Backstage Magazine, Digital Edition: January 20, 2022

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01.20.22

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KENNETH BRANAGH

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Javier Bardem’s Path to Hollywood

“I take what comes, and I take it for what it is”

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Oscars Preview:

Peter Dinklage

is in rare form in “Cyrano”

Inside “The Power of the Dog” and the year’s most harrowing performance

OF CASTING NOTICES

9 actors who could score their first nomination this year

Contents

vol. 63, no. 01 | 01.20.22

Cover Story

A Wayward Journeyman Javier Bardem reflects on the happy accidents that led him to Hollywood, his history-making Oscar win, and starring opposite Nicole Kidman as screen icon Desi Arnaz page 16

The Green Room 8 How Broadway is responding to omicron

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

11 Aisling Bea on “This Way Up” and charting your own path

Advice 13 CRAFT

Get out of your head

14 #IGOTCAST

Gabrielle Alexis Bentley

14 CAREER DISPATCH

What if no one “gets you”?

Features 5 BACKSTAGE 5 WITH...

Kodi Smit-McPhee

12 MEET THE MAKER

Joe Wright, “Cyrano” director

13 THE ESSENTIALISTS David Gropman, production designer

15 IN THE ROOM WITH Ellen Chenoweth

21 CLOSE, BUT (STILL) NO CIGAR The 2022 Oscar hopefuls who have yet to be nominated— but should be

32 ASK AN EXPERT

Maggie Bera, Carlos Neto, and Nicole Sellars on how to network

Casting 22 New York Tristate 25 California 27 National/Regional On the cover: Javier Bardem photographed by Matthew Brookes/ trunkarchive.com. On this page and in article: Photographed by Simon Emmett/trunkarchive.com. Cover designed by Ian Robinson.

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®

MALE LEAD ACTOR

BENEDICT CUMBERBATCH

MALE SUPPORTING ACTOR

KODI SMIT-MCPHEE

FEMALE SUPPORTING ACTOR

KIRSTEN DUNST

© 1995 SAG-AFTRA

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SAG AWARD NOMINATIONS

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CRITICS CHOICE AWARD NOMINATIONS INCLUDING

B E ST PIC TURE B E S T AC TIN G EN S EMB L E

“KODI SMIT-MCPHEE TURNS IN THE KIND OF WORK THAT MAKES YOU REWIND THE MOVIE IN YOUR MIND TO TRACK THE WAY HE SHAPED THE ARC OF HIS CHARACTER.”

WINNER • BEST SUPPORTING ACTOR KODI SMIT-MCPHEE

BLACK FILM CRITICS CIRCLE • BOSTON ONLINE FILM CRITICS ASSOCIATION CHICAGO FILM CRITICS ASSOCIATION • COLUMBUS FILM CRITICS ASSOCIATION DALLAS-FORT WORTH FILM CRITICS ASSOCIATION • FLORIDA FILM CRITICS CIRCLE LOS ANGELES FILM CRITICS ASSOCIATION • NEW YORK FILM CRITICS CIRCLE NEW YORK FILM CRITICS ONLINE • NORTH CAROLINA FILM CRITICS ASSOCIATION ONLINE ASSOCIATION OF FEMALE FILM CRITICS • PHILADELPHIA FILM CRITICS CIRCLE SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE • SOUTHEASTERN FILM CRITICS ASSOCIATION ST. LOUIS FILM CRITICS ASSOCIATION • UTAH FILM CRITICS ASSOCIATION WASHINGTON DC AREA FILM CRITICS ASSOCIATION

★★★★★ . A TRIUMPH. BENEDICT CUMBERBATCH

“

IS MESMERIZING. Best of all, he allows glimpses of vulnerability beneath the rage that have massive implications for the film’s final act.”

WINNER • BEST ACTOR - BENEDICT CUMBERBATCH ATLANTA FILM CRITICS CIRCLE • BOSTON ONLINE FILM CRITICS ASSOCIATION CHICAGO FILM CRITICS ASSOCIATION • COLUMBUS FILM CRITICS ASSOCIATION DALLAS-FORT WORTH FILM CRITICS ASSOCIATION • NEVADA FILM CRITICS SOCIETY NEW YORK FILM CRITICS CIRCLE • NEW YORK FILM CRITICS ONLINE NORTH CAROLINA FILM CRITICS ASSOCIATION • PHILADELPHIA FILM CRITICS CIRCLE PHOENIX CRITICS CIRCLE • PHOENIX FILM CRITICS SOCIETY PORTLAND CRITICS ASSOCIATION • SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE SOUTHEASTERN FILM CRITICS ASSOCIATION

“MUCH MORE SHOULD BE SAID ABOUT HOW DELICATELY AND BEAUTIFULLY KIRSTEN DUNST HOLDS THE MOVIE’S MORAL CENTER with a gutting performance that shows you how brutally optimism can both die and be reborn.”

WINNER • BEST SUPPORTING ACTRESS - KIRSTEN DUNST ATLANTA FILM CRITICS CIRCLE • BOSTON ONLINE FILM CRITICS ASSOCIATION PHOENIX CRITICS CIRCLE • SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE SOUTHEASTERN FILM CRITICS ASSOCIATION

F O R

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Backstage 5 With...

Kodi Smit-McPhee

By Allie Volpe

As this awards season heats up, Kodi Smit-McPhee’s subdued, mysterious turn as Peter in Jane Campion’s Western “The Power of the Dog” is top of mind. The Australian actor, who began performing when he was 8, has excelled at taking on dark stories with adult themes. Playing Kirsten Dunst’s son in the Netflix feature, he delights in the power of the unspoken.

ILLUSTRATION: NATHAN ARIZONA/PHOTO: LEV RADIN/SHUTTERSTOCK.COM

What advice would you give your younger self? Just take it slow, enjoy the ride, don’t rush, stay grounded—all of the things that still echo in my approach today. If anything, I take more advice from my younger self. I owe a great deal of my success to the state of mind of someone young who doesn’t think about the future or the end product or finance. I really just did acting for the pure enjoyment of the moment.

forward. You’re happy with however it plays out. I don’t want to manipulate anything.

What is your worst audition horror story? I did the first audition for a character and got the callback. I was traveling and had been up on night shoots during “X-Men,” so I wasn’t all there and I wasn’t being attentive; but I assumed the callback was for the same character I’d already read for, so I kept working on the same sides. I went into the audition, and I realized I’d completely prepared myself for the wrong character; they had wanted to see me for another character.

Your audition for “The Power of the Dog” involved answering questions from Campion as Peter. How does that compare to how you typically prepare for an audition?

Improv is such a great approach that is so different to reading or preparing a couple of scenes—because as an actor, you get to explain how much you’ve immersed yourself within the psyche of the character and explore other territory that isn’t subject to a scene. I hope I get that experience again, but I doubt I will, because Jane Campion is so one-of-a-kind.

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

The most radical thing you can do is completely dedicate every bit of time that you have before the audition to the study of the script or the material, the character. Develop as much as you can, immerse yourself in it as much as you can.

I would never really do anything beyond that. It’s all a matter of how much that director understands you, your approach, your chemistry together. [I’ve been] doing this since I was 8 years old; you [develop] a really healthy way of letting an expectation go once the audition’s done. You just move

What performance should every actor see and why?

I would say “A Clockwork Orange”—[Malcolm McDowell’s] performance in that. “American Psycho.” I don’t know why I’m bringing up psychopathic roles right now, but they really intrigue me. And it shows the depth to which we can cut the ties between ourselves and a character that we play to really dive deep into some other archetype.

“Peter was a lot about not forcing people to judge him in a certain way or thinking that he’s naive or weak.”

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

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Avery Sell, Jake Ryan Flynn, Analise Scarpaci, Jenn Gambatese, and Rob McClure in “Mrs. Doubtfire”

Broadway

Broadway in the Age of Omicron

Two producers and an actor on what it’s really been like

By Diep Tran

OMICRON HAS SENT Broadway into a tailspin. Earlier this winter, every day saw news of productions closing temporarily or permanently. “The Music Man” starring Hugh Jackman paused performances after its leading man tested positive for COVID-19, and “Mrs. Doubtfire” announced it was shuttering for nine weeks.

Other shows, meanwhile, closed permanently.

But it doesn’t mean Broadway

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is going to shut down again.

“No one’s going anywhere,” said Hunter Arnold, lead producer of “Hadestown” and an investor in “Dear Evan Hansen” and “Moulin Rouge!”

“The safety protocols that are put in place here are absolutely top-of-the-line,” said actor Tony LePage, a swing in “Come From Away” on Broadway. According to him, a private company provided vaccine boosters and ongoing daily PCR testing for

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JOAN MARCUS

the cast and crew.

Broadway has required all cast and crew to be fully vaccinated, and many shows are doing a minimum weekly PCR test, with some productions testing daily. Anyone who is not performing onstage is required to be masked.

Audiences are also required to be masked and vaccinated. If Broadway performers do test positive, they are placed on paid sick leave and do not return to work until they test negative.

Historically, Christmas week is the most lucrative time of year for Broadway. But during the 2021 holiday, of the 32 shows running on Broadway, 10 canceled performances, citing COVID-19 outbreaks among actors and crew members.

