hawkins] in

“The Shape of Water.” He has the most intense, insane, brilliant vision. And everybody always wants to come play with him. I don’t know if he’s talked about this, but he watches everything: all the film, all the TV—he is astonishing. Sometimes, Guillermo will mention somebody that I don’t even know. So always, I can bring an actor up and he’ll know exactly what I’m talking about.

What can an actor do in an audition to make themselves memorable, even if they don’t get that part? I wish I could bottle that, whatever that is. I would say they make it

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What’s your ultimate career advice for working actors?

Just enjoy it, truly. You have to have a passion for it. It is a life; it is all-consuming; it’s not just a hobby. Honest to God, I would do this for free. I tell very few people that! And I think that you have to have that same mindset—just feel so lucky and blessed. Go in knowing how lucky we all are.

What else don’t actors know about that casting directors do? Here’s the thing about auditions: Those actors represent who you are and what your vision is. I’m trying to show Guillermo what I have interpreted from what he’s looking for. Those actors represent me. So I want everyone to succeed. Because the better that the actor is, you know, I’m a hero! It goes both ways.

Want more?

Read the full interview at backstage.com/magazine

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Bringing Him Home Jamie Dornan reflects on how he went from A-list model to starry leading man— and it’s all thanks to his Belfast roots

By Benjamin Lindsay Photographed by Chad Griffith

“I THINK I’M PROBABLY MORE AMBITIOUS THAN I’VE EVER let on,” Jamie Dornan says. “I probably own that more now.”

Sitting down for morning tea in lower Manhattan ahead of a flight to Los Angeles, the actor is in the midst of an international press tour for his acclaimed performance opposite Caitríona Balfe, Ciarán Hinds, and Judi Dench in Kenneth Branagh’s “Belfast.” But our conversation first touches on when he left his home in the suburbs of that titular Northern Irish city, dropped out of university after a year of studying marketing, and moved to London in 2002.

“I would’ve imagined I wasn’t ambitious at all then,” he reflects, “but as you look back at all the stuff I did, the risks I took were rooted in ambition and a desire to make shit happen.”

There was no road map to pursuing the professional arts for a rugby-playing Irish teen who moonlighted in “amateur dramatics” at his aunt’s local theater company. “The thing to do was to go to university, go get a fucking proper degree, and get a serious job,” Dornan says. But he recalls feeling “despondent” in his environment at school. “I don’t think I learned any skills while I was there for a year—I drank a lot, though,” he quips. Still, he values that time because it

redirected his interests back to a less orthodox vocation.

“It sort of unearthed this idea in me that I wanted to do something that was ‘other,’ ” he says. “I recognize that there was maybe an element of lunacy in my decision, but I must’ve backed myself to be able to get somewhere with it.”

To hear Dornan explain it, he’s always rejected a “narrow-visioned idea of life,” instead seeking “something a little more off from that middle lane.”

“I’ve never wanted to be bored,” he says.

“Security is a great thing to find, but I’ve been lucky that I found security in something that shouldn’t be that safe. For me to take those risks, I had to do it away from Belfast.”

How funny, then, that Branagh’s autobiographical film, which is centered on that very city, has brought him back home.

Dornan stars in the black-and-white historical drama as Pa, a man working between London and Belfast while striving to provide for and protect his young son (Jude Hill) and wife (Balfe) during the violent riots of the

Troubles. He’s a well-intentioned, family-first character who’s stretched too thin during impossibly trying times. Pulling from his own childhood during this turbulent period, Branagh has called “Belfast” his most personal film to date. It’s also Dornan’s.

“No matter where I travel or live, I’m a Belfast boy, as was my father, as was his father, as was his father before him, as was his father before him,” Dornan says. “I come from a long lineage of men from Belfast, so I recognize what that is, what their values are, and what they’re made of in terms of their resilience, their humor, their passion, and their commitment to family. All of these things that have been pillars of my upbringing were there on the page with Pa.” “Belfast” is doing more than earning Dornan the best notices of his career, among them a nomination for a Critics’ Choice Award. Inviting him to lean into his leading-man looks while tapping into his own experience as a working father, the film re-centers Dornan as an actor with emotional depths some may have not believed he possessed.

With Jude Hill in “Belfast”

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ROB YOUNGSON/FOCUS FEATURES

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It’s been nearly 20 years since the actor moved to London. The journey began with him taking a job at a pub before making major inroads as a male model within just six months. While that path was “never his intention” and he acknowledges battling stigmas surrounding the model-turned-actor route, the following years saw him posing for Abercrombie & Fitch, Armani, and Dior Homme before developing a lucrative, yearslong relationship with Calvin Klein. It was always meant to be a steppingstone to something else, but “those steppingstones were submerged,” Dornan reflects. They only revealed themselves to him after years of hard work. He wonders aloud if he’d have met the people who helped him build a bridge between modeling and acting “had I not got to a certain stage of modeling where it was being very good to me and I was in the right rooms. But that’s what happened.”

Dornan’s first film role came with 2006’s “Marie Antoinette,” in which he played Count Axel Fersen. He followed it up with a pair of shorts and an independent feature in 2009. But playing Sheriff Graham Humbert (aka the Huntsman) on ABC’s “Once Upon a Time” two years later set the stage for him to do more regular screen work in the decade to come. He turned in a BAFTA-nominated performance as a serial killer opposite Gillian Anderson on BBC Two and RTÉ One’s “The Fall”; then came his starring role as Christian Grey in the billion-dollar “Fifty Shades” film trilogy.

Despite its commercial success (and star-making results), Dornan remembers his time playing that franchise’s male protagonist as a particularly complicated one.

“It’s a very strange and quite hard pill to swallow, knowing when you’re making movies [where] the strong likelihood is the fans will respond really positively and the critics won’t,” he says. “I would’ve bet the lives of my entire family that the likes of the Guardian in the U.K., the Times in the U.K., and the New York Times were going to hate those films—and they did!” Still, he admits it was “incredible to experience that—the madness that went with that journey.”

Even given the racy source material, he approached the character of Christian with the same thoughtfulness and precision as he did Paul Spector on “The Fall” and other more “respected” roles of note: projects like “A Private War,” “Wild Mountain Thyme,” and, yes, this year’s cult comedy “Barb and Star Go to Vista Del Mar.” “I couldn’t sit here and call myself a professional if I didn’t do that,” he says simply.

Offering a peek into his acting process, Dornan advises: “Read the script over and over and over and over and over and over, until you almost don’t like it, so it’s so settled into you that, actually, it’s the last thing you’re thinking about,” he says. “That’s something I really try to do and I really struggle with, because it’s a hard process. Particularly with three young kids at home, it’s hard to

ROB YOUNGSON/FOCUS FEATURES

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find time when you’re prepping a movie to just disappear and read a script repetitively.”

Next come the more technical aspects of the craft, such as an accent or a physical tic.

Playing famed real-life photojournalist Paul Conroy in “A Private War” was a particular challenge for Dornan, as he was training himself to embody a man who was right there on set as a consultant. Even his minor role in Sofia Coppola’s “Marie Antoinette” had him reading up on the 18th-century French monarchy.

“So much of it is trying to gain all the knowledge, all the research, and immerse yourself in the time if it’s set in a different time period. What were men in that time thinking? Whatever vocation they were doing, what did that involve? What was the day-to-day?” As many actors have before him, he absorbs all of that information only to forget it. “The last thing you want to be thinking about is: What was that I read about that time…? You’ve done all the work, so it’s living in there. And then you can just

I’ve never wanted to be bored.

Security is a great thing to find, but I’ve been lucky that I found security in something that shouldn’t be that safe.

hopefully fucking stand there and tell the truth on the day.”

Dornan shies away from popular tricks of the trade like keeping a diary or listening to music, for fear that they might have the opposite effect and bring him out of the moment. “You’ve just listened to something that takes you somewhere that’s very personal to you—sure, you’re crying, it looks great, but you’re not listening to what I’m saying,” he posits. “You’re just thinking about your dog that died.”

The prep work only takes him so far, though; sometimes, he finds himself needing to fill the gaps. “I think I’m always trying to leave an element of myself in there,” he says.

Starring as the homicidal Paul in “The Fall,” for instance, had him essentially playing two characters. Dornan used the BACKSTAGE 12.30.21

family-man persona Paul embodied at home with his wife and kids as an opportunity to highlight the parts of himself that he values as a husband and father.

The actor reflects that no project has lined up with this approach quite so perfectly as “Belfast.” Branagh invited Dornan and the rest of the cast to bring their own lives and perspectives to the table.

“There’s a lot of stuff that I could naturally bring to this character that I haven’t been able to naturally bring before,” Dornan says of playing Pa. Branagh encouraged this approach even without knowing it was already part of the actor’s process. “He was like, ‘I know you’re playing a person—my father—but it needs to be your own thing, and I want you to have your own instincts and bring your own ideas to it,’ ” he recalls.

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“So that, coupled with everything I recognized in the character, led to total freedom.

I’ve never felt so free on a set before, so trusted in what I was allowed to do.”

Now, even further aligning himself with Pa, he’s just eager to get back home to play dad. Dornan admits that his “Belfast” duties mark only the second time in eight years of being a parent that he’s been away from his wife and children for more than two weeks.

Thinking of Pa, he says, “Whether I want to be able to relate to this or not, I relate to having to be away sometimes. I know what that is; I know the guilt that brings and the effect that has on you.”

So if he’s looking for a silver lining, at least his experiences can all go back into the work.

The only question is where his ambitions might lead him next. backstage.com

Emilia Jones and Troy Kotsur in “CODA”

The New Norm

Is this the year the Academy expands its definition of “Oscar-worthy”?

COURTESY APPLE TV+

By Jack Smart DEAR BACKSTAGE READER, For many, the new year is a time for reflection and anticipation, for both looking back and forward in the hopes of charting the best way toward the future. For awards editors such as myself, it’s an especially apt time to take stock.

Forget the holidays; awards season is the most wonderful time of the year.

While 2020 saw Hollywood reacting to and working around the COVID-19 pandemic, 2021 has brought a return to almost normal—better than normal, judging by the sheer amount of film production and delayed releases. Multiple contenders from major studios and indie distributors alike make for a thrillingly competitive race to the 94th Academy Awards ceremony this coming March.

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Given the wealth of options, could this be the year Academy voters expand their definition of what makes for awardsworthy filmmaking?

As of now, we can look to the Gotham and Spirit Awards nominations for clues; both indicated that Maggie Gyllenhaal could shake up the writing, directing, and best picture races with her feature filmmaking debut, “The Lost Daughter.”

That’s one of an impressive number of female-led films from the game-changing Netflix: Rebecca Hall and Halle Berry also stepped behind the camera for directorial debuts “Passing” and “Bruised,” respectively; and Jane Campion, notably one of the only women ever to be nominated for a best directing Oscar, could

repeat that feat with “The Power of the Dog.” This year, Chloé Zhao made Oscar history when she became the second woman ever to win in the category; 2021 also marked the first time that two women were nominated in the same year. We can only hope that this type of gender parity will become commonplace.

In terms of more routine storylines, there’s no shortage this season of what we colloquially refer to as “Oscar bait.” Big-budget, star-studded affairs like “A Quiet Place Part II,” “Dune,” “No Time to Die,” “The French Dispatch,” “West Side Story,” and “Don’t Look Up,” which were all originally scheduled to be released in 2020, are all vying for awards now. Then there are the usual period pieces and resonant family dramas; nominations for “Belfast,” “The Power of the Dog,” “Nightmare Alley,” and “Licorice Pizza,” in particular, seem inevitable.

Academy of Motion Picture Arts and Sciences voters also

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tend to favor icons playing other icons, which this year means an embarrassment of riches.

Massive Hollywood stars lead the likes of “Respect,” “The Eyes of Tammy Faye,” “Spencer,” and “House of Gucci,” all playing within the Academy’s favorite genre: the biopic. Nothing fits that bill better than “King Richard”—both a biographical piece and a triumphant, crowdpleasing sports movie—in which Will Smith reminds us he’s both a great actor and a star. And “Being the Ricardos,” led by Oscar winners Nicole Kidman and Javier Bardem, with Aaron Sorkin behind the camera, has the Academy-friendly bonus of being a love letter to Hollywood.

But does the return of conventional popcorn fare have to mean conventional winners?

Trailblazing distributors like Bleecker Street (“Mass”!) and Apple TV+ (“The Tragedy of Macbeth”!) could shake things up. And previous best picture winners A24 (with “C’mon C’mon,” “Red Rocket,” and “The Humans”) and Neon (with “The Worst Person in the World,” “Titane,” and “Spencer”) both have plenty of films in the mix.

Plus, there are opportunities for the Academy to make good on its promise of recognizing diversity both in front of and behind the camera. With “CODA,” it could honor storytelling by, for, and about disabled people. “Tick, Tick...Boom!” and the animated documentary “Flee” feature authentically LGBTQ+ storylines.

2022 could be the rare year when best picture goes to a film featuring leading roles played by women (last year’s “Nomadland” stands almost alone) or nonwhite creatives (thank goodness for “Moonlight” and “Parasite”).

It’s an especially pivotal new year for Hollywood, in which the industry has a chance to establish a new normal. Whether the Academy and other voting bodies seize the opportunity to expand their horizons is what I’m looking for most come January.

Sincerely,

Jack

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Jared Leto

By Casey Mink “NO MEAT DRESSES HERE,” SAYS “HOUSE OF GUCCI” COSTUME designer Janty Yates. She’s of course referring to the film’s Oscarwinning star, Lady Gaga, herself a fashion icon, who made her own archives available to the “Gucci” team. Following the Ridley Scott feature’s release, Yates shares her process firsthand for outfitting the film’s stacked cast to outlandish perfection.