According to reports from the Broadway League, Broadway grosses fell by 26%.

But many long-running musicals have reserve funds from their pre-pandemic profits and federal grants, giving them enough leeway to shutter for a few performances.

Not every production is so lucky. A number of shows have closed, including “Thoughts of a Colored Man,” “Waitress,” “Chicken & Biscuits,” and “Jagged Little Pill.”

“Mrs. Doubtfire” announced that it will take a nine-week pause, laying off 115 members of its cast and crew in the interim.

Both “To Kill a Mockingbird” and “Girl From the North Country,” meanwhile, have announced closings, with hopes to reopen in the spring.

“Thoughts of a Colored Man” was scheduled for a limited run through March 13. The show was close to recouping its $5 million investment when omicron hit. “We were doing very well. And that virus came in, and it just ravaged our cast,” said producer Brian Moreland of the seven-person show.

Moreland admits that if he knew that omicron was coming, he would have hired more understudies. The last two years have made understudies and swings more necessary than ever. “I would probably have seven men onstage performing and seven men backstage in the wings,” he said Moreland. “It is a crazy moment.”

Despite this development, he believes that there won’t be many more coronavirus-induced closures in the future. “It looks like we might have gotten through the worst of it,” he said.

“And I think that people are able to prepare for it now. You see that it’s coming, and you’re able to make adjustments to your casts.”

For Your SAG Awards Consideration - BEST ACTRESS Olivia Colman ®

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WIN N E R

G O T H A M

SCREEN ACTORS G U I L D A W A R D®

A W A R D S

NOMINEE

INCLUDING

O U T S TA N D I N G L E A D P E R F O R M A N C E

BEST ACTRESS OLIVIA COLMAN

OLIVIA COLMAN B E S T

P I C T U R E

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CRITICS CHOICE AWA R D N O M I N AT I O N S INCLUDING

BEST ACTRESS OLIVIA COLMAN

“OLIVIA COLMAN gives a powerhouse turn.

YOU CAN’T TAKE YOUR EYES OFF HER FOR A SECOND.”

“OLIVIA COLMAN is such a gift.

Her performance is extraordinary and

HER BEST YET.” “OLIVIA COLMAN IS AT HER GREATEST.

Her performance speaks volumes in the space between words.”

Peter Travers,

A FILM BY

MAGGIE GYLLENHA AL

SCAN HERE Go Behind-The-Scenes with Olivia Colman and Maggie Gyllenhaal as they explore motherhood’s unspoken truth.

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attached to produce, as a professional thief whose ex-girlfriend persuades him to join the FBI on an international heist of epic proportions aboard a London-toZurich flight. The script comes from screenwriter Dan Kunka.

Additional roles are being filled by the L.A.-based Betty Mae Casting in anticipation of a late winter start to production.

will return to voice the foulmouthed bear, as well as write and executive produce.

Additional casting is ongoing via Jaffe/Goldberg Casting.

Production is slated to start in June, with Los Angeles as a likely home base.

Better Off ‘Ted’ Seth MacFarlane’s salty teddy bear is heading to Peacock

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!

“Ted” Seth MacFarlane is at it again.

The actor-writer–executive

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Get cast!

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

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Audrey Hepburn Biopic in the Works

By Casey Mink

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

ROONEY MARA WILL PORTRAY Audrey Hepburn in an upcoming biopic about the EGOT winner’s life. The project, which is in the works at Apple, will be directed by “Call Me by Your Name” Oscar nominee Luca Guadagnino. “The Giver” co-writer Michael Mitnick will pen the screenplay. Mara, a two-time Oscar nominee for “The Girl With the Dragon Tattoo” and “Carol,” will also produce the film. Specifics of the plot, additional casting, and a production timeline are still to be announced.

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MARGAUX QUAYLE CANNON

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

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

producer, best known for the animated series “Family Guy,” is resurrecting an old friend.

“Ted,” the R-rated comedy starring Mark Wahlberg and MacFarlane as a crass talking teddy bear, was a box office hit in 2012. A 2015 sequel followed; now, there’s a prequel TV series on the way. MacFarlane

“Lift” Kevin Hart is partnering with filmmaker F. Gary Gray on an upcoming Netflix feature.

“Lift” will star Hart, who’s also

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What’s Casting

“Shortcomings” Best known for “WandaVision,” “Fresh Off the Boat,” and “Always Be My Maybe,” actor Randall Park is stepping behind the camera for the first time, helming a feature film adaptation of Adrian Tomine’s acclaimed graphic novel “Shortcomings.” The comedy-drama follows three Asian Americans living in the Bay Area as they travel the country and grapple with questions of life, identity, and race.

McCarthy/Abellera Casting’s search for talent is ongoing for the project, which is scheduled to start shooting in July; production will be split between San Francisco and New York City.

Aisling ScottBea Zigler on “This Way Up”

Don’t worry about fame.

Find what makes your perspective unique.

“We sometimes aspire towards other people’s careers and go, ‘How can I get what you’ve got?’ rather than focusing on: How can I use what I have to make something out of that?”

Backstage Live

‘The Cavalry Isn’t Coming’

Aisling Bea’s advice on not waiting for someone to swoop in with your Hollywood success

By Benjamin Lindsay

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.

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MARGAUX QUAYLE CANNON

Pedro Almodóvar’s New Leading Lady

By Casey Mink

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AISLING BEA’S MASSIVE SUCcess in her native Ireland, the U.K., and the U.S. in the past few years has been a long time coming. Recently, she co-starred in the Disney+ reboot “Home Sweet Home Alone” and on the “Doctor Who” New Year’s special; she also stars on “This

IN NEWS THAT HAS THRILLED MANY cinephiles, it has been announced that Cate Blanchett will star in Pedro Almodóvar’s upcoming feature “A Manual for Cleaning Women.” It will be the Spanish filmmaker’s first English-language film. The project is an adaptation of the short story collection

by Lucia Berlin, which tells the stories of 43 women in various demanding jobs. The film will be produced by Blanchett’s Dirty Films.

The project is still in its early stages, and a production timeline is yet to come.

Way Up,” a series she created for Channel 4 and Hulu. Bea credits her ongoing work as a standup comedian, actor, and writer to her natural grit and willingness to “keep throwing spaghetti at a wall and seeing what sticks.” Recently, she sat down with us to share some of the wisdom she’s gained from charting her own path.

She hit a dry spell after graduating from the London Academy of Music and Dramatic Art. “A lot of things are a series of accidents and failures, and I think I’ve had a hefty amount of both. When I got out of drama school, I had no agent, no work. It was a complete and utter shock to my ego, because I thought Hollywood would just come along. In a way, I’m glad that didn’t happen. If things had taken off when I was in my early 20s, I probably would’ve become an absolute douchebag.

The community of other friends and actors was always the thing that kept me going—along with promo jobs and handing out things at Tube stops.”

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She often thinks of this advice from Mark Duplass: “The cavalry isn’t coming.”

“Imagine that no big, rich, pretty woman or daddy with the cash is coming. What are you gonna do then? That’s not saying to minimize your dreams or make them any smaller; but what if the cavalry aren’t coming, and it’s just up to you to make your own stuff?

It’s not the easy flow of getting a job and someone picking you up every day and you just saying the lines—though that is hard work as well. But if you start off at that position, how would you move forward?

Would you get your friends together one weekend and make a short film on your iPhone? Constantly try to make your own stuff; and if you can’t, connect with other people in your community you might like to make something with, and you could maybe offer [something to] them or they could offer you something. And that workaholic tendency never goes away. But just imagine no one’s coming to help, and you’ll find your people that way, and you’ll always kind of gravitate back towards a version of your people as you go through the industry.”

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

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Meet the Maker

By Benjamin Lindsay

Haley Bennett and Peter Dinklage in “Cyrano”

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thanks to Tom Hooper’s Oscarwinning “Les Misérables” in 2012. But “Cyrano” stands out in that it’s an inherently less robust musical.

“The film is about humans connecting—or more often than not, failing to connect—which is why I felt like it was perfect for the time we’re living through,” the filmmaker says. “To do that, there was no playback, miming, or lip-syncing. And we tried to create a kind of seamlessness between the dramatic dialogue scenes and the songs so that they felt like an extension of the emotion of the scene rather than something completely different.”

Peter Dinklage stars as the lovelorn hero Cyrano de Bergerac—reprising his role from the 2019 Off-Broadway production—alongside Haley Bennett as Roxanne and Kelvin Harrison Jr. as the romantic Christian. Each actor brings their own flavor and

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strengths to the material. For instance, Bennett’s soprano vocals have a full timbre, while Dinklage, Wright admits, is “certainly not a Broadway musical–type singer.”

Yet the “Game of Thrones” Emmy winner’s way of speak-singing through ballads and larger ensemble numbers enhances the film’s conversational orchestration. Written by members of the National (Aaron and Bryce Dessner handled the music, while Matt Berninger and Carin Besser penned the lyrics), the songs are plot-driven rather than extraneous songand-dance breaks.