Patrizia Gucci, née Reggiani (Lady Gaga)

On the first day, she said, “I just want to look like my mother. My mother is 100% full-blooded Italian.” We did start her off quite nouveau riche. Daddy funds everything for her, but she’s innocent. She has little cottony summer dresses, little blouses, and sweaters with

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skirts. As she gets more involved with Maurizio, she gets more complex in her sense of dress; she gets into power suits and mega-jewelry. Patrizia wore her wealth so obviously and blatantly. And Lady Gaga would not wear the same outfit twice, nor the earrings, the bangles, the bracelets, the pins, the necklaces—they all went away.

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Paolo Gucci (Jared Leto)

Paolo was an appalling dresser.

Most of the time, he was wearing a tuxedo with a silver Lurex shirt and a big, black, velvet, floppy bow tie. I adored a film called “The Great Beauty,” and the tailors who did the glorious tailoring for [that] opened their doors to us. They said, “Oh, yes, so you want him like a dandy’s dandy.” They made the shirts and the ties.

I designed the shoes. I was choosing horizontal stripes and vertical stripes in the most awful of colors. Jared just loved everything.

Maurizio Gucci (Adam Driver) We took completely from photographic references [for Maurizio]. He was in beautiful, simple suits all the time. And when he was in shirtsleeves, he would have a beautifully made shirt and beautifully cut chinos.

He just dripped very expensive, casual, smart taste. Ridley said, “You could do him standing on your head; he’s boring.” And I said, “He’s not.” I loved the way Adam wore it.

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SKETCHES COURTESY METRO-GOLDWYN-MAYER; BACKGROUND: 9DREAM STUDIO/SHUTTERSTOCK.COM

The “House of Gucci” costume designer breaks down the looks of the film’s central characters

“HOUSE OF GUCCI”: COURTESY METRO-GOLDWYN-MAYER

Dressed to Kill

Al Pacino

Jeremy Irons

“HOUSE OF GUCCI”: COURTESY METRO-GOLDWYN-MAYER

SKETCHES COURTESY METRO-GOLDWYN-MAYER; BACKGROUND: 9DREAM STUDIO/SHUTTERSTOCK.COM

Aldo Gucci (Al Pacino)

He’s a boulevardier. He’s very elegant, but a bit attached to the ladies. He’d have a tie and a pocket handkerchief, and he’d have a rose in his buttonhole. He’d have sunglasses. I actually had some black snakeskin fake Gucci shoes made for him, but [Pacino] wanted to wear the same pair of shoes all the way through. The funny thing was, he did come out Day 1 with a cane—not for propping himself up, but as an affectation.

And he said, “I’m not wearing a hat,” in that Al Pacino voice. I said, “Oh, that’s a shame.” He said, “It’s because my hair looks so great!”

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Rodolfo Gucci (Jeremy Irons) Rodolfo obviously was ailing.

We were going to keep him in a cravat, but then [a particular lunch scene] got written in, so we had to develop him more. He’s very elegant, like his son. Jeremy’s got a wonderful clotheshorse figure. He loves a scarf. There’s one scene where he’s sitting in the garden in his dressing gown and a cravat. And Ridley said, “It’s a bit chilly; let’s put a blanket on him.” Well, Jeremy swung it around his neck—that cashmere pashmina. It really did look brilliant, darling. He just wears things with such panache.

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

Submit a Notice |

New York Tristate Plays ‘Gong Lum’s Legacy’

• Seeking video submissions from Equity

actors for roles in “Gong Lum’s Legacy,” the world premiere by Charles L. White.

Synopsis: Can a romance between a Chinese man and a Black woman survive race prejudice in the 1920s Mississippi Delta? Joe Ting and Lucy Sims go down this treacherous path in “Gong Lum’s Legacy.” Based on true events.

• Company: New Federal Theatre, Inc.

Staff: Elizabeth Van Dyke, prod. artistic dir.; Lawrence Evans, casting dir.

• Rehearsals begin Feb. 22, 2022; runs

Mar. 24-Apr. 24, 2022 (ThursdaySunday) at Theatre at St. Clements in NYC.

• Seeking—Joe Ting: male, 25-29, Asian.

Lucy Sims: female, 20-25, Black / African Descent. Melvin Sims: male, 25-29, Black / African Descent. Charlie Ting: male, 55-59, Asian. Loretta Miller: female, 20-29, Black / African Descent.

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

ute contemporary monologue and send self-tape via YouTube link, Vimeo, or MP4 file to casting.newfederaltheatre@ gmail.com. Submissions deadline is Jan. 3. All stage managerial positions have been filled.

• Pays $356/wk. plus pension and health.

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.

• Seeking—Equity Actors: all genders,

Casting picks of the week

18+, all ethnicities.

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

tion, photos, and resume in a downloadable format (Google Drive, Dropbox) to https://docs.google.com/ forms/d/1FUNeXx_ XtEg95AtdFNqjBAln0RrA9huzMvENBirzLw/ viewform?edit_requested=true Submissions deadline is Jan. 3, 2022.

Audition Video Instructions: Prepare the sides found at https://www.dropbox.com/sh/htfukl85ry5su7k/ AAAA1N5Xs393ZOvHCBYmD_yga?dl=0 for the role you’d like to be considered for. If you are unable to find a reader, prepare a monologue in the style of the show. If you are using an iPhone to video record, be sure to film horizontally and in a well- lit space (not backlit).

At the top of the video, slate your name and height.

BY LISA HAMIL

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‘Xanadu’ Roller-skate your way to success in Hammonton, NJ

• 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. Rehearsals and performances will be indoors. These will be live performances with an audience.

stage

‘King Lear’ Create some family drama in Los Angeles, CA for this Shakespeare classic

chorus calls

• Pays $1,020/wk. Equity Off-Broadway

‘A Night With Janis Joplin’ Leave a piece of your heart in New Orleans, LA

(CC) Contract.

‘Here She Is, Boys’

in the limited 12 week run of “¡Americano!” All stage manager positions have been filled.

10-May 29, 2022 in New York, NY. Note: in accordance with union and venue guidelines, a fully-vaccinated company will be required.

(Quixote Productions) Jason Rose, prod; Ryan Duncan-Ayala, Sarah Bentley, Donna Trinkoff, assoc. prods; Antonio Voldovinos, inspired by; Michael Barnard, Jonathan Rosenberg and Fernanda Santos, book; Carrie Rodriguez, music and lyrics; Michael Barnard and Jonathan Rosenberg, additional lyrics; Sergio Mendoza, orchestrator-arranger; Michael Barnard, dir.; Sergio Mejia, choreo.; Jonathan Ivie, music dir.; Michael Cassara (CSA), casting dir.

form: https://form.jotform. com/213476949045162. Production states: “If you encounter any technical difficulties, you may submit via e-mail to submissions@michaelcassara.net but only use that if you are unable to use the form or have any questions/ encounter any errors.” Submissions deadline is Dec. 30 (6 p.m./ET. Callbacks will be held (in person and via video) January 2022.

• Company: MCC Theater. Staff: Robert

LuPone, Bernard Telsey, and William Cantler, co-artistic dirs.; Blake West, exec. dir.; Beth Dembrow, general mgr.; Ayana ParkerMorrison, mgr. of artistic production (viewing auditions); Elissa Huang, mgr. of artistic development (viewing auditions); Ana Nogueria, author; Mike Donahue, dir.; Will Cantler, Destiny Lilly, and Karyn Casl, casting dirs. (viewing auditions).

• Rehearsals begin Mar. 15, 2022; runs

Apr. 14 with possible extension through June 12 in NYC.

BACKSTAGE 12.30.21

• Equity’s contracts prohibit discrimina-

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

• Pays $1,217/wk. plus health/pension.

Equity Off Broadway (Category E) Contract.

• Seeking video submissions from Equity

‘¡Americano!’ Principal

actors for roles in “Here She Is, Boys,”

brief singing selection or two (ideally each about a minute long) in the style of the score - contemporary pop/Latin/ etc. - demos are available for reference at http://www.americanothemusical. com/music/ . Equity required accompaniment tracks: In the event that you do not have access to audition accompaniment tracks of your own, the theatre has provided audition accompaniment cuts of Irving Berlin’s “Always,” now in the public domain, which you are welcome to use as a general singing audition. Per Equity rules, it has been provided in four separate keys (Soprano/Alto/Tenor/Bass) and tracks/ sheet music can be obtained from: Https://www.dropbox.com/ sh/1a4ff2936tn2wcf/ AAALsljpkIdBCzETdyi6ulVna?dl=0 - do not feel obligated to use these tracks, they are here solely to satisfy Equity’s requirement that tracks be provided we are most interested in hearing you perform whatever suits you best in the style of the score. Spanish language singing material is also welcome.

‘Notes From Now’

Musicals

Equity Off Broadway Agreement.

• Seeking video submissions from Equity

• Preparation Instructions: Prepare a

• Rehearsals begin Feb. 8; runs Mar.

• Seeking Equity actors for principal roles

• Company: Americano OB LLC. Staff:

• Seeking—Equity Actors: 18+.

• Seeking submissions from NY. • For consideration, submit videos via this

22

singer-actors with excellent musicianship who move well for roles in “Notes From Now.” Production states: “This musical anthology consisting of 16 brand-new songs brings together musical theater writers from Broadway and beyond to create a gallery of playful, provocative, and profound observations on the human journey. We are hiring six principal performers and two off-stage understudies. As the original songs for the song cycle are still being written, we anticipate our character needs will continue to evolve in specificity. At this time, we’re accepting submissions from performers who are available and interested in the project and, should more specific tracking needs emerge, we will release those roles individually as we have them.” backstage.com

New York Tristate casting

• Company: Prospect Theater Company.

Staff: Deborah Abramson and Amanda Yesnowitz, Jay Adana, Troy Anthony, Masi Asare, Jeff Blumenkrantz, Gretchen Cryer, Tia DeShazor and Derrick Byars, Adam Gwon, Georgie Castilla and Jaime Lozano, Douglas Lyons and Ethan Pakchar, Peter Mills, Ryan Scott Oliver, Michelle Rodriguez, Angela Sclafani, Paulo K Tiról, writers; Billy Bustamante, dir.-choreo.; Cara Reichel, creative prod.-curator: Michael Cassara (CSA), casting dir.

• Rehearsals begin Feb. 8, 2022; runs

Mar. 2-20 in New York, NY.

• Seeking—Sopranos and Altos: 18+,

strong singer/actors; part of a six-person cast. Tenors and Basses: 18+, strong singer/actors; part of a six-person cast.

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

through this form: https://form.jotform. com/213506451028145. Production states: “If you encounter any technical difficulties, you may submit via e-mail to submissions@michaelcassara.net but only use that if you are unable to use the form or have any questions/ encounter any errors.” Submissions deadline is Jan. 3 (6 p.m./ ET).

• Instructions: prepare a brief singing

selection in a contemporary musical theatre style (or in the style of one or more of our contributing writers), ideally about a minute long. As the original songs created for notes from now will represent a wide array of vocal styles, your pieces should demonstrate what “you” do best. Equity Required Accompaniment Tracks: In the event that a performer does not have access to audition accompaniment tracks of their own, we have provided audition accompaniment cuts of Irving Berlin’s “Always,” now in the public domain, which you are welcome to use as a general singing audition. Per Equity rules, it has been provided in four separate keys (Soprano/Alto/Tenor/Bass) and tracks/ sheet music can be obtained from: https://www.dropbox.com/ sh/1a4ff2936tn2wcf/ AAALsljpkIdBCzETdyi6ulVna?dl=0 .

Production states: “Do not feel obligated to use these tracks, they are here solely to satisfy Equity’s requirement that tracks be provided - we are most interested in hearing you perform whatever suits you best. You are welcome to use any material of your choosing, but we do strongly prefer that you sing with accompaniment or an accompaniment track. Additionally, feel free to submit supplementary footage (reels, dance footage, etc.) that you think may be of use. Callbacks will be held (via video and/or in-person) January. Once you have submitted your materials, we will not follow up with you unless we need anything further.”

• For more info, visit www.prospectthe-

ater.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. backstage.com

Hunchback Of Notre Dame” (Brett Smock, dir.; Jeff Theiss, musical dir.; Julie Tomaino, choreo.; Peter Parnell, book; Alan Menken, music; Stephen Schwartz, lyrics. Rehearsals begin June 30; runs July 13-Aug. 2); “Rodgers & Hammerstein’s State Fair” (Brett Smock, dir.; Marc Kimelman, choreo.; Richard Rodgers, music; Oscar Hammerstein II, lyrics; Tom Briggs and Louis Mattioli, book [based on the screenplay by Oscar Hammerstein II and the novel by Phil Stong]. Rehearsals begin Aug. 4; runs Aug. 17-Sep. 6); “Ain’t Misbehavin’”(Murry Horwitz and Richard Maltby, Jr., book; Thomas “Fats” Waller, music; various, lyrics. Rehearsals begin Sep. 8; runs Sep. 21-Oct. 11).

• Pays $735/wk. plus health and pension.

Equity Off Broadway Contract.

‘Star Of Freedom’

• Seeking Equity video submissions from

actors for roles in “Star Of Freedom,” a new musical based on the concept album Exodus by Jeff Blaney.

Production states: “All actors play musical instruments, sing, and act various characters. The possibility exists that instrumentation may be swapped depending upon casting.”

• Company: Ivoryton Playhouse

Foundation, Inc. Staff: Jeff Blaney, music; Lawrence Thelen, book; Jacqueline Hubbard, dir.; Jeff Blaney, musical dir.

• Rehearsals begin Mar. 15, 2022; runs

• Company: The Rev Theatre Company.

Apr. 7-May 1 (first wk: Thurs. 2 p.m., and 7:30 p.m., Fri. 8 p.m., Sat. 2 p.m., and 8 p.m., and Sun. 2 p.m.; next three wks: Wed. 2 p.m., and 7:30 p.m., Thurs. 7:30 p.m., Fri. 8 p.m.; Sat.; 8 p.m.; Sun. 2 p.m.) in Ivoryton, CT.

Staff: Brett Smock, prod. artistic dir.

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

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

résumé, and video audition to casting@ therevtheatre.com with “EPA” in the subject line. Prepare a musical selection from the provided material at www. therevtheatre.com/auditions - or material of your own choosing - appropriate to our season, that shows vocal and dramatic range.

• Seeking—Equity Actors: 18+.

• Seeking submissions from CT. • For consideration, submit a two-three

minute video that shows vocal performance and also instrumental performance to casting@ivorytonplayhouse. org . Production states: “Music of the show is in the style of traditional Irish and also gospel/blues. You may also use the accompaniment provided at https://www.ivorytonplayhouse.org/ auditions-star-of-freedom-april2022-epas-by-video-submission .”

Submissions deadline is Dec. 30.

• Note: The REV is fiercely committed to

the health and safety of its employees and audiences. The REV employed over 200 artists last season without a single case of infection or transmission. This year, The REV will once again promote a fully vaccinated workplace and an environment defined by rigorous health and safety protocols. Proof of vaccination will be required. The REV employs a comprehensive health and safety plan to support and inform all of its procedures and protocols within the climate of the pandemic reviewed and vetted

by Cayuga County Department of Health, NY Department of Labor, Equity, USA, AFM, and SDC. The REV has made significant investments to its HVAC systems in the Playhouse including duct purification systems and UVC purification fans which eliminate 99.9 percent of all airborne viruses including the virus that causes Covid-19. For more information: www.therevtheatre.com

• 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 $520/wk. Equity Production SPT

(Tier 6) Contract.

The Rev Theatre Company 2022 Season, Principal

• Seeking video submissions from Equity

actors for principal roles in The Rev Theatre Company’s 2022 Season.

Production states: “The REV Theatre Company is proud to affirm and accelerate its commitment to equality, diversity, and inclusivity, ensuring that our workforce, stages, and boardroom reflect our dedication to social and racial equality. As a united staff and board, we promise to continue to promote an environment that is truly equitable as an ongoing and intentional process of self-examination, accountability, and action. Black lives matter.

The REV Theatre Company actively encourages and practices non-traditional casting to expand opportunities for all ethnicities, women, senior performers, and performers with disabilities.” Season includes “Catch Me If You Can” (Brett Smock, dir.; Richard J. Hinds, choreo.; Brian Cimmet, musical dir.; Terrance McNally, book; Marc Shaiman, music; Scott Wittman and Marc Shaiman, lyrics. Rehearsals begin May 26; runs June 8-28); “The

• 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 $669/wk. plus health/pension.

Equity LOA ref. LORT Contract.

‘Xanadu’

• Seeking video submissions from Equity

actors of any races, ethnicities, genders, and body types for roles “Xanadu.”

• Company: Eagle Theatre. Staff: Angela

Longo, prod. artistic dir.; Dann Dunn, choreo.; Ricky ‘Glytch’ Evans, skate consultant; Kylie Westerbeck, artistic assoc.

• Rehearsals begin Feb. 2, 2022; runs

Mar. 3-20 (Thurs.-Fri. at 7:30 p.m. and Sun. at 3 p.m.) in Hammonton, NJ.

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• Seeking—Kira (Clio): female, 18-29, the

youngest of Zeus’s daughters and the muses. Falls in love with Sonny.

Adventurous. Honest and determined.

Muse of history and the leader of the muses. Requires roller skating and tap dancing experience. Vocal range top: A5. Vocal range bottom: G3. Sonny Malone: male, 18-30, a self-critical and depressed, mortal, chalk artist who falls in love with Kira. Not particularly smart.

He embodies 1980s pop culture and is very much a California dreamer.

Requires roller skating experience, tap dancing experience a plus. Vocal range top: C6. Vocal range bottom: B3. Danny Maguire (Zeus): male, 50-70, the hardnosed “all work and no play” businessman who owns the theater he once built for his love, Kira. Used to be a budding artist like Sonny but has since let money and greed consume him. Vocal range top: C6. Vocal range bottom: A3.

Calliope (Aphrodite): female, 30-60, Kira’s older sister and fellow muse. She is jealous of Kira and as Melpomene’s sidekick, plots with her for Kira’s downfall. The Muse of epics. Vocal range top: A5. Vocal range bottom: G3. Thalia: female, 18-35, one of Kira’s older sisters and fellow muse. Muse of comedy.

Doublings include: Siren, Young Danny, Tubes Singer, and Cyclops. Vocal range top: C6. Vocal range bottom: C4.

Euterpe: female, 20-35, one of Kira’s older sisters and fellow muse. Muse of music. Doublings include: Siren, Andrews Sister, and Thetis. Vocal range top: A5. Vocal range bottom: G3. Erato: female, 25-45, one of Kira’s older sisters and fellow muse. Muse of lyrics and erotica. As Eros, she is responsible for shooting Kira with the arrow of love brought on by Melpomene and Calliope’s spell. Doublings include: Siren, Andrews Sister, Eros, and Hera.

Vocal range top: C6. Vocal range bottom: G3. Terpsicore: female, 25-40, one of Kira’s older sisters and fellow muse. Muse of dance. As Hermes, the messenger of the gods, he is deeply masculine in voice but sassy and flippant in attitude. Doublings include: Siren, Tubes Singer, Hermes, and Centaur. Vocal range top: C6. Vocal range bottom: C4. Medusa/ Melpomene: female, 18+, this role has been precast. Muse of Tragedy is the eldest of the Muses and is most responsible for plotting against Kira. Strong singer.

• Seeking submissions from NJ. • For consideration, submit headshot,

resume, and video audition to casting@ eagletheatre.org. Submissions deadline is Dec. 30.

• Preparation Instructions: Video submis-

sions should include a one-minute or brief cut from a song of choice, in the style of the show, or performers can choose to audition with one of the songs provided below (sheet music with lyrics and accompaniment track are provided in our public Google Drive link: https://drive.google.com/drive/ folders/1-TfhjQhCUmV27KGwUJ7WALw WV4Bpu4Ls?usp=sharing • Soprano (high) option: ‘Someday’ from

“The Wedding Singer”

• Tenor (middle) option: ‘It Takes Two’

from “Hairspray”

12.30.21 BACKSTAGE

casting New York Tristate • Baritone (low) option: ‘Love from a

Heart of Gold’ from “How to Succeed in Business Without Really Trying” • For more info, visit www.eagletheatre.

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 $328/wk. Equity SPT 2 Contract.

Chorus Calls The Rev Theatre Company 2022 Season

• Seeking Equity actors for chorus parts

in The Rev Theatre Company’s 2022 Season. Production states: “The REV Theatre Company is proud to affirm and accelerate its commitment to equality, diversity, and inclusivity, ensuring that our workforce, stages, and boardroom reflect our dedication to social and racial equality. As a united staff and board, we promise to continue to promote an environment that is truly equitable as an ongoing and intentional process of self-examination, accountability, and action. Black lives matter. The REV Theatre Company actively encourages and practices nontraditional casting to expand opportunities for all ethnicities, women, senior performers, and performers with disabilities.” Season includes “Catch Me If You Can” (Rehearsals begin May 26; runs June 8-28); “The Hunchback Of Notre Dame” (Rehearsals begin June 30; runs July 13-Aug. 2); “Rodgers & Hammerstein’s State Fair” (Rehearsals begin Aug. 4; runs Aug. 17-Sep. 6); “Ain’t Misbehavin’”( Rehearsals begin Sep. 8; runs Sep. 21-Oct. 11).

• Company: The Rev Theatre Company.

Staff: Brett Smock, producing artistic dir.

• Rehearses and performs in Auburn, NY. • Seeking—Equity Chorus Dancers who

Sing Very Well: 20-50. Equity Chorus Singers Who Dance or Move Extremely Well: 20-60.

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

résumé, and video audition to casting@ therevtheatre.com with “ECC DANCER” (dancers), and “ECC SINGER” in the subject line. Submissions deadline is Dec. 31.

• Instructions: (singers) prepare a musical

selection from the provided material at www.Therevtheatre.Com/auditions, or material of your own choosing, appropriate to our season, that shows vocal and dramatic range; (dancers) prepare the demonstrated choreography which can be found at www.Therevtheatre.

Com/auditions .

• Note: The REV is fiercely committed to

the health and safety of its employees and audiences. The REV employed over 200 artists last season without a single case of infection or transmission. This

BACKSTAGE 12.30.21

year, The REV will once again promote a fully vaccinated workplace and an environment defined by rigorous health and safety protocols. Proof of vaccination will be required. The REV employs a comprehensive health and safety plan to support and inform all of its procedures and protocols within the climate of the pandemic reviewed and vetted

by Cayuga County Department of Health, NY Department of Labor, Equity, USA, AFM, and SDC. The REV has made significant investments to its HVAC systems in the Playhouse including duct purification systems and UVC purification fans which eliminate 99.9 percent of all airborne viruses including the virus that causes Covid-19. For more information: www.therevtheatre.com

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

(League) Contract.

Student Films ‘He Made His Bed’

• Casting “He Made His Bed,” an NYU the-

sis film by Maddy Freeman. Synopsis: When he realizes how he hurt the son he left behind, a divorced man must choose between his two kids from his separate marriages.

• Equity’s contracts prohibit discrimina-

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

• Company: Hiller Castings. Staff: Sophia

Hiller, Sophie Rossman, and Katherine Cook, casting dirs.

• Shoots March 25-29, 2022 in NYC. • Seeking—Tom: male, 42-46, all ethnici-

• Pays $669/wk. plus health/pension.

Equity LOA ref. LORT Contract.

‘Tina, The Tina Turner Musical’

• Seeking Equity actors for chorus parts

in “Tina, The Tina Turner Musical.”

• Company: submissions (chorus). Staff:

(Stage Entertainment and The Nederlander Organization), prod.; Phyllida Lloyd, dir.; Chesray Dolpha, assoc. dir.; Katori Hall, Frank Ketelaar and Kees Prins, book; Anthony Van Laast, choreo.; Nicholas Skilbeck, music supervisor-arrangements-additional music; Bespoke Theatricals, general mgr.; (The Telsey Office: Patrick Goodwin) casting; (CSA), casting dir.; Alvin Hough Jr., music dir.; Janet Rothermel, assoc. choreo.

• Currently running on Broadway.

• Seeking—Equity Actors: 18+.

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

along with your photo/résumé attached, in an easily viewable link (Google Drive, Dropbox, Vimeo, etc.) to tinaturnermusicalcasting@gmail.com with [Your full name - ECC SINGERS] [The track for which you’d like to be considered]; and/or [Your full name ECC DANCERS] - [The track for which you’d like to be considered] in the subject line. Submissions deadline is Jan. 5, 2022.

• Preparation instructions (singers): pre-

pare the provided cut of “We Don’t Need Another Hero” attached at tinyurl. com/TINAECCSingers ; (dancers): prepare the combo provided in the following link, which includes teaching videos and a music track of the song to dance along with: tinyurl.com/TINADanceECC Production states: “If you are using an iPhone to video record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, clearly slate your name, height, and where you are currently based.”

• Equity’s contracts prohibit discrimina-

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

ties, lives in California with his wife, Jessica, and his son, Elliot; however, this is not his only family—his older son, Connor, lives with his ex-wife, Sharon, in New York City. Tom craves romance and attention, and Tom envied the affection Sharon constantly showed Connor; this eventually destroyed their marriage; Tom left Connor and fell for Jessica, who gave him the affection he desired, and he married her; however, after having another child with Jessica, Tom noticed himself feeling a similar jealousy that he felt towards Connor; he is hardworking at his job and he is successful financially, but he is not handson when it comes to raising his children; although he is present (at least in Elliot’s life), his lack of involvement in taking care of his kids has also contributed to the rifts in his marriages; because he lives on the other side of the country, Tom hasn’t seen Connor in more than a year; he decides to pay him a visit while in New York for business. Connor: male, 13-15, all ethnicities, is Tom’s older son from his first marriage to Sharon; he is outspoken and feels abandoned by his father; this is a pain that he carries with him, even years after his parents’ divorce; the impact of what he has been through is evident in other areas of his life: Connor’s grades are slipping, and he gets into trouble at school and at home; he also does not have many friends anymore, since he stopped hanging out with them. Connor wishes his family was normal and hates that his parents are divorced; he misses Tom and wishes that his father was present in his life, but when his father visits him he feels hurt; although he wants Tom to be a father figure, he feels that Tom has no authority when he tries to parent him; growing up without his father has been a challenge, and even though Tom left years ago, he is still struggling to cope. Sharon: female, 38-43, all ethnicities, Tom’s ex-wife and Connor’s mother; she did not have a job while she was married to Tom, and when she got divorced, she struggled to find a job and restart her career; Sharon is incredibly hard working—while raising

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her son on her own, she also works full time in order to financially support herself and her son; she lives in a two bedroom apartment with Connor, which he never helps to clean; raising a teenager on her own is also a challenge, and she sometimes gets frustrated with him; she takes good care of Connor, but because she has no help, she is often disheveled and tired; Sharon is also not afraid to speak her mind—she will say what she thinks and won’t sugarcoat the truth. Jessica: female, 30-33, all ethnicities, Tom’s wife and Elliot’s mother; Tom was drawn to Jessica, who he viewed as the opposite of Sharon— Jessica was young, energetic, and never complained to him about how tired she was; she is outgoing, adventurous, and always had a lot of friends; she has a warm smile, which draws people to her; even when she is stressed, she manages to stay calm; Jessica was always a good partner to Tom, showing him love and affection; she works hard at her job as a full time mother, always doing everything she can to ensure Elliot is taken care of and happy; even though Tom doesn’t always see it, Jessica is an attentive wife as well, and she is not afraid to call Tom out when he is wrong.