“There are many different types of singers; I don’t think Pete would describe himself as a singer. But I’m personally a big fan of Tom Waits, Leonard Cohen, and, indeed, the National’s Matt Berninger,” Wright says. “That’s a kind of lower-key singing style, one

“The film is about humans connecting—or more often than not, failing to connect—which is why I felt like it was perfect for the time we’re living through.”

Also crucial: three weeks of rehearsals, which he incorporates into all his films. It’s during this period that there’s “a lot of improvisation and talking and honesty about ourselves as people,” he says. “Who we are and our fears and hopes and dreams. It’s less about a kind of exercise and more about talking and storytelling. I’ve always encouraged my actors to tell stories about their own lives and say, ‘It’s a little bit like this or that.’ ” Wright’s characteristic high production value, period set pieces, and costuming in this film hold up against his work in “Atonement” and “Pride and Prejudice”; but the end result is that “Cyrano” is one of the finer, more down-to-earth musicals you’re likely to see this year—or any other.

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PETER MOUNTAIN

JOE WRIGHT’S FILM ADAPTAtion of “Cyrano” feels very different from this year’s other awards-contending movie musicals, like “West Side Story,” “In the Heights,” and “Tick, Tick…Boom!” That’s by design.

“There are some musicals and music-oriented films that I really love, but a lot that I don’t like. I often find the theatrical, presentational aspects of the musical somehow galling,” Wright says, “especially when you have a dialogue scene and then there’s a fanfare and you launch into a song-and-dance number. I wanted a far more intimate experience.”

Some of the filmmaking techniques used to create that intimacy in his adaptation of Erica Schmidt’s 2019 musical (itself adapted from Edmond Rostand’s 1897 play) aren’t singular. Music that’s performed live on camera, for instance, memorably gained traction

that feels emotional and less declamatory. I wanted to keep the faults in the voices, the cracks, the breath at the wrong moment, the running out of breath toward the end of the line. For me, that’s where the emotions lie: in the faults rather than in the perfection.”

Making sure his actors—from the smallest supporters to the top-billed Dinklage—were comfortable while leaning into those imperfections is crucial to Wright’s filmmaking approach.

“We all have defenses we put up that turn into habits, and so a large part of the process for me is getting people to unlearn their habits, lower their defenses, and allow themselves to be open and trusting of their own creative intuition and imagination,” he says.

ILLUSTRATION: JORM S/SHUTTERSTOCK.COM; “THE HUMANS”: COURTESY A24

Joe Wright, “Cyrano” director

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DAVID GROPMAN production designer

A24’s “The Humans” may be one of the rare stageto-film adaptations that is actually better than its source material. And that source material, considering it won the 2016 Tony Award for best play and was a finalist for the Pulitzer Prize for Drama, was very good to begin with.

The film’s team pulled it off with help from production designer DAVID GROPMAN. All the apartment’s imperfections were planned.

“In ‘The Humans,’ it’s not so much about the audience noticing the set; it’s about the characters noticing the

Craft

PETER MOUNTAIN

ILLUSTRATION: JORM S/SHUTTERSTOCK.COM; “THE HUMANS”: COURTESY A24

Get Out of Your Head

By Andrew Wood

“I’M IN MY HEAD!” This is a cry I hear from actors everywhere when they know they aren’t doing the work they want to be doing. It’s a phrase we use constantly, so it’s worth taking some time to think about what it means—and when it’s cause for alarm.

Over a century ago, Stanislavsky identified self-consciousness as the actor’s eternal enemy. When we’re aware that we’ll be watched, scrutinized, and evaluated, we render all kinds of

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judgments on ourselves as we perform: “That was terrible.” “I look stupid right now.” “I didn’t do that as well as I did last time.” This noise coming from our own heads is bad enough, but it’s even worse when it knocks us off balance and prevents us from doing what we know perfectly well how to do.

The best way to get out of our heads as actors is to have strong technique. Any acting technique worth its salt will help us build a practice that allows us to identify what to

By Casey Mink set, because that was so important to Stephen [Karam, director and playwright,] and so very much a part of his writing. We had a real road map for every single wall on the set that showed every bit of detail, that showed where all the bubbles in the wall would be, where all the cracks in the molding would be.

It was all scripted.”

Great production design isn’t distracting.

“As a designer, I am a big believer in designing environments that don’t appear to be the focus of the tension; [they] are there to support the story, not comment on it. My

focus on and draws our attention away from the negative voices. It will reduce the noise inside our brains to a subdued background murmur.

Acquiring technique isn’t something that can be done overnight. So as you put in the hours in class and rehearsal to hone your craft, what can you do in the meantime to stop being in your head?

The main thing to know is that although the noise can seem very loud, it may not have much of an impact on what’s showing up in your performance. Think of a duck moving across a pond: It appears to float effortlessly, not disturbing the placid surface of the water or exerting itself. But underneath, the duck is paddling furiously; it is expending huge amounts of effort, but none of it is visible.

Getting in your head is a bit like that. Of course, if the noise is too great, it will likely

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approach is to start with research to figure out what exactly is necessary, and all along the way, figure out how not to play up the design­— to make the thing real but not over-embellish it; to create more of a feeling and emotional response than something that the audience sits there and dissects.”

cause problems as you go through the scene. But most of the time, that noise—loud as it seems to you—isn’t actually showing up in your work at all.

Your basic ability to speak and move is carrying you along, and as annoying as the din can be, it probably isn’t impacting your performance.

So the short-term solution is to try to accept that internal voice as a fact of life for the foreseeable future and give it as little notice as possible. The less you pay attention to it, the less chance it will have to affect what you are doing, and the better your work will be.

Andrew Wood is a Los Angeles–based acting coach and Backstage Expert.

Want more?

All our Backstage Experts can be found at backstage.com/magazine

01.20.22 BACKSTAGE

culture +

Spotlighting the people and projects you need to know

What If No One ‘Gets You’?

By Bree Elrod

“TRUST TIME.” THOSE ARE the two words I would write on a matchbook and slip into my former self’s pocket. In this industry, it’s only time that will heal the hurtful moments and make sense of the confusing ones.

I spent three years in New York University’s graduate acting program rolling around on the floor, studying Chekhov, and professing love to a trash can. Upon graduation, I was thrown into the unrelenting

BACKSTAGE 01.20.22

world of hustling for auditions.

Managers and agents didn’t know what to do with me. One manager, in an exasperated attempt to make me more marketable, sent me to a high-end hair salon, convinced I would work better as a blond.

Though I had spent three years doing everything from Shakespeare to Shepard, I was now staring at what “the business” wanted me to be. Not surprisingly, I soon parted ways with this manager. I was devastated. Maybe she was right.

Maybe I was too different to fit into this carefully carved-out world of stereotypes. I took it very personally.

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Gabrielle Alexis Bentley

By Jalen Michael Getting into acting hasn’t exactly been a walk in the park for GABRIELLE ALEXIS BENTLEY, but she’s committed to making it work. Here’s how.

She embraced her dark side.

“Elite Zoom Theatre cast me as the Wicked Witch of the West [in ‘The Wizard of Oz,’] and I was blown away. The challenge of playing a villain was one I’d wanted to do for a long time, and to see it come to fruition was amazing.

[It was] a dream come true.”

Change can be a good (or great!) thing.

“My audition was through a self-tape, and honestly, I prefer this way more than in-person. It’s a very convenient way to audition in this unpredictable time and still get work!”

Finding a community is possible wherever you are.

“I live in North Carolina, which is not a hot spot for actors. I try to do as much local stuff as possible. I submit myself to all sorts of projects all the time. I mainly create relationships by being open and communicative.”

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; BENTLEY: MARIANA MORALES PHOTOGRAPHY

The following Career Dispatch was written by Bree Elrod, who stars in Sean Baker’s latest feature for A24, “Red Rocket.”

#IGOTCAST.

RAQUEL APARICIO

Career Dispatch

Shortly after this period, I nearly ignored an audition for a one-woman show directed

by Alan Rickman. I thought, Oh, sure, I’d love to go be uncastable in front of Alan Rickman. But I took the call, worked hard, and showed up.

And guess what? I booked the job. Alan just “got” me. He saw something in me that I wasn’t yet ready to trust or nurture.

He went on to become one of my biggest mentors. When I told him about my frustration with the business, he said to me, “Bree, don’t you know how lucky you are? The roles you do book, the people who do get you—it will be worth it.”

And he was right. As I now attend festivals for Sean Baker’s “Red Rocket,” I’m reflecting on the road that led me here. It has not been easy. I’ve moved states, lost love, and been rejected more often than I’ve booked work. But I’ve always been unapologetically me. I’m grateful that Sean also just gets me. He gave me an opportunity to play Lexi, a heroin-addicted former porn star trying to make ends meet and live some semblance of a good life. All of my experiences—the pain, the heartache, and the joy—were right there at my fingertips to use as I explored Lexi’s world.

So to you, my former self, or anyone who needs to hear it: As you grow as a person and artist, you will become more aware of who you are in this world and in this business, and it won’t be neatly defined. It most likely will be messy, and that’s awesome. Time will lead you to the people who get you.

Until then, you have to shine brightly on your own.