Elliot: male, 4-6, all ethnicities, Tom’s younger son from his second marriage to Jessica; he is a sweet little boy and he is full of energy; he is always on the move and he loves to play—he keeps Jessica busy; Elliot loves Tom and is always looking to spend time with his father, but he finds that Tom is often busy with work; he wishes his father would pay more attention to him. Man: male, 35-45, all ethnicities, a background dad role. Son: male, 5-6.

• Seeking submissions from NY. • Apply on Backstage.com • Meals, credit, and a copy of the project

are all guaranteed. All cast and crew will be required to present vaccination cards.

• Offers extended are conditional on abil-

ity to meet production requirements that all those on set either be fully vaccinated or have qualifying medical or religious exemption. If an actor does not meet this requirement, a conditional offer may be rescinded.

‘Invisible Disability’

• Casting “Invisible Disability,” a short

film about a college student with a psychiatric service dog for PTSD. • Company: SHU Graduate Films. Staff:

Elise Jolie, dir.

• Shoots Feb. 19, 2022 at Sacred Heart

University, Fairfield, CT.

• Seeking—Instigator: 18-25, the instiga-

tor is a college student who confronts the protagonist and accuses her of faking having a service dog due to not having a visible disability. He/she is set in their ways, despite his friends telling them to stop and walk away. Onlookers 1 and 2: 18-25, friends with the instigator and share their suspicions with him about the protagonist and that she has a fake service dog, however they do not confront her and are surprised by what the instigator does.

• Seeking submissions from CT. • Send submissions to joliee@mail.

sacredheart.edu.

backstage.com

New York Tristate casting

• Pays $45-$75. Meals and travel

provided.

‘Perfect Wedding’

• Casting “Perfect Wedding,” a 5-minute

short film about a re-enactment of a wedding on the second day after the original footage is lost.

• Company: Columbia University. Staff:

Yijian Shan, coord.

• Shoots Jan. 13-14, 2022 in NYC. • Seeking—Lily: female, 20-33, Asian,

has just gone through a perfect wedding. However, after realizing the footage is lost in her wedding, she has to re-do the wedding scene in order to get the footage and send it back to her home country. After all the glamour of the wedding fades away, she slowly sees the nature of her marriage through this re-enactment of her wedding. Ming: male, 25-37, Asian, has just got married. However, after realizing his wedding footage is lost, he decides to re-enact the wedding on the second day. During this re-enactment, he realizes that something is changing between him and the bride. Jane: female, 20-35, Asian, a film student at Columbia University. She is asked by a newly married couple to shoot a wedding video on the second day of their wedding after their original footage is lost. During this process, she realizes that the bride is trapped in an unhappy relationship. Viki: female, 20-37, Asian, an art student. Knowing that her friend Lily’s wedding footage is destroyed, she asks her college friend Jane to re-shoot a wedding video for her. However, during this process, she realizes that Lily is trapped in an unhappy situation.

• Seeking submissions from NY and NJ. • Send submissions to jenny1211@berke-

ley.edu.

• For consideration, note availability for

Jan. 13-14, 2022. Include acting reels with submission.

• Unpaid. Travel and meals provided.

Scripted TV & Video ‘City on a Hill’

• Casting Showtime’s “City on a Hill.”

• Company: Grant Wilfley Casting. Staff:

Emily GWC, casting assoc.

• COVID Test Jan. 3, 2022; fitting Jan. 4,

2022; second COVID Test, Jan. 5, 2022; shoots Jan. 6, 2022 in MT Vernon, NY. Note: Int/Ext. Transport will be provided from NYC. • Seeking—SAG 18+ Teens Playing

Basketball: 18-22, SAG 18+ teens playing basketball; test Jan. 5; work Jan. 6.

Tentative dates: COVID Test: Jan. 3; fitting Jan. 4; 2nd COVID Test: Jan. 5; works Jan. 6 in MT Vernon, NY. Int/Ext. Transport will be provided from NYC Covid test & fittings are held in Brooklyn, NY. Note: Do not submit if you have already worked this season or are lined up for work already. Looking for people with early 90’s or 80’s style hair.

No Modern hair styles. Straight hair, weaves, dreads, slight fades, curly hair ok. No large afros. Must be ok with backstage.com

atmospheric smoke. Men must be ok being clean shaven, & receiving a 90’s haircut. Note all of your sizes. This production has a mandatory vaccination policy and requires all cast & Zone A crew to be fully vaccinated with the COVID-19 vaccine (Pfizer, Moderna, Johnson & Johnson) or have a disability or sincerely held religious belief that prevents vaccination. If you meet this criteria, submit without providing any additional information at this time. If you are selected, you will be given separate information on how to provide evidence to the production that you are fully vaccinated or to request an accommodation of any disability or a sincerely held religious belief. Any job offer will be conditioned on satisfactorily testing negative for COVID and showing evidence of vaccination or being granted an accommodation of a disability or sincerely held religious belief by the Employer.

Rachel Scola, casting assoc.

Singers

NY, with prior covid test Jan. 17, 2022 in LIC.

Leading Choral Group, Singers For Ember Ensemble

Woman in Wheelchair: female, 30+, seeking SAG/Non-SAG to portray an upperclass woman in a wheelchair; especially seeking real wheelchair users; tentative shoot Jan. 18 in Rye, NY with prior covid test Jan. 17 in LIC. This production has a mandatory vaccination policy and requires all cast & Zone A crew to be fully vaccinated with the COVID-19 vaccine (Pfizer, Moderna, Johnson & Johnson) or have a disability or sincerely held religious belief that prevents vaccination. If you meet this criteria, submit without providing any additional information at this time. If you are selected, you will be given separate information on how to provide evidence to the production that you are fully vaccinated or to request an accommodation of any disability or a sincerely held religious belief. Any job offer will be conditioned on satisfactorily testing negative for COVID and showing evidence of vaccination or being granted an accommodation of a disability or sincerely held religious belief by the Employer.

Production states: “Ember’s core belief is that music has a unique power to affect the human heart and soul. Ember is committed to excellence in innovative programming and performance; leadership through promotion and performance of new choral music and vibrant, creative engagement with young artists. Ember seeks to inspire fresh thinking about topics of social significance through innovative programming.

Ember boasts an internationally recognized new music advocacy initiative and an impressive history of premiere performances. Conducted by its founder, Dr. Deborah Simpkin King, the choir performs its full concert season in both New Jersey and Manhattan with virtual performances available internationally.

Its members have been drawn together by a shared love of great choral music and by dedication to the highest standard of performance. The group is admired by both its audiences and critics. The Classical New Jersey Society Journal raved: ‘The most warmly rounded (...) blend I have ever heard in a live choral concert.’”

• Company: Grant Wilfley Casting. Staff: • Tentative shoots Jan. 18, 2022 in Rye,

• Seeking—SAG/Non-SAG Upperclass

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

• SAG BG rate $182/8hr. and fitting

stipend.

Showtime’s ‘City on a Hill’ Season 3 • Casting a role for photo stills for

Showtime’s “City on a Hill.”

• Company: Grant Wilfley Casting. Staff:

• Seeking submissions from NY. • For consideration, submit your name,

Emily, casting assoc.

cell number, SAG or non-union, current measurements, confirm the vaccination policy (below), note what form of ID you’d be able to bring to fill out your I9, include two-three current non-professional photos showing current look/hair to submit@gwcnyc.com. Production states: “’Three Women’ has adopted a mandatory vaccination policy. Zone A employees (eg. background actors) must be fully vaccinated in order to be employed on this production. Such a requirement is subject to reasonable accommodations, as required by law, for individuals who cannot be vaccinated due to disability or sincerely held religious belief, practice or observance.

Any requests for exemptions must be vetted by ViacomCBS prior to employment.”

• COVID test between Jan. 3-6; fitting

date TBD following COVID test; works between Jan. 4-7 with COVID test day prior. Fitting/shoots in Brooklyn, NY. • Seeking—SAG/NU Vietnamese Wife:

female, 28-39, Southeast Asian / Pacific Islander, for a still photo shoot.

This is for a still photo shoot, photo to be used as set dressing. Do not submit if you have already worked this season or are lined up for work already. Note all of your sizes. This production has a mandatory vaccination policy and requires all cast & Zone A crew to be fully vaccinated with the COVID-19 vaccine (Pfizer, Moderna, Johnson & Johnson) or have a disability or sincerely held religious belief that prevents vaccination. If you meet this criteria, submit without providing any additional information at this time. If you are selected, you will be given separate information on how to provide evidence to the production that you are fully vaccinated or to request an accommodation of any disability or a sincerely held religious belief. Any job offer will be conditioned on satisfactorily testing negative for COVID and showing evidence of vaccination or being granted an accommodation of a disability or sincerely held religious belief by the Employer.

• Pays $182 per SAG-AFTRA rates.

National Commercials Picture Frame/Printing Service Commercials, Dogs

• Seeking singers for ember ensemble.

• Company: Ember Choral Arts. Staff: Dr.

Deborah Simpkin King, founding artistic dir.; Shayne Miller, executive dir.

• Performs Mar. 5-6, and May 21-22, 2022

in NY, and NJ.

• Seeking—Soprano: 18+. Alto: 18+. Tenor:

18+. Bass/Baritone: 18+.

• Auditions will be held by appt. Jan. 4

from 5-8 p.m. in New York City, NY 10014.

• For an audition appointment, visit www.

EmberArts.org/auditions or send submissions to susanbaer@scholaonhudson.org.

• Production states: “Requisites for

auditioning include previous choral experience, music-reading ability, and a clear voice with good intonation.

Auditions consist of a prepared solo, sight-singing, and an interview with the Artistic Director. There are no membership fees or dues. However, singers are expected to purchase their own music. All solos are assigned to ensemble members. Indicate your desire for solo work in your preliminary audition conversation. You may be asked to prepare specific music for solo auditions.”

• Production states: “Two quartets are

paid out of the 30 person ensemble.”

• Casting dogs for a series of picture

frame/printing service commercials.

• Seeking submissions from NY. • Send submissions to emily@gwcnyc.

• Staff: Cindel, prod.

• Shoots January in the Greater NYC

com.

area/New Jersey.

• Note all of your sizes.

• SAG: SAG BG Rate / Non-Union: $165/10

• Seeking—Dog: 18+.

• Seeking submissions from NY. • Apply on Backstage.com • Pays $150-$300 depending on role.

hrs.

‘Three Women,’ Upperclass Woman in Wheelchair • Casting an upperclass woman in a

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

wheelchair for background work on “Three Women,” a new Showtime series based on the book of the same name.

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Festivals & Events ‘To Dwell in the Secret Land’ • Seeking talent for “To Dwell in the

Secret Land,” a public reading of a new screenplay by John Chism - a film noir about a secret royal family living in Post WW II New York City.

• Company: Freelance. Staff: John Chism,

writer.

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casting California • Rehearses and runs in Manhattan, New

York, NY.

• Seeking—Dwight The Hitman: male,

45-65, White / European Descent, heavy-set; cunning; intelligent; has a ruthless side; born in the USA. Prince Antoine McAlpin: male, 22-32, White / European Descent, tall, fair-haired, handsome, moody, refined, introspective (prince in a secret society); speaks with a standard American dialect.

Prince Konstantin McAlpin: male, 22-32, White / European Descent, tall, very dark hair, handsome, glamorous, a gambler; prince in a secret society; speaks with a standard American dialect. Prince Mikhail McAlpin: male, 20-30, White / European Descent, slender, very dark-hair, a sensitive and talented composer; prince in a secret society; speaks with a standard American dialect. Prince Petya McAlpin: male, 20-28, White / European Descent, a young dark-haired architect and youngest brother to the three other McAlpin men; prince in a secret society; speaks with a standard American dialect. Calpurnia: female, 20-30, Black / African Descent, tall, attractive, glamorous part of the NYC classical arts and music scene. Father Derry: male, 50-65, White / European Descent, thin, calculating, a stern leader among this secret society of royals and nobles. Leo Cavalenti: male, 50-60, White / European Descent, a famous Broadway producer; wealthy, arrogant, tough; speaks with a slight New York/Brooklyn dialect. Leslie: male, 22-32, White / European Descent, slender, blond, scruffy but attractive; a dangerous henchman; speaks with a standard American dialect. Lady Gladys: female, 20-30, White / European Descent, attractive, darkhaired, personable; wife to Prince Petya McAlpin; she was born in the USA. Queen Elena Ivanovna: female, 45-60, White / European Descent, dark-haired and very attractive, sexy, glamorous; has a fiery temper; she speaks with a Russian dialect. Antonio: male, 50-65, White / European Descent, an elegant, refined mobster; speaks with an Italian dialect; colleague of Dwight the Hitman.

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

• Pays $100/flat rate.

Southern California Plays ‘King Lear’

• Seeking Equity actors for roles in “King

Lear.” Production states: “Casting conception: This stripped-down version of ‘King Lear’ is focused on the central family dynamics of the play and has cut Albany and Cornwall so the two older children can act more on their own. We begin with the notion that Lear has had

BACKSTAGE 12.30.21

multiple wives which allows latitude in casting Regan and Goneril to be very similar or ethnically varied depending upon the candidates we discover. We’ve also cut Kent from the production which allows us to further streamline the play around the family.”

• Company: Wallis Annenberg Center for

the Performing Arts. Staff: Amy Lieberman, casting dir.; Camille Jenkins AD-programming mgr. (The Wallis).