If you’re different, come sit by me. I love you, and I can’t wait to see what you do with the light inside of you. And let me know if you need me to drop a matchbook in your pocket.

culture +

Spotlighting the people and projects you need to know

In the Room With

Ellen Chenoweth

The longtime casting director on finding a “Coen face” and her audition room advice

By Jack Smart

enough. So I realized that was another layer that we had to find: the Coen face.

What is the “Coen face”? Do you just know it when you see it? I think it just comes from working with [the Coen brothers] over the years and seeing what they respond to. And also, it’s not that Macbeth has a lot of laughs in it, but when it would be something maybe a little more humorous, you would hear [their] chuckles in the back of the room, and you would know that you had gotten it right. It’s the same thing with Shakespeare: You wanted to hear it a certain way. You were just looking to hit that sweet spot.

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; BENTLEY: MARIANA MORALES PHOTOGRAPHY

LEGENDARY CASTING DIRECTOR ELLEN CHENOWETH’S PROfessional credits span decades, from “Terms of Endearment” all the way to this season’s “The Woman in the Window,” “The Humans,” and “The Tragedy of Macbeth.” The latter is her latest collaboration with Oscar winner Joel Coen, who, alongside his brother Ethan, hired Chenoweth for titles including “O Brother, Where Art Thou?”

“No Country for Old Men,” and “True Grit.” Next up for the CD is Barry Levinson’s “The Survivor,” the real-life story of Auschwitz concentration camp survivor and boxer Harry Haft.

What qualities or qualifications did you look for when you were casting “The Tragedy of Macbeth”? We were really looking for people who could handle the language; that was

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an important thing. I mean, I would scour everyone’s résumé; I miss the days of pictures and résumés where you turn it over and look at where they went to drama school and who their

peers were. But I definitely relied on people who had done Shakespeare, or at least who’d been classically trained. We just needed people who could handle that sort of material, and not everyone can.

And there’s still that thing that Joel and Ethan—in this case, just Joel—want, which is an interesting face. They’ve always gravitated toward that as a big part of their movies.

I think somebody could be very good and maybe, to them, seem a little not unusual

15

Any words of wisdom for actors? What do you wish more of them knew? I know people are nervous when they come in for casting directors, and I’m just hoping that they’ll be good. I want to cast the part.

So I think just prepare as much as you can. Show up on time.

Try not to be nervous. I’m looking for them as much as they’re looking for me. There’s this misconception that we’re trying to keep people out, or we’re the gatekeeper or something; and actually, we’re just searching.

Want more?

Read the full interview at backstage.com/magazine

01.20.22 BACKSTAGE

A Wayward Journeyman Javier Bardem reflects on the happy accidents that led him to Hollywood, a history-making Oscar win, and starring opposite Nicole Kidman as screen icon Desi Arnaz

By Manuel Betancourt Photographed by Simon Emmett/trunkarchive.com

n

AN “ACCIDENT.” WITH NO SENSE OF modesty or self-deprecation, Javier Bardem says it’s the word he’d use to describe his career. For the Spanish actor, accidents— lucky and happy, random and welcome—are the only way he can make sense of his enviable three decades in the profession. But they only tell half the story.

In 2008, Bardem—whose credits include big-budget Hollywood spectacles and art-house Spanish-language dramas alike—became the first Spanish actor to win an Academy Award. Through it all, he has viewed his chosen path as a performer

with reverence, which perhaps explains the wide-ranging roles and longevity that have characterized his career so far.

Bardem continues to blaze a trail that’s unlike any other, whether in his native Spain or in Hollywood. In 2021 alone, he played a supporting role in Denis Villeneuve’s “Dune”; earned a record-breaking 10th Goya nomination for best lead actor for his work in “The Good Boss” (which is also Spain’s best international feature Oscar submission); and offered a thrilling take on Dezi Arnaz in Aaron Sorkin’s “Being the Ricardos.”

In Sorkin’s follow-up to last year’s “The

Trial of the Chicago 7,” the writer-director best known for hallway walk-and-talks has crafted a character study of history’s most famous sitcom couple. “Being the Ricardos” focuses on a particularly tense (if fictionalized) week of shooting “I Love Lucy.” Arnaz and his wife, co-star, and business partner Lucille Ball (a pencil thin–eyebrowed Nicole Kidman) grapple with tabloid headlines about cheating, hushed accusations of communism, and a pregnancy that may derail production on their hit show. As actors playing actors who know the strategic value of performing not just for the camera but for

I understand the world through behavior—through the eyes of watching how people act, if people are passive or active, if people are going through an emotion and they express it, or if they are constrained in their own fear.

each other, Bardem and Kidman have a ball bringing this iconic pair to life in all their vexing contradictions.

For all his talk about accidents, Bardem admits that even without a personal connection to the classic sitcom, Arnaz was a role he’d been interested in since he first heard whispers of Sorkin’s project.

“I was really drawn to Desi’s magnetism, to his force of nature, to his comedy rhythm, to his talent and his skills as a comedian, as a producer, as a husband,” Bardem says. “And most of all, as a foreigner trying to respect his place and make others respect his place in a country where being a foreigner was a bit like being an alien from outer space, especially when you were married to an American icon. I was just absolutely blown away by him.”

That pushed him deep into watching “I Love Lucy” reruns and into the kind of research he knew would be necessary if he were to get the part. That was many years (and to hear him tell it, several actors who’d BACKSTAGE 01.20.22

18

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been in talks for the role) ago. By the time Sorkin offered him the part—two months before production began, while the actor was shooting the upcoming live-action adaption of “The Little Mermaid”—Bardem was flustered but well-equipped to sign on.

“Once I got the job, I was like, OK, now all you have learned, that you have studied to play the role, now you have to put it into practice. And that’s where fear takes over,” he says. “But the homework was there. You have to do a lot of homework to be free on the set, and I had been doing it for many years.”

Like most performers, Bardem vividly remembers the moment when he first knew he wanted to become an actor. Implausible as it sounds, it happened at the age of 5 when he was at the zoo. There, his father bought him a safari hat to go along with a tiny knife, two props that young Bardem made use of in the sandbox. “I remember feeling like I was in the middle of the jungle surrounded by animals, and I was trying to make this hole—I don’t remember why. And I felt I had this sensation that I was kind of detached from my own body, like I was seeing myself from the outside and enjoying it so much.”

The actor’s anecdote is unique for what it lacks: an audience. He didn’t understand performance as something you do for others so much as something you do for yourself. And perhaps more to the point, it is something that allows you to be both inside and outside of yourself. It’s a sophisticated approach to acting. He wasn’t pushing for laughter or recognition; the young boy play-acting as an explorer was just content thinking of himself as someone else somewhere far away.

“At that moment, something opened inside of me saying, ‘OK, this can be fun’—not only doing it, but being aware of it, being aware of the process of creating it.”

Years later, that appreciation for the fun at the heart of acting found him taking any background roles he could find in Spanish films. He relished the chance to just be on set and soak up the experience. It was during those endless days, often playing a fly-onthe-wall character, when Bardem keyed into a deep appreciation of human psychology and the craft.

“I understand the world through behavior—through the eyes of watching how people act,” he explains. “If people are passive or active, if people are going through an emotion and they express it, or if they are constrained in their own fear.”

Such a philosophy no doubt has to do with the fact that his family is full of performers and filmmakers. His grandparents were in films from the 1940s through the 1960s. His mother, a famed theater actor, is herself a Goya Award winner, while his uncle holds the distinction of having directed the very first Spanish film to earn an Oscar nomination in what was then the best foreign language film category. It was 50 years before Bardem would grace that same stage to accept the statuette for his work in “No backstage.com

Country for Old Men.” His family was as artistic as they come. And so, when Bardem first broached the thought of becoming a professional actor with his mother, her advice had less to do with the viability of his career choice and more to do with the conviction necessary to make his dreams a reality.

“She said, ‘If you want to do this, the only thing that I will tell you is you have to really be respectful to the craft and to everybody who works in this craft, because it is sacred.

It has given us a way of life, a way of being.

It’s not only a job; it’s something that you have to be very respectful to for what it

19

represents and for what it can become for others.’ ” That advice has stuck with Bardem to this day. His career isn’t made up of jobs fulfilled, but rather an accumulation of experiences— ones that have, over time, graced him with success and accolades he never deliberately sought. For example, the only reason he booked a role in Bigas Luna’s 1990 film “Las Edades de Lulú (The Ages of Lulu)”—which also starred his mother—was because he accompanied his sister to an audition. While Bardem was sitting in the hallway, the casting director approached him and asked him 01.20.22 BACKSTAGE

to read for a small role. When he got it—a bit part with 10 lines of dialogue—he prepared as if he were the lead. That overpreparation, and Bardem’s now well-known magnetism when he’s on camera, clearly impressed Luna.

When shooting wrapped, he told Bardem he’d be working on a project the following year—one he wanted the actor to star in. The film would change Bardem’s life forever.