• Rehearsals begin Apr. 5; runs May

10-June 5 (or 12) in Beverly Hills, CA.

• Seeking—Equity Actors: 18+.

• Seeking submissions from CA. • For consideration, submit a one-minute

Shakespearean monologue to kinglearcasting@gmail.com. Submissions deadline is Jan. 6 (6 p.m./ PST).

• 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.

• Rehearsals begin May 3, 2022; runs

unconventional and romantic musical based on the award-winning 2006 film, what follows is not a traditional love story. Guy, a heartbroken musician busking for coins on the streets of Dublin, meets Girl, a Czech immigrant with a complicated history and a broken vacuum cleaner. Despite their differences, Guy and Girl find common ground, a shared language, and genuine love in creating music together. With a cast of incredible actor / musicians who accompany themselves on the soaring, gut-wrenching folk-rock score, “Once” is a uniquely theatrical experience that will move you to laughter, to tears, and to a deep understanding of the particular joy of joining together in song.

Featuring all of the magical songs from the critically acclaimed film, including the Oscar-winning “Falling Slowly,” this achingly beautiful, joyously uplifting show strikes an unforgettable chord in audiences and speaks to the power of music to connect us all. A show like that only comes around “Once.”

• Seeking—Equity Actors: 18+.

• Seeking submissions from CA. • For consideration, fill out the audition

Arts. Staff: CCAE Theatricals, exec. prod.; J. Scott Lapp, artistic dir.-dir.; David Lamoureux, SDC musical dir.; Lindsay Brook, casting dir.

• Pays $523/wk Equity (SPT 6) contract

for rehearsal weeks, and $657/wk, plus pension and health Equity (SPT 8) contract for performance weeks.

‘The Tooth Of Crime’

• Seeking video submissions from Equity

actors for roles in “The Tooth Of Crime”

by Sam Shepard. Synopsis: A battle for psychic territory rages amid a postapocalyptic world driven by rock music.

In a future dominated by “The Game,” Hoss, an aging rockstar living by his own code is pitted against his young rival Crow, a rising gypsy maverick driven by image and vying for the new status quo. Through celebrity, mortality, and good ole’ rock ‘n’ roll, Sam Shepard unmasks the cyclical nature of fame and succession.” Production states: “Local Bay Area actors encouraged to submit.”

• Company: San Jose Stage Company.

Staff: Randall King, artistic dir.; Cathleen King, exec. dir.; Tony Kelly, dir.

June 1-26 (possible extension through July 10) in San Jose, CA.

• Pays $1,202/wk. Equity LORT Non-Rep

Contract.

form where you will upload your audition video submissions at https://zfrmz. com/srFdBGgJiaYlgf9KAoHK .

Production states: “A copy of “The Tooth Of Crime” script can be found at https://drive.google.com/drive/ folders/10NPavOwjy-cGIzuVJeU2pFpmRbsdbjhT . Submissions deadline is Feb. 1, 2022.

‘The Remarkable Mister Holmes’

• Seeking video submissions from Equity

actors for roles in “The Remarkable Mister Holmes.”

• Company: North Coast Repertory

Theatre. Staff: Christopher Williams, casting dir.; David Ellenstein, dir.-writer; Daniel Lincoln, music dir.-composer; Omri Schein, lyricist-writer.

• For more info, visit www.thestage.org • Preparation instructions: San Jose

Stage Company is requesting you prepare one of the sides located at https:// drive.google.com/drive/folders/1X8HIg QmPcUaA8in09TjuC81MY1ZELN67 for the preferred character of your choice, as well as a brief upbeat rock ‘n’ roll song of your choice. If you cannot secure a reader for the given sides, prepare a contemporary monologue totaling no more than two minutes. If you cannot secure accompaniment for your song, record yourself singing “Hit Me With Your Best Shot” with the sheet music and accompaniment provided at https://drive.google.com/drive/ folders/1bLqNQpUWvoCKmQ2rmNFHRv_-2z6KZLP

• Rehearsals begin June 21, 2022; runs

July 20-Aug. 14 with a possible extension through Aug. 28. Must be available for full run.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

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

tion (via a Youtube or Vimeo link), headshot, and resume to casting@ northcoastrep.org. 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. Do not send large files to download. In email subject line type: “RMH Audition” plus your name. If selected for a Callback, NCRT will contact you. Audition Video Instructions: Prepare and record one character’s music and sides provided at https://drive.google.com/drive/ folders/1IJnCUVNlRrT_EgSM97VupvS4fL 7CPyl1?usp=sharing If a reader is not accessible to you, you may perform a monologue in the style of the show. If you’re interested in auditioning for a role that is already cast, prepare the side from another role you feel is similar.

Submissions deadline is Jan. 20, 2022.

• 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 Production (BAT

Tier 3) Contract.

• 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.

Musicals ‘Once’

• Casting Equity actors for roles in

“Once.” Local actors encouraged to submit. Synopsis: Guy meets Girl. An

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• Company: California Center for the

• Rehearsals begin Mar. 28, 2022; runs

Apr. 22-May 1 at The Center Theatre, California Theatre for the Arts, Escondido, CA.

• Seeking—Guy: male, 30-39, all ethnici-

ties. Girl: female, 25-35, all ethnicities.

Reza: female, 25-35, all ethnicities.

Eamon: male, 25-49, all ethnicities. Da: male, 50-65, all ethnicities. Baruska: female, 50-69, all ethnicities.

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

resume to brookscastingcollective@ gmail.com. Submissions deadline is Jan. 2, 2022.

• Taped Callbacks will be due Jan. 9,

2022. Zoom callbacks will be held Jan. 16-18, 2022. Note: The roles of Svec and Emcee have been cast.

• 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 $365/wk. plus $180 (health) and 8%

(pension). Equity Guest Artist Contract.

Student Films ‘All That Glitters Is Not Marigold’

• Casting short student film “All That

Glitters Is Not Marigold.” Synopsis: A rising actress comes under consideration for a large superhero role, her life and sanity begin to fall apart as she battles a physical manifestation of the stress and fear she feels. Production states: “Aiming for film festivals.”

• Company: Chapman University. Staff:

Evey Yu, coord.

backstage.com

California casting

• Rehearses in the Orange/LA area;

shoots in April, 2022 in L.A.

• Seeking—Alanna Marigold: female,

18-30, Asian, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, White / European Descent. Lola Green: female, 18-30, Asian, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, White / European Descent. Scott: 18-34.

Actress 1: 18-30, all ethnicities. Actress 2: female, 18-30, all ethnicities.

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

gmail.com.

• Pay TBD. Travel, meal, and reel

provided.

‘A Troubled Man’

• Casting a re-enactment scene of “A

Troubled Man,” documentary thesis film directed by a film student at UCLA in which the actor plays a Lyft rider.

• Company: UCLA TFT. Staff: Azad

Azizyan, coord.

• Rehearses TBD over zoom; shoots TBD

in Van Nuys, CA.

• Seeking—Lyft Rider: male, 40-60,

White / European Descent, a Lyft rider who will have a conversation with the social actor in a re-enactment scene.

• Send submissions to azad1370@g.ucla.

edu.

• Talent must be fully vaccinated with a

negative covid test that has been taken three days before the shooting day.

• Pays $80.

‘Aves’

• Casting background performers for

“Aves,” an AFI thesis film with set in the 90’s with SAG AFTRA principles.

Production states: “University setting needs college aged BG. Writer/ Director is an up and coming talent and this project is destined for festivals around the country and on the international circuit.”

• Company: AFI. Staff: Tara Austin, prod.

• Shoots Jan. 22, 2022 at a prominent

University in Westwood, CA.

• Seeking—Custodian: male, 27-65, all

ethnicities, featured background in AFI thesis film being shot at UCLA. Mirror double: male, 50-75, White / European Descent, 5’11”, older white male with a slim/athletic build to “mirror” our lead actor in a key scene.

Must have white hair and must be 5 feet 11 inches (or very close to that height). Custodian: male, 45-65, all ethnicities, Featured background performer needed for AFI thesis film shooting at UCLA. • Seeking submissions from CA. • Send submissions to taustin@afi.edu.

• All background actors will receive

screen credit and meals will be provided.

‘Duffy’

• Casting “Duffy,” the story of a black

girl’s journey to become natural with her hair. She encounters some things that no one talks about when going natural... Dandruff!

• Company: University of Southern

Californa. Staff: Hannah Kelley, prod.; Damisi, dir. backstage.com

doesn’t want to be rejected and forgotten as an imaginary friend and wants to play pretend forever.

• Shoots Jan. 22 and 23 (weekend #one)

and Jan. 29 and 30 (weekend #two) in Inglewood, CA.

• Seeking—Duffy: female, 18-30, Black /

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

• Parking and meals provided.

African Descent, a young Black girl from Inglewood, CA; corky, well known, and is the youngest of three; she is a visionary that escapes into another world when she sings and dances; hair in the family is a big deal and her being the oddball out is also one as well.

Online Commercials & Promos

• Seeking submissions from CA. • For consideration, include a cover letter

letting casting know if you have experience and training as a singer as this production has a musical number and we would love for our lead actor to be able to pre-record the musical number in the film and send submissions to hgkelley@usc.edu.

Top Auto Brand, Web Commercial

• Casting fun lead roles for an upcoming

production. Note: Must provide proof of immunization and be available for both shoot days.

• No pay.

‘Imaginary’

• Company: The Brand Amp. • Shoots Jan. 12 & 13, 2022 in and around

• Casting “Imaginary,” a coming-of-age

dark fantasy/comedy short film that takes place the night before a Mimi’s quinceañera. Synopsis: In an effort to become grown up in time for her big day, Mimi has to kill off her imaginary friends who won’t let her go without a fight.

Orange County and Los Angeles, CA.

• Seeking—Rocker Garth: male, 18-28, all

ethnicities, “Rocker Garth” is straight out of a 90’s and early 2000’s rock ballad commercials; He is nerdy at heart but finds himself through metal rock; he loves his heavy rock ballads and the CD compilations that come with it; must be comfortable shredding air guitar, being ridiculous, and head banging to the sweetest jams on the planet; Party on!

Your partner in crime = “Rocker Wayne” Rocker Wayne: male, 18-28, all ethnicities, “Rocker Wayne” is straight out of a 90’s and early 2000’s rock ballad commercials; He is nerdy at heart but finds himself through metal rock; he loves his heavy rock ballads and the CD compilations that come with it; must be comfortable shredding air guitar, being ridiculous, and head banging to the sweetest jams on the planet; Party on!

Your partner in crime = “Rocker Garth”

• Company: UCLA. Staff: C. J. Zepeda

(UCLA MFA), casting dir.

• Rehearses January 2022; shoots Feb.

26-Mar. 3 at the University of California, Los Angeles Campus in the School of Theater, Film, and Television, L.A. • Seeking—Mimi Garcia: female, 18-28,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, to play 14; wants the perfect pair of breast more than anything; she thinks they will get her, Giovanni, the old boy of her dreams; but when she has to choose between boys and her imaginary friends, she is willing to fight to the death for what she thinks she wants. Lupe Garcia: female, gender-nonconforming, non-binary, trans female, 18-29, Latino / Hispanic, age 18; big sister that envies her little sister’s youthful imagination; Lupe who is too grown for childish things wants her little sister, Mimi, to grow up in time for her 15th birthday in the morning or fear of being a child forever. Giovanni De La Cruz: male, 18-28, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Southeast Asian / Pacific Islander, a handsome young man who is a popular kid in high school; Giovanni finds it hard to concentrate or speak at the sight of breasts. Ms. Rabbit: all genders, 19-55, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, an all-knowing imaginary friend that resembles a saint and a rabbit. Ms. Rabbit doesn’t want to be rejected and forgotten as an imaginary friend and wants to play pretend forever. Pepini: all genders, 18-45, all ethnicities, a very physically flexible and very strong imaginary friend; Pepini is worried that Mimi will decide to grow up and force Pepini into transforming into something short-tempered and dark.

Fluffoluffogas: all genders, 18-45, all ethnicities, a tell-it-like-it-is, heavyhanded imaginary friend; Fluffoluffogas

• Seeking submissions from CA. • Apply on Backstage.com • Talent must be ready to submit relevant

direct links to recent works (comedy, standup, satirical video). Looking for fun, silly, and quirky sense of humor types. Production will request a headshot selfie and profile selfie upon selection. Casting Dec. 14-30.

• Pays $750 for full day. 10 Hour on set.

Non Union. Usage: Web and digital.

Must be vaccinated. Must have means of travel to set. Lunch and crafty will be provided.

Local Commercials Living Spaces Presidents’ Day Commercial Shoot • Casting a Living Spaces Presidents’ Day

day Video/Photo shoot.

• Company: Living Spaces. Staff:

Jonathan Munsayac, sr. prod. mgr.

• Shoots Jan.13, 2022 at 14501 Artesia

Blvd, La Mirada, CA. Note: Call Time: TBD.

• Seeking—Mother: female, 35-50, all

ethnicities. Daughter: female, 11-17, all ethnicities.

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• Seeking submissions from CA. • Send submissions to jonathan.mun-

sayac@livingspaces.com.

• Pays $400/12 hours. Breakfast and

Lunch included. Usage would be perpetual for possible use in other marketing material. Media usage is Broadcast TV + digital commercial. Airdate for Presidents’ Day is Feb. 7-21, 2022.

Stage Staff & Tech ‘In Every Generation,’ Stage Manager

• Seeking an Equity stage manager for “In

Every Generation.” Production states: “San Diego Repertory Theatre (The REP) produces intimate, provocative, inclusive theatre. We promote an interconnected community through vivid works that nourish progressive political and social values and celebrate the multiple voices of our region. We are committed to diversity both on-stage and among our staff and invite interested applicants to review our EDI statement, posted on our website. We encourage applications from marginalized communities including black, indigenous, people of color, LGBTQIA+, women, neurodiverse, and people with disabilities.”