The years and fame that followed the 1992 release of “Jamón, Jamón”—which co-starred Bardem’s now-wife, Penélope Cruz—were rather overwhelming. In short order, the actor was working with some of the most renowned names in Spanish cinema and earning accolades for every new project he shot. It all made the young Spaniard one of the brightest actors his country had ever produced. Hollywood was bound to be next.

But even though Bardem had seen the likes of Pedro Almodóvar and Antonio Banderas making inroads in the U.S. throughout the 1990s, crossing over was never something he had dreamed of.

“It never occurred to me that I would ever be able to do such a thing,” he confesses.

Enter Julian Schnabel’s “Before Night Falls.” The 2000 film was yet another turning point—one Bardem initially approached as a rehearsal for future English-language fare.

Studiously working on pronunciation and vocabulary, the actor lost himself in the part of Reinaldo Arenas, doing it more for himself than for any intended audience. “I really gave everything I had to it,” he says. “But I thought it was not going to be seen by anyone!”

At the time, his apprehension was perhaps warranted; the film, helmed by a visual artist–turned-filmmaker and based on Arenas’ autobiography about his life as a gay writer in post-revolution Cuba, didn’t really sell itself as a project destined for glory.

Yet, with ecstatic reviews out of the Venice International Film Festival, where Bardem won the Coppa Volpi for best actor (and followed it up with a lead actor Oscar nomination), it was clear this modest biopic was connecting with just the right people.

Two decades later, Bardem finds himself yet again playing a Cuban icon, though a decidedly different one. Like Arenas, Arnaz required him to find a way into a character whose physicality and distinctive cadence was going to be top-of-mind for everyone watching. This required tapping into all the homework he’d done for years and then letting it all go.

That, he says, is the fun—and difficult— part. For Bardem, nailing an accent, for instance, is about more than hitting the right sounds. He describes it as a puzzle that goes beyond being able to pronounce this word or that. It’s about capturing the energy of the role at hand—less a character prop than a deep-seated way of understanding their way of moving through the world.

“It is true that an accent comes with a culture and with a way of being educated, with a way of being taught many aspects of BACKSTAGE 01.20.22

life through that prism of seeing the world, which is different in so many different countries,” he says. “An accent implies a lot of things that you have to be aware of. The job of an actor is to really get close to that and become a vessel for sensations, not ideas or plans or technicalities—sensations.

Sensations that get you closer to what that accent, what that culture, represents.”

Even knowing that his portrayal of Arnaz is bound to be dissected by those who have cherished the “I Love Lucy” star for decades, Bardem remains characteristically self-assured. Over the years, he’s tried to be gentler with himself, coming to understand that the

20

process—not the reviews, the awards, or the press—is what needs to drive him. As he takes stock of his career, he explains why he prefers to think of it as a wayward journey.

“Accidents are what have been happening constantly. I was there, and I was offered something that was a gift. It was a present.

It was a challenge. But also, it was a huge opportunity—from ‘Before Night Falls’ to ‘Jamón, Jamón’ to ‘Being the Ricardos,’ ” he reflects. “And that’s the thing that makes me realize how lucky and how grateful I am for this. So how do I navigate that? I don’t think about it. I take what comes, and I take it for what it is—unconditionally.”

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Close, But (Still) No Cigar The 2022 Oscar hopefuls who have yet to be nominated—but should be

Jeffrey Wright in “The French Dispatch”

By Jack Smart WITH THE 94TH ACADEMY AWARDS ON THE HORIZON (whose nominations will be announced on Feb. 8), we are reminded of a shocking fact: These contending movie stars have never been nominated! Somehow, Oscar recognition has eluded many of the best performers working today. Luckily, that could all change this year. Below are nine film veterans who have missed out on making it onto the Academy’s coveted ballot before but are in the running for their work this year.

Emily Blunt

“MASS”: COURTESY BLEECKER STREET; “THE HARDER THEY FALL”: DAVID LEE/NETFLIX; “THE FRENCH DISPATCH”: COURTESY SEARCHLIGHT PICTURES

OSCAR ELIGIBLE FOR: “A Quiet Place

Part II,” “Jungle Cruise” Of the contenders on this list, Blunt seems the likeliest to have come in sixth place on acting Oscar nominations lists: “The Devil Wears Prada,” “Into the Woods,” and “Sicario” are just three examples. Don’t forget 2019, the year she won the SAG Award for “A Quiet Place” and was nominated for “Mary Poppins Returns,” then went 0 for 2 with the Academy. To put it bluntly, the Oscars must make amends!

Ann Dowd

OSCAR ELIGIBLE FOR: “Mass” Dowd is a classic example of a longtime working actor who deserves awards recognition for sheer perseverance. She has the impressive acting chops to back up that reputation, as evidenced by this year’s stunning “Mass.”

The Emmy-winning star of “The Handmaid’s Tale” went from acting in theater and playing bit parts onscreen to becoming an indie darling with 2012’s “Compliance,” for which she funded her own Oscar campaign.

“Game Night” and “I’m Thinking of Ending Things,” and Dunst for “Interview With the Vampire,” “Marie Antoinette,” “Melancholia,” and many more. It’s time that Oscar finally came calling.

Idris Elba

OSCAR ELIGIBLE FOR: “Concrete Cowboy,” “The Harder They Fall,” “The Suicide Squad” Like others on this list, Elba’s case for making the Oscar cut is evidenced by his other accolades: In 2016, he earned two SAG Awards (for “Beasts of No Nation” and “Luther”), only to be snubbed by the Academy. Three notable 2021 projects give him better odds than ever.

Oscar Isaac

OSCAR ELIGIBLE FOR: “The Card Counter,” “Dune” Like Hugh Grant and Jim Carrey before him, Isaac finds himself in the exclusive club of Golden

Globe winners who have never been minted by the Academy. We have to assume he came close with “Inside Llewyn Davis,” “A Most Violent Year,” and “Ex Machina.”

Kristen Stewart

OSCAR ELIGIBLE FOR: “Spencer” Perhaps due to her rise to fame in the popular but critically ridiculed “Twilight” films, Stewart has never earned the Academy’s blessing.

Voters have passed her over for stellar work in indies like “Still Alice,” “Clouds of Sils Maria,” and “Seberg.” Her turn as Princess Diana in “Spencer” could finally reverse that trend.

Tessa Thompson

OSCAR ELIGIBLE FOR: “Passing” The star of “Dear White People,” “Creed,” “Thor: Ragnarok,” and

Ann Dowd in “Mass”

last year’s “Sylvie’s Love” has by now made the case that she’s one of our most compelling and hardworking screen stars.

If Academy voters decide to recognize her for her neverbetter work in “Passing,” it will be well deserved.

Jeffrey Wright

OSCAR ELIGIBLE FOR: “The French Dispatch,” “No Time to Die” How has Wright’s name never been called on Oscar nominations day? The Emmy winner and standout supporter in this year’s “The French Dispatch” has appeared on other awards voters’ lists before, for riveting work in “Syriana,” “Cadillac Records,” and his breakout, “Basquiat.” It’s about time this screen regular joined the Academy’s inner circle.

Idris Elba in “The Harder They Fall”

Kirsten Dunst + Jesse Plemons

OSCAR ELIGIBLE FOR: “The Power of

the Dog” Dunst and Plemons are two of Hollywood’s most reliable actors; they also happen to be married to each other. They capitalize on their chemistry in “The Power of the Dog,” for which Academy recognition feels so close you can almost taste it.

Plemons has been snubbed for

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01.20.22 BACKSTAGE

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

Submit a Notice |

New York Tristate

SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.”

Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity.

• Pays $476/wk. Equity LOA ref. LORT

Casting picks of the week

Contract.

‘Penelope’

• Seeking Equity actors for roles in

“Penelope.”

• Company: York Theatre Company. Staff:

Musicals ‘A Bronx Tale,’ Principals

• Seeking video submissions from Equity

actors for principal roles in “A Bronx Tale.”

• Company: Harborside Productions LLC.

Staff: Richard Dolce, prod. artistic dir.; Vic DiMonda, assoc. prod. dir.; Chazz Palmintari, book; Alan Menken, music; Glenn Slater, lyrics; Paul Stancato, dir.choreo.; Benjamin Stayner, musical dir.; Wojcik Casting Team, Scott Wojcik, Holly Buczek, Courtney Hammond, and/or Nick Ferrao (viewing auditions), casting.

• Rehearsals begin Mar. 7; runs Mar.

24-May 8 in Northport, NY.

• Seeking—Equity Actors: 18+.

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

and résumé as an attachment labeled with your name to engemanepa@gmail. com. Submissions deadline is Jan. 24.

• Preparation instructions: Prepare the

track the best suits your voice, or a song of your choosing in the style of show. Link to provided EPA material soprano - https://www.dropbox.com/ sh/lxbu4zsjmduc6md/ AACOaoKI7e2rfB9hqlsQoDSda?dl=0 ; link to provided EPA material - alto https://www.dropbox.com/sh/ypmliqu0ukzjcbw/ AADv2ocrHsl2snqZIjdnLRXRa?dl=0 link to provided EPA material - tenor https://www.dropbox.com/sh/ s5ytssv7de0dnav/ AABySPvqEjxASw6E5PERXgw6a?dl=0 ; link to provided EPA material - baritone - https://www.dropbox.com/sh/ g6ac45y079ewgpm/ AABI4QP3HQEJ3jupXOG0F-JKa?dl=0 • For more info, visit https://wojcasting.

com/engeman-epa-ecc-abronx-tale/

• 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 01.20.22

BY LISA HAMIL

James Morgan, prod. artistic dir.; Evans Haile, managing dir.; Marla Mindelle, dir.; Peter Kellogg, book and lyrics; Stephen Weiner, music; David Hancock Turner, music dir.; Connor Gallagher, choreo.; Joseph Hayward, assoc. dir.; Michael Cassara (CSA), casting dir.

musicals

‘The Land Of Oz’ Journey to the Emerald City via Cleveland Heights, OH

• Rehearsals begin Mar. 1; runs Mar.

23-Apr. 24 at Theater at St. Jean’s, New York, NY (on Manhattan’s Upper East Side).

tv

‘Chespirito’ Biographical Series Create a universe of fun in Mexico

• Seeking—Equity Actors: 18+.

• Seeking submissions from NY. • For consideration, submit all videos

through https://form.jotform. com/220098000287146 . Production states: “Once you have submitted your materials, we will not follow up with you unless we need anything further.

Submissions deadline is Jan. 26 (6 p.m. / US Eastern).

musical

‘Rock and Roll Man’ Dive into the recent musical history of America in NYC

• Preparation instructions: Prepare a

stage

brief story-driven or comedic singing selection in a contemporary musical theatre style, ideally about a minute long. - existing footage (reels, etc.) are fine, but we do ask for them to be as current as possible. Don’t submit anything over a year old. 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 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.

‘Gem Of The Ocean’ Explore the twentieth century African-American experience in Redwood City, CA

chorus calls

‘In The Heights’ Celebrate the Heights in Chesterfield, MO

• 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 $750/wk. plus health/pension.

Equity Off Broadway Contract.

‘Rock and Roll Man’

• Seeking video submissions from

Equity actors for roles in “Rock and Roll Man.” Note: There are no stage management positions available at this time.

22

• Company: Freed Rocks Times Square

LLC. Staff: Rose and Luigi Caiola (Caiola Productions), prods.; Randal Myler and Warren Adams, dirs.; Warren Adams, choreo.; Gary Kupper, original musiclyrics; Gary Kupper, Larry Marshak & Rose Caiola, book; David Keyes, music dir.; Ryan Conway (Architect Theatrical), general management; Michael Cassara, CSA, casting dir.

• Rehearsals begin on/about Feb. 7; runs

through Mar. 4 in Manhattan.

• Seeking—Little Richard: male, 30-39,

Black / African Descent, the iconic performer and songwriter known as the “architect of rock and roll”. Piano skills a plus, but not required - excellent singer and all-around performer. Screamin’ Jay Hawkins: male, 20-29, Black / African Descent, icon at the height of his fame. Has an extremely versatile voice and good movement abilities.

Chuck Berry: male, 20-29, Black / African Descent, icon at the height of his fame. Has an extremely versatile voice and good movement abilities.

Frankie Lymon: male, 18+, Black / African Descent, of “Frankie Lymon and the Teenagers” at the height of their fame - had a huge hit with “Why Do Fools Fall In Love” - has an extremely versatile and youthful sound, as well as good movement abilities. Quartet Members: male, 20-69, Black / African Descent, strong and versatile performers, with expert harmony and stylistic abilities - doo-wop and group singing experience a major plus, as has a strong movement background. Betty/Jackie/ Inga/Alan’s Mother/Ensemble: female, 30-49, White / European Descent, Alan Freed’s wives: Betty, Alan’s first wife; Jackie, Alan’s second wife, strongwilled, intelligent, driven and confident.

Has a great sense of humor have great dance and vocal skills; Inga, Alan’s third wife, and Alan’s mother, judgmental and narrow-minded. Judge/Bob (Radio Station Manager)/Southern Preacher/ Murphy/Ensemble: male, 40-59, White / European Descent, good character singer. Alana/Cathy/Ensemble: female, 20-29, White / European Descent, extremely strong dancer who is also a strong classic pop singer. Alto with belt.

Alan Freed (Cast): male, 30-59, White / European Descent, rock and roll promoter and DJ - charismatic, compelling, a flawed visionary and a man with a mission. A great contemporary pop singer.

Note: Seeking potential understudies/ emergency replacements only at this time. Morris Levy/Leo (Cast): male, 50-69, White / European Descent, sings backstage.com

New York Tristate casting

well. Note: Seeking potential understudies/emergency replacements only at this time. J. Edgar Hoover/The Prosecutor (Cast): male, 50-69, White / European Descent, character singing.

Note: Seeking potential understudies/ emergency replacements only at this time. Jerry Lee Lewis (Cast): male, 20-39, White / European Descent, piano a major plus but doesn’t necessarily need to play - sings and moves well. Note: Seeking potential understudies/emergency replacements only at this time. Lavern Baker (Cast): female, 20-39, Black / African Descent, has good harmonization and movement skills. A charismatic and dynamic singer with a big voice and presence. Note: Seeking potential understudies/emergency replacements only at this time.

Buddy Holly/Pat Boone/Ensemble (Cast): male, 20-39, White / European Descent, lean, charismatic and handsome. A dynamic performer, with a great sense of humor who can play distinct characters ranging from the clean cut, vanilla, and smooth Pat Boone to the charming, and appealing Buddy Holly. Bari tenor. A strong mover/ dancer. Note: Seeking potential understudies/emergency replacements only at this time.

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

at https://form.jotform. com/220104350777146. 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. 26 at 6 p.m. ET. • Video Instructions: Prepare a brief

song, ideally about a minute long - classic rock in the style of one of these characters is generally ideal. Existing footage (reels, etc.) are fine, but we do ask for them to be as current as possible. Don’t submit anything over a year old. 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 4 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 AEA’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.

• 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 $616.50/wk. plus health/pension/

future shared royalty participation.

Equity Off-Broadway League Developmental Side Letter.

‘Songs About Trains’

• Seeking video submissions from Equity

actors for “Songs About Trains.” Note: Experience devising theater a plus.

Local actors encouraged to submit.

• COVID Safety: As a condition of

employment, Working Theater will require all employees to show proof of full vaccination. We are committed to ensuring a safe return to theatrical production. A safety plan will be in place and the production will comply with state, local, and union guidelines and safety practices.

• Company: Working Theater Company,

Inc. Staff: Beto O’Byrne, story conceived; Eugenie Chan, Reginald Edmund, and Rebecca Martinez Meropi Peponides, and Radical Evolution’s collaborators, developed by; Rebecca Martinez and Taylor Reynolds, dirs.; Julián Mesri, music dir.-arranger; Joya Powell, choreo.; Working Theater, coprod.; Laura Carbonell Monarque, prod. artistic dir.; Radical Evolution, co-prod.; Stephanie Yankwitt, CSA, & Tanis Parenteau tbd casting co., casting dirs.

• Rehearsals begin Mar. 7; runs Apr. 2-24

at New Ohio Theater in New York.

• Seeking—Equity Actors: 18+.

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

can be sent via a downloadable google drive or wetransfer link (label the video file with your name; file size should not exceed 500MB) to submissions@ tbdcastingco.com with the subject line “Songs About Trains Submission.”

Submissions deadline is Jan. 21.

• Preparation Instructions: 1. Slate your

name, preferred gender pronouns, and where you are based. 2. Share a sample of your playing an instrument (preferably guitar/bass/violin/percussion).3.

Tell a story about one of the following: Tell a story about when you felt the most alone and why and what happened; Tell a story about when you built something that really mattered to you; Tell a story about your favorite song and how it came to be that way 4.

Make sure you are in a well-lit area (with a simple background if possible) where we can clearly hear you. For the slate, Start with a full-body shot and zoom in or cut to a close-up (bottom of the frame should be at the shoulders and leave a sliver of space above the head for the top frame). The audition can be in a medium wide shot, not too close but not too far.

• FYI: New iPhone Users: If you are taping

on the new iPhone/latest IOS update, make sure your settings are compatible prior to taping or else you may have issues uploading and syncing. See here

YOUR STORY COMES TO LIFE AT FIRST ENTERTAINMENT Between gigs to landing your big break, Your Story Matters™.

Take advantage of our full suite of financial products and services designed to help the creators of entertainment achieve financial success.

Join us at firstent.org/backstage

MEMBERSHIP ELIGIBILITY RULES APPLY. INSURED BY NCUA.

casting New York Tristate for instructions: https://slack-files.com/ T9L5331EG-F01KZL4PMGV-79db9ee514 • For more info, visit https://theworking-

theater.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 $550/wk. Equity LOA-NYC

Contract.

Short Films ‘Heritage’ A Short Film Sponsored by LALIFF Inclusion Fellowship & Netflix

• Casting a short film featuring an indige-

nous and Afro Latinx cast. “Heritage” is a gay coming of age story about two queer Latinx teens from Queens who fall in love. The project is sponsored by LALIFF inclusion fellowship & Netflix.