• Company: San Diego Repertory

Theatre. Staff: Chelsea Smith, prod. mgr.

• Rehearsals begin Apr. 28; runs May

26-June 19 in San Diego, CA.

• Seeking—Stage Manager: 18+.

• Seeking submissions from CA. • For consideration, submit your résumé,

cover letter, and salary requirements and tell us why you are the ideal candidate for this specific job. Submissions deadline is Jan. 15 2022.

• 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 TBD. Equity Production LORT Non-

Rep Contract. Production states: “This is a full-time exempt position on an AEA contract and will be paid at the LORT D rate.”

‘King Lear,’ Stage Manager • Seeking Equity stage managers for

‘King Lear.’ Production states: “All stage managerial positions in ‘King Lear’ have been filled. Submit for future consideration. Casting conception: This stripped-down version of ‘King Lear’ is focused on the central family dynamics of the play and has cut Albany and Cornwall so the two older children can act more on their own. We begin with the notion that Lear has had multiple wives which allows latitude in casting Regan and Goneril to be very similar or ethnically varied depending upon the candidates we discover. We’ve also cut

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casting National/Regional Kent from the production which allows us to further streamline the play around the family.”

• Company: Wallis Annenberg Center for

the Performing Arts. Staff: Amy Lieberman, casting dir.; Camille Jenkins AD-programming mgr. (The Wallis).

• Rehearsals begin Apr. 5; runs May

10-June 5 (or 12) in Beverly Hills, CA.

• Seeking—Equity Stage Manager: 18+.

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

résumé to Samantha Else Production Supervisor at The Wallis 9390 N. Santa Monica Blvd.; Beverly Hills, CA 90210.

Submissions deadline is Jan. 1, 2022.

• For more info, visit www.thewallis.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 $1,202/wk. Equity LORT Non-Rep

Contract.

National/ Regional Plays ‘Bootycandy’

• Casting Equity actors for “Bootycandy.”

• Company: Actor’s Express Theatre

Company. Staff: Lynn Nottage, playwright; Martin Damien Wilkins, dir.; Freddie Ashley, artistic dir.; Sheila Oliver, casting dir.; Justin Kalin, casting assoc. Amanda Washington, NNPN prod. in residence.

• Rehearsals begin Feb. 8, 2022; tech -

Feb. 26-27, 2022; final dress Mar. 1, 2022; runs Mar. 2-27, 2022 (WednesdaySaturday, 8 p.m., Sundays 2 p.m. Five performances per week) in Atlanta, GA. Note: Beginning in the 2021-22 Season, AE is moving toward five-day rehearsal weeks and will phase out 10-out-of-12 tech rehearsals.

• Seeking—Track 1: female, 20-30, Black

/ African Descent, to play Young Black Mom/Adella/Big Surley/Writer 1/Young Sibling/Intifada; 20-30; Black; fearless and possesses a great understanding of rhythm and comedic timing. Track 2: male, 20-30, Black / African Descent, to play Sutter; Black; 20-30; the play’s protagonist; has both dramatic and comedic abilities; sexually explicit and at times vicious; this role requires onstage intimacy under the supervision of an Intimacy Director. Track 3: female, 30-40, Black / African Descent, to play Eudarrie/Lucy/Writer 2/Middle Aged Mother/Genitalia; confident, witty with natural instincts. Track 4: male, 30-40, Black / African Descent, to play Reverend Benson/Writer 3/Stepfather/ Larry/Old Granny; flamboyant and very funny; strong comedic and dramatic

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abilities; this role requires onstage intimacy under the supervision of an Intimacy Director. Track 5: male, 20-40, White / European Descent, to play Roy/ Clint/Moderator/Officiant/White Man; funny, sexy and comfortable with outrageous behavior; this role requires nudity and onstage intimacy under the supervision of an Intimacy Director.

distancing and sanitation protocols during rehearsals and performances.

KCAT is committed to equity, diversity, and inclusion and conscious casting, and we encourage performers of all races and ethnicities, gender identities, sexualities, abilities, and ages to audition for our productions. Let us know if you require special services, assistance, or disabilityspecific modifications to fully participate.

• Seeking submissions from GA. • All roles require actors to be comfort-

able with explicit language. Sides available at actorsexpress.com/about/ auditions. If no access to a reader, present monologue in the style of the show.

We recommend streaming platforms like YouTube, Vimeo or Google Drive, but check preferred privacy settings.

No files requiring download. State name and character. For consideration, submit videos to auditions@actorsexpress.com. Submissions deadline is Jan. 7, 2022.

‘Middleton Heights’

actors for roles in “Middleton Heights.”

Staff: Josh Short, artistic dir.

Agreement.

• Seeking video submissions from Equity • Company: The Umbrella Arts. Staff:

Brian Boruta, prod. artistic dir.; Michelle Aguillon, dir.; Hortense Gerardo, writer.

• Rehearsals begin Feb. 22, 2022; runs

Mar. 18-Apr. 10 in Concord, MA.

• Seeking—Equity Actors: 18+.

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

com. Actor’s Express is fully committed to diversity, inclusion, equal employment opportunity and universal access to auditions for all members. We are committed to principles of ethical and diverse representation in our casting.

Rehearsals and performances held indoors at Actor’s Express. We are working with an Equity-approved safety plan that includes vaccination, testing, masking, cleaning and distancing protocols. Pursuant to current Equity guidelines, proof of full vaccination no later than two weeks prior to in-person work is a required condition of employment.

contemporary monologue (no classical monologues) to auditions@theumbrellastage.org. Along with your audition material, include a headshot and resume. Videos may be sent via Youtube or Vimeo links. Submissions deadline is noon ET on Dec. 31.

• 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 $416/wk (SPT 4.) Equity SPT

Agreement.

• Pays $328/wk. Equity SPT Tier 2

Kansas City Actors Theatre 2022 Season, Equity Video Submissions

Contract.

‘Night Blooming’

• Seeking video submissions from Equity

• Seeking video submissions from Equity

actors for the Kansas City Actors Theatre 2022 Season. Season 18 includes: “The Price,” (Arthur Miller, playwright. Runs May 25-June 12, 2022); “Spider’s Web” (Agatha Christie, playwright; Darren Sextro, dir. Runs July 13-31, 2022), “About Alice” (Calvin Trillin, playwright. Runs Aug. 10-28, 2022), “Dot,” (Colman Domingo, playwright.

Runs Sept. 7-25, 2022), and “Smart People” (Lydia Diamond, playwright.

Runs Jan. 11-29, 2023).

actors for roles in “Night Blooming.”

• Company: Detroit Repertory Theatre.

Staff: Kelly Komlen, dir.; Leah Smith, artistic dir.

• Rehearseals begin no earlier than Mar.

7, 2022; runs Apr. 15-May 22 (Performances: Fridays at 8:30 p.m., Saturdays at 3 p.m. and 8:30 pm, Sundays at 2 p.m.) at Detroit Repertory Theatre in detroit, MI. • Seeking—Lily: all genders, 18-32, all

ethnicities. Natane: all genders, 24-48, all ethnicities. Selene: all genders, 8-16, all ethnicities.

• Company: Kansas City Actors Theatre.

Staff: John Rensenhouse, artistic chair; Gary Heisserer, board president.

• Seeking submissions from MI. • For consideration, submit a video

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

• Seeking submissions from MO. • Prepare two contrasting contemporary

auditon to leah@detroitreptheatre. com. Audition video instructions: State your name and perform a dramatic monologue, no longer than one minute in length. Submissions deadline is Jan. 13, 2022 at 5 p.m. CT. Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

monologues, not to exceed a total of four minutes, along with a brief introductory slate. For consideration, submit video link or file, headshot, and resume to auditions@kcactors.org with the subject line “AEA General Submission.”

Submissions deadline is Jan. 16, 2022.

• For more info, visit www.kcactors.org.

KCAT maintains a strong commitment to the Kansas City artistic community and encourages local submissions.

KCAT is promoting a fully vaccinated workplace. All employees are required to be fully vaccinated prior to first day of employment and will maintain social

• Pays $279/wk. Equity SPT (SPT Tier 1)

Contract.

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• Seeking video submissions from Equity

actors for The Wilbury Theatre Group 2022 Season. Season includes “Antigonx,” (Shey Rivera Ríos, playwright. Rehearsals begin Feb. 22, 2022; runs Mar. 24-Apr. 10, 2022), “God Talks To an Agnostic” (Don Mays, audioplay by. Recording dates TBD. Episodes air weekly Spring - Summer 2022) “Natasha, Pierre, And The Great Comet of 1812” (Dave Mallow, playwright.

Rehearsals begin Apr. 19, 2022; runs May 19-June 12, 2022.).

• Pays $657/wk. (SPT Tier 8.) Equity SPT

• For more info, visit www.actorsexpress.

The Wilbury Theatre Group 2022 Season

• Company: The Wilbury Theatre Group.

• Season runs in Providence, RI. • Seeking—Equity Actors: 18+.

• Seeking submissions from RI. • As with in-person auditions, each per-

former will be allotted a minimum of three minutes and a maximum of five minutes. We suggest that all performers prepare at least a one to two minute monologue of their choice. To be considered for “Natasha, Pierre, and the Great Comet of 1812,” we encourage you to include a song of your choice that is in the style of the show. Actors who play instruments are highly encouraged to accompany themselves and list their instruments and experience in their audition submission. If you would like to sing from the show, you certainly may, but it is not required.

Piano accompaniment from the Prologue is available for use at https:// drive.google.com/ file/d/1YY7ZfPbz9kZikSg9jz6X-y4-l7DKh7vz/view . Actors should pick any 16 bars from the song that suit their vocal range. Piano/vocal score for the production available at https://drive. google.com/ file/d/10bR3z3oazs31Rax5BWBzWIQBa FSqtuLS/view.

• For consideration, submit your

recorded audition pieces along with a headshot and resume to auditions@ thewilburygroup.org. Indicate in the email subject heading your status as either an Equity member, Equity Membership Candidate or non-member. For example: Subject: Wilbury audition submission- nonunion or Subject: Wilbury audition submission – AEA. Submissions deadline is Dec. 30. No phone calls. Any questions or concerns should be addressed to auditions@ thewilburygroup.org. The Wilbury Theatre Group encourages performers of all ethnicities, gender identities, body types and ages. Non-binary and Trans actors will be seen and considered for all roles.

• Pays $279 /wk. (Category 1.) Equity SPT

Agreement.

‘This Is The Week That Is,’ Equity Video Submissions

• Casting Equity actors for roles in “This

Is The Week That Is.” Synopsis: This is the Week That Is is an original political humor variety show with music. Show is topical and changes nightly - improvisation and writing experience is a plus. Note: The cast is a diverse ensemble of actors of any race, gender or age. As the show responds to current events, many of the characbackstage.com

National/Regional casting

ters played will be determined by who is in the news at the time.

• Company: 1812 Productions. Staff:

Tanaquil Márquez, dir.; Jennifer Childs, producing artistic dir.

• Rehearsals begin Tuesday Mar. 29,

2022; runs Apr. 28-May 22, 2022 at Plays and Players Theater in Philadelphia, PA.

• Seeking—Ensemble 3: 18+, Kamala

Harris, Steve Harvey, a news anchor and others. Ensemble 4: 18+, Alexandria Ocasio-Cortez, JLo, a news anchor and others.

• Seeking submissions from PA. • Each actor will be asked to read a selec-

tion from the show and a brief cut of the pop song “Sometimes When We Touch” Access to audition material, music and accompaniment tracks are available on our website: https:// www.1812productions.org/audition. For consideration, submit audition to auditions@1812productions.org.

Submissions deadline is Jan. 10.

• Pays $742/wk. (SPT 9.) Equity SPT

Agreement.

Walt Disney World Offering, Stunt Actors

• Seeking video submissions from Equity

actors. Production states: “Disney Live Entertainment is actively seeking submissions from Stunt Actors with Tramp Wall experience for an offering at the Walt Disney World Resort near Orlando, Florida. Seeking candidates for PartTime and Sub Positions.”

• Company: Walt Disney World Company.

Staff: Troy Pederson, casting dir.

• Ongoing work in Florida.

• Seeking—Equity Actors: 18+.

• Seeking submissions from FL. • For consideration, submit the audition

posting at DisneyAuditions.com at the submission and online audition checkin instructions section. Production states: “Candidates should submit links to stunt reel that showcases tramp wall experience. Submissions deadline is Jan. 3, 2022 (3 p.m./ET). Potential inperson callbacks by appointment to be held Jan. 27. Candidates must be available for the callback to be considered.”

• Upon signing of Walt Disney World®

Individual Employment Contract, candidates are eligible to immediately apply for membership in Actor’s 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 $16.22/hr. Walt Disney World

Contract.

Musicals ‘Always... Patsy Cline,’ Equity Video Submissions • Casting Equity actors for roles and

understudy roles in “Always... Patsy Cline.” backstage.com

• Company: Williams Street Repertory.

• For more info, visit www.nashvillerep.

Staff: Kevin Wiczer, dir.; Ted Swindley, author; Richard Kuranda, founding AD; Kyle Schneider, producing manager.

org

• Equity’s contracts prohibit discrimina-

• Rehearsals begin Feb. 14, 2022; runs

Mar. 18-Apr. 16, 2022 at Raue Center for the Arts in downtown in Crystal Lake, IL. • Seeking—Patsy Cline: 20-30, the leg-

endary country singer, age 20-30.

Louise Seger: 40-60, a Texas housewife and fan of Patsy Cline, age 40-60.