Film will premiere in June at the Los Angeles Latino International Film Festival. Also casting background actors if interested.

• Company: TantoFlyFilms. Staff:

Sebastian Rea, dir.

• Rehearses in NYC and Queens. Shoots

the weekend of Feb. 18-20.

• Seeking—Rumiñawi “Rumi” Achuar:

male, 17-23, Indigenous Peoples, Latino / Hispanic, 17/18, Latinx, Indigenous (Ecuadorian). Brown skin. Athletic. In control of his world. Although he was raised in NYC, he’s still very connected and curious about his indigenous roots.

He spends time leading the youth group and tutoring SATs at the indigenous cultura center in Queens. He’s a good kid with a kind heart. His confidence is the most attractive thing about him. He’s also stylish and leans into his indigenous roots with his accessories (earrings, necklaces, headgear) and clothing (indigenous prints, textiles).

He’s ready to come-out and tell the world his truth but he’s nervous. Actor needs to be comfortable with kissing his boyfriend “Tupac” on camera.

Tupac: male, 17-22, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, 17/18.

Indigenous Latinx. Brown skin. Athletic.

Openly gay but still very masculine (usually). He’s intriguing and unapologetic about who he is. He is a trendsetter, always pushing his Andean Futurism style with indigenous accessories and clothing, all very edgy. He paints his nails and might wear hoop earrings if he feels like it. He could have piercings or tattoos. He likes riding his bmx bike too.

He’s in a secret relationship with Rumi.

Actor needs to be comfortable kissing his boyfriend on-camera. Ms. Achuar: female, 50-60, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, (Ecuadorian). Rumi’s mom, but has been divorced for a while now. She is an immigrant and hard worker. The pants suit and dressy type of person.

BACKSTAGE 01.20.22

She stays busy at work and is often exhausted by the time she gets home but she makes time to support her son in anything he does. She’s very proud of him until he come-out to her, and then her world comes crashing down. Oscar Achuar: male, 40-55, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Rumi’s dad.

He is ex-military and an immigrant. He is strong and protective. Looks like a young father, he stays healthy. When he gets angry everyone gets out of his way because he is a “macho-man.” Luz: female, 40-55, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Tupac’s Mom. Lovely and full of bright energy. She has a very close relationship with her gay son and they talk about everything. She is not judgemental and a fantastic mother. Jose: male, 17-23, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, Jose, 19/20, Any race but raised in NYC. Very loud and fun.

Friends with Rumi. A little girl-crazy and loves hollering at them. Leo: male, 17-23, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, 17-23, Any race but raised in NYC. Friends with Rumi. Goes to places for the free food.

Always down for a good time. Yamel: female, 17-23, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Ecuadorian. Brown. Beautiful smile and opinionated. More of a tomboy. Camila: female, 17-23, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Brown.

Pretty and stylish. Loves neo-perreo and going to parties. Loves doing her nails. Lilandra: female, 17-23, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, South American. She is beautiful and poised.

She has won beauty pageants before.

She’s intimidating when she has an attitude but also can be very sweet. She’s bitter because Rumi broke up with her and is avoiding him. Officer Cruz: female, male, 25-40, all ethnicities, An attentive and professional police officer. They took the job because they wanted to make a difference. Blanca: female, 40-50, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Lilandra’s young and cool mom. Very trendy and always has makeup on. Various Background Roles: 18+, Roles work one day between Feb. 18-20. A small stipend will be provided.

Meals provided.

• Seeking submissions from NY. • Send submissions to heritagecast-

ing2022@gmail.com.

• For more info, visit https://deadline.

com/2021/12/ laliff-latinx-inclusion-fellowshipcohorts-1234890578/.

• Will provide sides for your audition

but actors are also encouraged to show what you got. In-person auditions will be preferred but will also accommodate video submissions or Zoom.

• Pays $150/day for main cast. Food and

travel also covered. Footage will also be given for actor reels. Includes rehearsal days. Short Film/Indie Agreement.

Background

Student Films ‘Dweller’

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

• Rate is $1000/day for a 10 hour work

day and unlimited buyout for usage. Car service to and from your home on the shoot day will be provided by production. Reimbursement for manicures will also be provided. Day rate and expenses paid within 5-7 days. Lunch will be provided. Model must provide completed W9 form prior to working.

• Casting “Dweller,” a student film.

Synopsis: a young psychopath living in New York indulges his sadistic urges at the expense of strangers, all while maintaining the facade of a normal life.

• Company: Fierstein. Staff: Symmes

Culbertson, prod.

• Shoots Mar. 11-14 in Brooklyn, NY. • Seeking—James: male, 22-30, a psy-

chopathic wolf in sheep’s clothing, who indulges his sadistic impulses at the expense of others while hiding his true nature from those around him. Sarah: female, 18-30, James’s loving, hipster-y girlfriend, who is oblivious to his dark side. Homeless Man: male, 40-60, a frail homeless man asking a passerby for change. The subject of Jame’s humiliation. Little Girl: female, 7-10, an innocent young girl who can see through Jame’s facade.

• Seeking submissions from NY. • Send submissions to symmesculbert-

sonsignup@gmail.com.

• In accordance with Covid safety guide-

lines, we must have a record of cast vaccination status, at least 28 days in advance.

• Pays $50/day.

Print & Digital Modeling Tequila Brand Photo Shoot, Models

• Seeking models (all ethnicities, genders

and body types) for photo shoot for a tequila brand. Photos will feature hands and/or face/full body.

• Note: All requirements below must be

met. Do not submit if you do not meet any of the requirements. Must be between the ages of 25-35 (you must be at least 25 years old to be featured in a campaign for alcoholic products; ID will be checked upon booking); must be fully vaccinated and boosted (will check vaccination cards upon booking); must agree to take a rapid test upon arrival at shoot in the AM; must agree to wear mask when not on camera in holding areas.

• Seeking models for one or both shoot

days, TBD.

• Company: Eric Medsker Photography.

Staff: Eric Medsker, photographer-creative dir.; Will Blomker, prod.

• Shoot will take place either during the

week of Jan. 24 or Jan. 31. Likely days will be either Jan. 25/26 or 26/27. State if you have any schedule conflicts during this two week period.

• Seeking—Models: all genders, 25-35,

all ethnicities, Model for tequila brand photo shoot.

24

Stage Staff & Tech ‘A Bronx Tale,’ Stage Manager

• Seeking submissions for future consi-

dration from Equity stage managers.

Note: All stage managerial positions in “A Bronx Tale” have been filled.

• Company: Harborside Productions LLC.

Staff: Richard Dolce, prod. artistic dir.; Vic DiMonda, assoc. prod. dir.; Chazz Palmintari, book; Alan Menken, music; Glenn Slater, lyrics; Paul Stancato, dir.choreo.; Benjamin Stayner, musical dir.; Wojcik Casting Team, Scott Wojcik, Holly Buczek, Courtney Hammond, and/or Nick Ferrao (viewing auditions), casting.

• Rehearsals begin Mar. 7; runs Mar.

24-May 8 at John W. Engeman Theater in Northport, Long Island.

• Seeking—Equity Stage Manager: 18+.

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

résumé to The Engeman Theater 250 Main St., Northport, NY 11768.

Submissions deadline is Jan. 24.

• For more info, visit https://wojcasting.

com/engeman-epa-ecc-abronx-tale/

• Equity’s contracts prohibit discrimina-

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

• Pays $571/wk. Equity LOA ref. LORT

Contract.

‘Penelope’ Stage Manager

• Seeking Equity assistant stage manager

in “Penelope.”

• Company: York Theatre Company.

Staff: James Morgan, prod. artistic dir.; Evans Haile, managing dir.; Marla Mindelle, dir.; Peter Kellogg, book and lyrics; Stephen Weiner, music; David Hancock Turner, music dir.; Connor Gallagher, choreo.; Joseph Hayward, assoc. dir.; Michael Cassara (CSA), casting dir.

• Rehearsals begin Mar. 1; runs Mar.

23-Apr. 24 in New York, NY.

• Seeking—Equity Stage Manager: 18+.

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

csteckel@yorktheatre.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 backstage.com

California casting

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 $750/wk. plus health/pension.

Equity Off Broadway Contract.

Southern California Plays California Shakespeare Theater 2022 Season, Equity Video Submissions • Casting Equity actors for California

Shakespeare Theater’s 2022 Season.

Season includes: “Romeo y Juliet” (William Shakespeare, playwright; Karen Zacharias, adapted by; KJ Sanchez, dir. Rehearsals Apr. 18-May 16, 2022; tech May 17-24, 2022); runs May 25-June 19 or July 3, 2022. Student Matinees TBD.) and “Lear” (William Shakespeare, playwright; Marcus Gardley, modern verse translation by.

Rehearsals Aug. 2-29, 2022; tech Aug. 30- Sept. 6, 2022; runs Sept. 7-Oct. 2 or 16, 2022. Student Matinees: TBD.).

• Company: California Shakespeare

Theater. Staff: Dori L. Jacob, casting dir.; Anina Baker, casting assoc.; LeeAnn Dowd, artistic prod.