• Seeking submissions from IL. • Prepare a contemporary one-two min-

ute dialogue and a brief song. You may also use the accompaniment provided at https://drive.google.com/drive/folde rs/1wocA139i7yQhEElwbMn6kXZqdVXia 5Fb. For consideration, email audition with a pdf/jpeg of your resume and headshot with a brief introduction to casting@wsrep.org. Submissions deadline is Jan. 16.

• Pays $216/wk. Equity CAT Agreement.

‘Mary Poppins’

• Seeking video submissions from Equity

actors for youth roles in “Mary Poppins.” Local actors encouraged to submit. Nashville Repertory Theatre is a fully vaccinated company as defined by the CDC. This includes all actors and production personnel. Full and fair casting consideration will be given to underrepresented ethnicities, women, seniors, all gender identities and expressions, and actors with disabilities. Performers of all races and ethnicities are encouraged to audition.

• Company: Nashville Repertory Theatre.

Staff: Drew Ogle, exec. dir.; MicahShane Brewer, dir.; Erica Jo Lloyd, artistic assoc.; Randy Craft, music dir.

• Rehearsals begin Mar. 28, 2022; runs

Apr. 27-May 8 in Nashville, TN.

• Seeking—Equity Actors: 18+.

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

form at https://nashvillerep.org/audition . Production states: “You may email erica@nashvillerep.org with additional questions. Online requests and voicemails will receive equal access to appointment slots. To assure this, be sure to fill out the form completely and accurately. You will only be able to submit once. At this time, callbacks are slated for Jan. 24-25, 2022, in person.

We will be following all Equity and CDC guidelines in place at the time of callbacks. Should the situation require it, callbacks may also be held virtually.”

Submissions deadline is Jan. 12.

• Preparation instructions: Each actor

should prepare a video audition consisting of one monologue and a brief song with musical accompaniment (No acapella auditions). The monologue should be 1-2 minutes. We would like to hear each actor use their best British dialect for the monologue. For those without access to recorded accompaniment, sheet music and recorded tracks are available at: https://drive. google.com/drive/folders/1SpYCzET2Y hUwhcRJtFzM9CU81uona1A?usp=sharing You are not required to use this music and may audition with any song of your own choosing. No dancing will be required for this audition, however, dancing may be required at callbacks.

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 $546/wk. Equity Production (SPT

7) Contract.

Musical Theater Heritage 2022 Season

• Seeking video submissions from Equity

actors who are strong actors/singers/ dancers for roles in Musical Theater Heritage 2022 Season. Season includes “Stevie: Signed, Sealed, Delivered” (Marc Wayne, dir.-choreo.; Ron Lackey, music dir. Rehearsals begin Mar. 14; runs Mar. 26-Apr. 10); “Song & Dance” (Jessalyn Kincaid and Linnaia McKenzie, co-dirs.; Caroline Dahm, choreo.; Mark Ferrell, music dir.; Andrew Lloyd Webber, music; Don Black, Richard Maltby Jr., book-lyrics. Rehearsals begin April 25; runs May 14-29); “Titanic” (Tim Scott, dir.; Ty Tuttle, music dir.; Maury Yeston, dir.; Maury Yeston and Peter Stone, book and lyrics. Rehearsals begin May 30; runs June 18-July 3); “Cabaret” (Pamela Baskin Watson, music dir.; Kenny Personett, choreo.; John Kander, music; Fred Ebb and Joe Masteroff, book-lyrics. Rehearsals begin July 25; runs Aug. 13-21); “Man Of La Mancha” (Tim Scott, dir.; Beau Bledsoe, music dir.; Mitch Leigh, music; Joe Darion and Dale Wasserman, booklyrics. Rehearsals begin Sep. 19; runs Oct. 8-23); “Spectacular Christmas Show” (Mark Ferrell, music dir.

Rehearsals begin Nov. 28; runs Nov. 10-22). Local actors encouraged to submit.

• Company: Musical Theater Heritage.

Staff: Tim Scott, exec. artistic dir.; Dalima Kapten, mgr. of artistic operations.

• Rehearses and performs in Kansas City,

MO.

• Seeking—Equity Actors: 18+.

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

shot and résumé, and sing a brief cut of something you love to dalima@mthkc. com. Production states: “You may also use the accompaniment provided at https://drive.google.com/ file/d/1VXgEDyYOcZJv85Aq4pzJFIpp5Bl d1rbi/view . Sheet music is available at https://drive.google.com/ file/d/1YsbsBAWkWOTRI_ IqoMtaNIaI42I91aPh/view . Video submissions may be sent to Jessalyn Kincaid, Company Manager.”

Submissions deadline is Jan. 10 2022.

• For more info, visit https://musicalthe-

aterheritage.com/

• 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

29

ages, as well as performers with disabilities, to submit.

• Pays $465/wk. Equity Production SPT

(SPT 5) Contract.

‘Natasha, Pierre, and the Great Comet of 1812’

• Seeking video submissions from Equity

actors for roles in “Natasha, Pierre, and the Great Comet of 1812.”

• Company: Capital City Theatre. Staff:

Andrew Abrams, dir.-artisitc dir.; Sabra Michelle, choreo.; Evan Lange, musical dir.

• First rehearsal May 10, 2022 at the

Capital City Theatre in middleton, WI; runs June 3-12 at Four Winds Farm, WI. The show will be performed in person and fully immersively indoors.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

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

tion to info@capitalcitytheatre.org.

Auditon instructions: Prepare a one minute contemporary musical theatre piece of your own choosing that is as close to the style of the show as possible and that shows the unique character of your voice. You may also use the accompaniment provided at https:// www.dropbox.com/sh/ xhlk1kiltjk8wpa/A ADOfoDVyHiOfaXc5JwlaRTla?dl=0.

Slate your name and title of song.

Submission deadline is Feb. 28, 2022.

• Audience will be masked and all rele-

vant Equity COVID 19 safety protocols in effect at the time of production will be adhered to as well as a Covid Compliance Officer being present if still required. All cast, crew, designers, etc will be required to be vaccinated for COVID-19 at least 3 weeks prior to May 10, 2022.

• 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 SPT 5 Contract.

‘The Last Five Years’

• Seeking Equity actors for roles in “The

Last Five Years.” Production states: “Local actors encouraged to submit.”

• Company: Jennie T. Anderson Theatre.

Staff: Jono Davis, artistic managing dir.; Maxim Gukhman, casting dir.; Chris Brent Davis, dir.; music dir.; Candy McLellan, assist. dir.

• Rehearsals begin Jan. 18; performances

begin Jan. 28 in Marietta, GA. Production states: “Two-week-long production; eight days of rehearsals, one day of filming.”

• Seeking—Catherine Hiatt: 18+. Jamie

Wellerstein: 18+.

• Seeking submissions from GA. • Submit at https://airtable.com/

shrSH5ekHRFCOAYmK . Video submissions can be provided through any video format (YouTube, GoogleDrive, WeTransfer, Dropbox, etc.). For consideration, submit a headshot and résumé at casting@andersontheatre.org .

12.30.21 BACKSTAGE

casting National/Regional Submissions deadline is Jan. 03.

• For more info, visit www.

AndersonTheatre.org .

• Production states: “The Jennie T.

Anderson is committed to nontraditional casting and values diversity in all of its forms. We greatly encourage actors of all ethnicities, gender identities, as well as performers with disabilities to audition.

• 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 $473/wk. Equity Production (Guest

Artist Agreement Tier II -pending approval) Contract.

‘The Pretty Pants Bandit’

• Seeking video submissions from Equity

actors for roles in “The Pretty Pants Bandit.”

• Company: Georgia Ensemble Theatre.

Staff: James Donadio, dir.-associate artistic dir.; Anita Farley, producing artistic dir. Alli Lingenfelter, music dir.; Kari Twyman, choreo.; Candy McLell, casting associate.

• Rehearsals begin Mar. 5, 2022

(rehearses Tue.-Sun. daytime/evening); runs Mar. 31-Apr. 17 in Georgia.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

• Seeking submissions from GA. • For consideration, upload a video audi-

tion and fill out the form at https://airtable.com/shrTMsm8Zzkq1PGXE Music cuts, sides, and script https://drive. google.com/drive/folders/1DXqlX ejTUgliDWa27PVHAdN-cAE8Z8Cv? usp=sharing Submissions deadline is Dec. 31. Audition Video Instructions: For Principal Roles: You will choose a role to read for and choose a song from that character. For Ensemble: You will choose a Pop/Rock song of your choosing. Bring your own flavor to these characters and sing these roles and bring them to life with your own voice.

• Pays $400/wk. Equity Guest Artist

(Guest Artist 2 Contract) Contract.

‘The Sound of Music’

• Seeking video submissions from Equity

actors for roles in “The Sound of Music.”

• Company: A.D. Players. Staff: Music by

Richard Rodgers, music; Oscar Hammerstein, lyrics; Howard Lindsay and Russel Crouse, book; Emily Tello Speck, dir.-choreo.; Stephen W. Jones, music dir.; Casey Hebbel, assist. dir.; Kevin Dean, artistic dir.; Jake Speck, exec. dir.; Hannah Smith, prod. coord.

• Rehearsals begin June 7, 2022; runs July

6-Aug. 14; Callbacks will be held in-person Jan. 30 in Houston, TX. • Seeking—Mother Abbess: all genders,

40+, all ethnicities, motherly, understanding, strong and authoritative, but kind. Rolf Gruber: all genders, 17+, all ethnicities, suitor to Liesl, telegram delivery boy, later Nazi soldier. A very pleasant young man, somewhat aggressive but in a gentle way. Liesl Von Trapp: all genders, 16+, all ethnicities,

BACKSTAGE 12.30.21

the oldest child, blossoming into a young lady. She has a maternal edge to her and cares very deeply for her younger siblings. Ursula/Ensemble Nun: all genders, 18+, all ethnicities, a dual role of the maid at the Von Trapp family home and a nun at the Abbey.

• Seeking submissions from TX. • Submit video link(s) and headshot/

resume using the form at https://forms. gle/Fzy4hQk5vdyP8bGW8 . Prepare a brief cut of a song in style of the show.

If needed, sheet music and track for each role is available at shorturl.at/ pFN07 . Optional: 45 second monologue. Submissions deadline is Jan. 2, 2022.

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

tion, headshot, and resume throught the form at https://forms.gle/ Fzy4hQk5vdyP8bGW8 Submission deadline is Jan. 2, 2022.

• For more info, visit adplayers.org.

• Pays $541/wk. (LORT D.) Equity LOA

Agreement.

• Audition Video Instructions: Prepare a

brief song cut in the style of the show. If needed, sheet music and track for each role are available at https://www.dropbox.com/sh/5dna5b2m75myjj0/ AAAYyWZXmPy1iXFAzGWuIsBFa?dl=0 In addition, prepare one monologue (no more than 1 minute) or the side provided for your character at https:// www.dropbox.com/ sh/5dna5b2m75myjj0/ AAAYyWZXmPy1iXFAzGWuIsBFa?dl=0 • Equity’s contracts prohibit discrimina-

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

• Pays $541/wk. Equity LOA (LORT D)

contract.

‘The Sound Of Music,’ Equity Video Submissions Youth • Seeking Equity youth actors for “The

Liesl, telegram delivery boy, later Nazi soldier; a very pleasant youngman, somewhat aggressive but in a gentle way; under consideration for both actors 18+ and older youth actors. Liesl Von Trapp: 16-18; the oldest child, blossoming into a young lady; she has a material edge to her and cares very deeply for her younger siblings; under consideration for both actors 18+ and older youth actors. Friedrich Von Trapp: 14; tough exterior, very much trying to be “the man” of the family; desperately needs his father. Louisa Von Trapp: 13; likes to play tricks on people and is a tomboy; rebellious attitude; missesher mother. Kurt Von Trapp: 10 (or “eleven-almost”); gentle and mischievous. Brigitta Von Trapp: 9; smart and avid reader; always says what she thinks and observes well. Marta Von Trapp: 7; very inquisitive, smart and gentle. Gretl Von Trapp: 5; sweet and loving, wants attention.

actors for roles in “A Night With Janis Joplin.”

• Company: Le Petit Theatre du Vieux

Carre. Staff: Randy Johnson, dir.; Kenna J. Moore, interim artistic dir.

• Rehearsals begin Apr. 19, 2022; runs

May 13-29 (possible extension through June 5) at the Le Petit Theatre du Vieux Carre, New Orleans, LA. • Seeking—Equity Actors: 18+.

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

and résumé. Indicate which role(s) you are reading for in the subject and sides will be emailed to you shortly along with instructions for a taped audition. If applicable, taped callback instructions will follow. Submissions deadline is Jan. 7, 2022.

• Pays $327/wk. Equity Production (SPT 2

Transitional 1.5) Contract.

‘In The Heights’

• Seeking video submissions from Equity

actors for chorus parts in “In The Heights.” The Arts Center of Coastal Carolina does not believe in discrimination based on race, color, creed, gender, national origin, veteran status, sexual orientation, age, or disability.

• Rehearsals begin June 7, 2022; runs July • Seeking—Rolf Gruber: 17-18; suitor to

• Seeking Equity video submissions from

LePetitTheatre.com

• Company: A.D. Players. Staff: Richard

6-Aug. 14, 2022 in Houston, TX.

‘A Night With Janis Joplin’

• For more info, visit www.

Sound Of Music.” Note: Local actors encouraged to submit. Performers of all ethnic and racial backgrounds are encouraged to audition. No roles will be understudied.

Rodgers, music; Oscar Hammerstein, lyrics; Howard Lindsay and Russel Crouse, book; Emily Tello Speck, dir.choreo.; Stephen W. Jones, music dir.; Casey Hebbel, asst. dir.; Kevin Dean, artistic dir.; Jake Speck, exec. dir.; Hannah Smith, prod. coord.

Chorus Calls

• Company: Arts Center of Coastal

Carolina. Staff: Richard Feldman, vice president-general mgr.; Patdro Harris, dir.-choreo.

• Rehearsals begin Apr. 12; runs May

4-29, 2022 (Tuesdays-Saturdays, 7:30 p.m. and Sundays, 2 p.m.) in Hilton Head Island, SC. • Seeking—Men Of Washington Heights

(Dancers): 20-50. Women Of Washington Heights (Dancers): 20-50.

Women Of Washington Heights (Singers): 20-50. Men Of Washington Heights (Singers): 50+.

• Seeking submissions from SC. • For consideration, submit your video to

Vimeo and YouTube include a link for viewing in your email submission, and include a PDF résumé and headshot at www.artshhi.com/about/auditions, or to casting@artshhi.com with “In The Heights, [your name]” in the subject line. Submissions deadline is Jan. 3, 2022.

• Instructions (singers): prepare and tape

a 32-bar cut of a contemporary musical theatre song of your choice or use the mp3 musical song provided with the

30

sheet music at www.Artshhi.Com/auditions ; (dancers): prepare the dance combination at www.Artshhi.Com/auditions . For more info, visit www.artshhi. com • Equity Approved the Fully Vaccinated

Company for this production. All Actors must be fully vaccinated against COVID-19. Rehearsals and performances held indoors at The Arts Center. We are working with an Equityapproved safety plan that includes vaccination, testing, masking, cleaning and distancing protocols. Pursuant to current Equity guidelines, proof of full vaccination no later than two weeks prior to in-person work is a required condition of employment.

• 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 $580/wk. Equity Production (SPT

7) Contract.

Feature Film ‘Harold and the Purple Crayon,’ Sony Pictures

• Casting the Sony Pictures live-action

feature film “Harold and the Purple Crayon,” starring Zachary Levi. Project description: “A young boy named Harold embarks on a magical mission with the help of his purple crayon.”

Filming skate park scenes for an adaptation of the popular children’s book of the same name.

• Company: Sony Pictures, On Location

Casting. Staff: David Guion & Michael Handelman, screenplay; Will Smith, prod.

• Shooting various dates January-March

2022 in Atlanta, GA.

• Seeking—Skateboarders: all genders,

18+, all ethnicities, featured role, looking for some energetic skateboarders with some gnarly moves and tricks to join us. Roller Skaters: all genders, 18+, all ethnicities, featured role, looking for submissions for real dancing roller skaters, this is on roller skates not blades, we are looking for some energetic roller skaters with some cool dancing talent to join us.

• Seeking submissions from GA. • For consideration, email your name,

phone number, recent color photo & a link to any skating footage (if you have it) to haroldatpc@gmail.com. Note if you are fully vaccinated with proof and explain in detail your skating experience (can you perform any tricks). Use either the subject line “Skateboarder” or “Dance Roller Skate,” depending on role.

• Professional pay, amount TBA. COVID-

19 testing is required.

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

backstage.com

National/Regional casting

Online Commercials & Promos Men’s Retail Brand, Ruggedly Handsome Men • Casting ruggedly handsome men for a

men’s retail brand. Note: TubeScience, a video advertising company, is now casting men to appear in ads for a men’s retail subscription box service.

We’re looking for the “ruggedly handsome” type, so apply if you have that look.

• Send submissions to cpd@aerialcanvas.

• Seeking a UGC talent/ influencer to talk

about their experience with our client who is a pet insurance company. Note: You will read a provided script and capture additional b-roll footage of you and your dog! Looking for fun and energetic talent who has experience with UGC video work!

• Company: Grow With Bamboo. Staff:

Stavro Victor, content prod.

• Video will be recorded remotely with

your own high-quality phone camera.

• Seeking—UGC Talent: all genders,

21-50, all ethnicities, send a sample UGC video of you and your dog; tell us a story about you and your dog so the team can get to know you better!

• Seeking submissions nationwide.

• Send submissions to stavro@growwith-

bamboo.com.

• Send a sample UGC video of you and

your dog! Tell us a story about you and your dog so the team can get to know you better!

• Pays $150-$250 for video footage use in

perpetuity.

Commercials (Voiceover) Real Estate Commercial

• Casting a narrator for a Real Estate

Commercial based on the Agent’s life.

• Company: Aerial Canvas. Staff: Jenn

Mendoza, commercial prod.

• Records remotely. Note: Talent must

have access to professional grade audio and mixing equipment.

• Seeking—Male VO: male, 35-55, a

warm, inviting, yet articulate voice; very neutral sounding, not too deep or too high; must feel very authentic and not scripted.

• Seeking submissions nationwide.

backstage.com

ager for “Raisin.”

• Company: Skylight Music Theatre.

Staff: Kenneth Roberson, dir.-choreo.; Christie Chiles Twillie, music dir.; Morgan Williams, assoc. choreo.; Michael Unger, artistic dir.; Susan Varela, dir. of artistic operations; Joel Kipper, dir. of production and facilities; Kate Ferdinandi, asst. dir. of production and facilities.

• Seeking Equity Stage Managers for the

Theatre. Staff: Lenny Banovez, artistic dir.; Marcus Johnson, assoc. artistic dir.;.

this casting, you must complete the mandatory casting application. It’s attached below. Select you are submitting for “Men for Subscription Box.”

• Seeking Equity production stage man-

Hope Summer Repertory 2022 Season, Equity Stage Manager

UGC Dog Commercial For Online Insurance Company

• Seeking submissions nationwide.

• Apply on Backstage.com.

• If you would like to be considered for

‘Raisin,’ Equity Stage manager Submissions

Stage Staff & Tech

• Paid, nonunion.

male, 18+.

(LORT B) Contract.

• Pay provided.

Hope Summer Repertory 2022 Season.

Season includes “Every Brilliant Thing” (Rehearsals begin May 9, 2022; runs May 13-21, 2022), “A Gentleman’s Guide to Love and Murder” (Rehearsals begin May 23, 2022; runs June 17-July 23, 2022), “Much Ado About Nothing” (Rehearsals begin June 13, 2022; runs July 8-22, 2022), “Hold These Truths” (Rehearsals begin June 27, 2022; runs July 15-Aug. 6, 2022), “The Color Purple” (Rehearsals begin July 5, 2022; runs July 29-Aug. 11, 2022), and “It’s A Wonderful Life” (Rehearsals begin Dec. 15, 2022; runs Dec. 21-23, 2022.).

• Company: TubeScience.

• Ongoing, remote shoot.

• Seeking—Ruggedly Handsome Man:

• Pays $1,202/wk. Equity LORT Non-Rep

com.

• Prep week begins Jan. 10, 2022;

rehearsals begin Jan. 18, 2022; tech begins Feb. 5, 2022; runs Feb. 11-27, 2022 in Milwaukee, WI.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from WI. • Send resume for consideration by Jan.

3, 2022 to KateF@skylightmusictheatre. org.

• For more info, visit www.skylightmusic-

theatre.org.

• Pays $867/wk. Equity SPT 8 Agreement.

‘The Children’

• Company: Hope Summer Repertory

• Seeking Equity stage managerial posi-

tions in “The Children,” by Lucy Kirkwood. Note: All stage managerial positions have been filled. Submit for future consideration.

• Season runs TBD in Holland, MI. • Seeking—Equity Stage Manager: 18+.

• Seeking submissions from MI. • Send resume to Lenny Banovez for con-

• Company: Artists Repertory Theatre.

Staff: Luan Schooler, dir.-interim artistic dir.-casting dir.; Kayla Hanson, assoc. dir.-casting asst.

sideration by Mar. 1, 2022 to hsrtauditions@hope.edu or Lenny Banovez, 141 E. 12th St, Holland, MI 49423. More at hope.edu/hsrt. Plans are for in-person, indoor rehearsals and performances in Holland, MI on the campus of Hope College (141 E. 12th St, Holland, MI 49423), which will be contingent upon Equity approval and current county and state COVID-19 guidance.

• Rehearses Mar. 15-Apr. 2, 2022 (five out

of seven day work week, TuesdaySunday span, 10 a.m.-7 p.m.); tech rehearsal Apr. 5, 2022’ runs Apr. 9-May 15, 2022 in Portland, Oregon.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from OR. • Send resume for future consideration

(to be viewed by Shawn Lee, Producing Director) by Dec. 7, 2021 to casting@artistsrep.org. More info at www.artistsrep. org.

• Pays $703/wk. (LOA ref LORT D.) Equity

LOA Agreement.

‘Kinky Boots,’ Stage Manager • Seeking experienced equity stage man-

• Pays $911/wk. (LORT D.) Equity LORT

ager familiar with LORT B contract for “Kinky Boots.” Production states: “Must be vaccinated. Local applicants encouraged to apply.”

Non-Rep Agreement.

‘The Drowsy Chaperone,’ Equity Stage Manager Submissions

• Company: Arvada Center for the Arts &

Humanities. Staff: Rod A. Lansberry, prod.-artistic dir.-dir.; Kitty Skillman Hilsabeck, choreo.; Eric Alsford, musical dir.

• Seeking Equity stage manager for “The

Drowsy Chaperone.” Note: Fully vaccinated company. Proof of vaccination is required.

• Rehearsals begin Mar. 1, 2022; runs

• Company: Franklin Performing Arts

through Apr. 24 in Arvada, CO.

Company, Inc. Staff: Raye Lynn Mercer, dir.; Clay Rice-Thomson, choreo.; Hallie Wetzell, music dir.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from CO. • For consideration, submit a résumé to

• Rehearsals begin Feb. 26, 2022; runs

ac_auditions_email@arvadacenter.org.

Submissions deadline is Dec. 30 (5 p.m./MST). Production states: “No phone calls.”

March 12-20, 2022 at The Black Box, 15 West Central St. in Franklin, MA.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from MA. • Send resume for consideration by Dec.

• For more info, arvadacenter.org • Equity’s contracts prohibit discrimina-

28 to FPACcasting@gmail.com. More at www.fpaconline.com.

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 $331/wk. (SPT Tier 1.) Equity SPT

Agreement.

‘The Sound Of Music,’ Equity Stage Manager Submissions

• Seeking Equity stage managers for “The

Sound Of Music.” Note: All stage managerial positions have been filled. Submit

31

for future consideration.

• Company: A.D. Players. Staff: Richard

Rodgers, music; Oscar Hammerstein, lyrics; Howard Lindsay and Russel Crouse, book; Emily Tello Speck, dir.choreo.; Stephen W. Jones, music dir.; Casey Hebbel, asst. dir.; Kevin Dean, artistic dir.; Jake Speck, exec. dir.; Hannah Smith, prod. coord.

• Rehearsals begin June 7, 2022; runs July

6-Aug. 14, 2022 in Houston, TX.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from TX. • Send resume to Katharine Hatcher,

Production Manager, for future consideration. Deadline Jan. 2, 2022 to kat@ adplayers.org. More info at adplayers. org.

• Pays $644/wk. (LORT D.) Equity LOA

Agreement.

‘Under Ceege’

• Seeking an Equity production Stage

Manager for the performance run of the world premiere of “Under Ceege” by Jeffry Chastang. Production states: “We seek applicants from all backgrounds to ensure we get the best, most creative talent on our team. The Purple Rose is taking actionable steps to provide and increase opportunities for marginalized artists and theatre-makers. We are working with our staff, artists, and patrons to create, live, and behave in ways that will respect and represent the wide diversity of souls who call the Midwest home. The Purple Rose Theatre is mandating Covid-19 vaccinations for all staff and guest artists working in person during the 2021-22 season. If accepting an offer, the artist affirms that they are already fully vaccinated or that they will be fully vaccinated (currently defined as two weeks after the final dose) prior to traveling to Chelsea.”

• Company: Purple Rose Theatre. Staff:

Katie Hubbard, managing dir.; Amy Klain, company mgr.; Angie Kane, resident artist.

• Rehearsals begin Dec. 13; runs Jan.

20-March 12 2022 in Chelsea, MI.

• Seeking—Equity Stage Manager: 18+.

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

• For consideration, submit a résumé and

letter of interest to Katie Hubbard at khubbard@purplerosetheatre.org .

Note: Background checks will be required for all applicants. Submissions deadline is Jan. 2, 2022.

• For more info, visit www.purplerosethe-

atre.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 $777/wk. Equity Production SPT

(SPT 8) Contract. Production states: “The Purple Rose Theatre has the option for a Bi-weekly payroll. Payroll schedule (bi-weekly or weekly) would be communicated when roles are officially offered to the acting company. Pay dates would be supplied no later than the first day of employment.”

12.30.21 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Our Expert Elaine Del Valle is an actor and founder of Del Valle Casting, a bilingual talent-casting company in New York City.

The camera picks up everything, so the reason you should have a more understated look is because we want to see you; we don’t want to see the makeup covering you up.

It’s fine to wear light makeup to create a natural look or to highlight certain features, like your cheekbones or jawline. But the camera will pick up every single thing—so don’t put on way too much. Less is more, especially with the 4K cameras that are now common; some of them are even 6K! We definitely do not want to see every eyelash. If your eyelashes are askew in one way or another because of the way you put on your mascara, the camera is going to pick that up, and it will be distracting.

You’re acting for the role; so if you feel that the part necessitates a certain amount of makeup, you should wear it. But in general, I suggest you just pat yourself with a little bit of powder and allow the performance to illuminate you from within. *Submit questions for our Experts on Backstage’s Facebook, Instagram, or Twitter accounts, or via our forums page at backstage.com/forums!

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

BACKSTAGE 12.30.21

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; DEL VALLE: COURTESY ELAINE DEL VALLE

Q:

Is it true that you shouldn’t wear makeup for on-camera auditions?

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