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

• Seeking submissions from CA. • Preparation instructions: Introduce

yourself with your name and whatever else you’d like to tell us about yourself.

Perform two contrasting monologues: one of these should include heightened language (eg. verse, poetry, or something “bigger” than our everyday speech). Both monologues should be no longer than 90 seconds combined.

In the body of your email, please share the following information (optional): Your primary home base and/or any locations you are considered a “local hire.” Website or link to additional samples of your work (eg. reel.) Any special skills or experience that you would like to showcase for the 2022 Cal Shakes productions specifically, especially proficiency in Spanish and/or comfort with singing or instruments. BIPOC actors are encouraged to apply. Local actors encouraged to submit. Email your taped audition, headshot and resume.

Format the subject line of your email as follows: “2022 Season Generals: Name, Union Status [Equity, non-Equity, EMC]”.

Submit tape via any downloadable forum: Quicktime, Youtube, Dropbox, Gsuite or Vimeo are all accepted. Note that no further communication from the casting department is guaranteed following your submission by Jan. 21, 2022 to casting@calshakes.org.

• Pays $1008/wk. + health and pension

(LORT B.) Equity LORT Non-Rep Agreement. backstage.com

‘Gem of the Ocean’

be able to sing/carry a tune. Caesar: male, 40-49, he/him, a policeman, baker and land-owner. The constable and venal slumlord in the play. A warrior. Fiery, charismatic. Looks like he can wrestle someone down.

• Casting “Gem of the Ocean.” Note:

Bass/Valle Casting encourages people of all races, ages, ethnicities, abilities and gender identities to apply.

• Company: TheatreWorks Silicon Valley.

Staff: August Wilson, playwright; Jeffrey Lo, casting dir.; Tim Bond, artistic dir.-dir.; Katherine Hamilton, casting assist.

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

rent headshot, and resume to JLo@theatreworks.org with the subject line “Gem of the Ocean Submission.” Video submissions should include one monologue. For videos, use Google Drive, Dropbox, or WeTransfer. Successful submissions will be contacted with further details, and to schedule a callback.

Submissions deadline is Jan. 24 at 5 p.m. PDT.

• Rehearsals begin Mar. 10; runs Apr.

6-May 1 in Redwood City, CA.

• Seeking—Solly: 50-79, he/him, late

50’s to early 70’s. A warrior and a revolutionary. He’s fiery and passionate.

He’s someone who will walk 800 miles on the drop of a dime to take care of someone. But he wants to have a big big heart and soul and we really want to feel his love for Aunt Ester. Note: Should be able to sing/carry a tune. Caesar: 40-49, he/him, a policeman, baker and land-owner. The constable and venal slumlord in the play. A warrior. Fiery, charismatic. Looks like he can wrestle someone down.

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

works.org.

• If you have any questions about the

submission process, please contact Taylor McQuesten at tmcquesten@theatreworks.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.

• Seeking submissions from CA. • For consideration, submit a digital copy

of your headshot and resume to bassvallecasting@gmail.com for an opportunity to send in a video audition.

Submissions deadline is Jan. 24.

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

works.org.

• If you have any questions about the

• Pays $1,008/wk. Equity LORT B Non-

submission process, please contact Taylor McQuesten at tmcquesten@theatreworks.org.

Rep Contract.

‘Much Ado About Nothing’

• All performers must be fully vaccinated

• Seeking video submissions from Equity

against COVID-19 as defined by the CDC (i.e., more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine) by Feb. 24, 2022. Any actor requiring a medical or religious exemption must provide written documentation for the exemption during the hiring process.

actors for roles in “Much Ado About Nothing.”

• Company: San Francisco Shakespeare

Festival. Staff: Rebecca J. Ennals (she/ her), artistic dir.; Carla Pantoja (she/ her), casting assoc./resident artist.

• Possible developmental workshop in

March or April; rehearsals begin no earlier than June 7; runs July or AugustSept. 25 in San Francisco, CA. Note: The current plan is for our 2022 production to be performed in-person outdoors in the park.

• Equity’s contracts prohibit discrimina-

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

• Seeking—Equity Actors: 18+.

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

resume, and link to one-minute Shakespeare monologue to auditions@ sfshakes.org. Fill out audition form at https://docs.google.com/ forms/d/e/1FAIpQLSeDIKj5ZVCGXvr6Ty lKtMKr3ulaZ7dyU9H5BZpF53YmGWsXQQ/viewform?usp=sf_link Submissions deadline is Jan. 31.

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

‘Gem of the Ocean,’ Video Submissions

• Seeking video submissions from Equity

• San Francisco Shakespeare is a fully

actors for roles in “Gem of the Ocean.”

Note: No understudies will be cast.

vaccinated company. Local Bay Area actors encouraged to submit. San Francisco Shakespeare is deeply committed to inclusive, empowering, and conscious casting. Actors of all genders and races and Disabled actors will be considered for all roles.

• Company: TheatreWorks Silicon Valley.

Staff: August Wilson, playwright; Jeffrey Lo, casting dir.; Tim Bond, artistic dir.-dir.; Katherine Hamilton, casting assist.

• Rehearsals begin Mar. 10; runs Apr.

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

• Equity’s contracts prohibit discrimina-

6-May 1 in Redwood City, CA.

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

• Seeking—Solly: male, 50-79, he/him,

late 50’s to early 70’s. A warrior and a revolutionary. He’s fiery and passionate.

He’s someone who will walk 800 miles on the drop of a dime to take care of someone. But he wants to have a big big heart and soul and we really want to feel his love for Aunt Ester. Note: Should

25

• Pays $717/wk. (rehearsals) and $143/

performance (2-4 shows per week).

Equity LOA ref LORT D Contract.

‘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.

• First rehearsal June 21, 2022; runs July

20-Aug. 14; possible extension through Aug. 28 (must be available).

• 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_EgSM 97VupvS4fL7CPyl1?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 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.

• 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.

• Rehearsals begin May 3, 2022; runs

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

01.20.22 BACKSTAGE

casting California • Seeking—Equity Actors: 18+.

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

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.

• 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 • 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.

Musicals ‘The Composer is Dead’

• Seeking video submissions from Equity

actors for a role in Toyota Symphonies for Youth: “The Composer is Dead.” The LA Phil’s pioneering Symphonies for Youth mix music with fun and fantasy for children ages 5-11. Each SFY concert is a dramatic presentation, conducted by a Dudamel Conducting Fellow and staged by theater artists.

• Company: Los Angeles Philharmonic.

Staff: Nathaniel Stookey, music; Lemony Snicket, words; Andrea Miller, prod.-creative dir.; Emily Bourne, mgr.

• Rehearses Jan. 20-Feb. 11. SY3 runs

Feb. 12 and Feb. 19 in Los Angeles, CA. • Seeking—The Inspector: 25-50, any

gender or ethnicity; introduces instruments of the orchestra through a whimsical, whodunit mystery. Comedic ability appreciated, but not required.

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

headshot, and YouTube or Vimeo link of you performing a monologue no more than two minutes that would be appropriate for ages 5-11 to marissa@4clab. org. Submissions deadline Jan. 20.

Callbacks will be virtual via Zoom.

• For more info, visit laphil.org.

• Equity’s contracts prohibit discrimina-

tion. Equity is committed to diversity

BACKSTAGE 01.20.22

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.

• Copy, credit, meals. Travel expenses

can be covered. The roles of Kit and Clarence are paid.

‘Golden Palms’

Synopsis: After feuding with his mother, a troubled teenager escapes to a skatepark where he is forced to confront loss. Production states: “This is an original short film for a Junior Thesis at Loyola Marymount University.”

TYA (Tier I) Contract.

• Company: Loyola Marymount

Student Films

University. Staff: Rejiar Barzani, student-coord.

• Rehearses TBD; shoots spring in L.A.,

‘Earrings’

CA.

• Casting “Earrings,” a coming-of-age

• Seeking—Omar’s Mother: female,

Chapman University thesis film.

tos13@gmail.com.

35-45, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, around her late 30s, the mother to Omar and recently turned widow. She conflicts heavily with her son. She never knows how to handle his stubborn personality like her husband did.

She is a posh woman who normally has her life together, but since the sudden loss of her husband, things are not as they were. In this film, she is transitioning back into the workforce while attempting to juggle loss and her hurting teenage son. Omar’s Father: male, 35-44, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, his life was suddenly taken from him in the present moment of the film. He was a creative soul, heavily in tune with the youth.

While he was not always the perfect example of a father, he made sure Omar was always taken care of. He was the glue of his family, always mending the feuds between Omar and his mother. One of his favorite ways to spend free time was skateboarding with Omar. In the film, he exists only in flashback sequences.

Skateboarding level must be between intermediate and expert. Omar: male, 18-24, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, on the cusp of his transition into manhood, a difficult task with the recent loss of his father. Since then, Omar’s life has taken a dive into depression.

In addition to skating, he escapes from his feelings through heavy alcohol consumption, getting high with his friends, late nights out, and anything that will keep him away from home. He feuds a lot with his mother and is extremely stubborn and independent.

At the time in which the film takes place, two weeks has passed since his dad’s loss, still a very fresh wound for him. Skateboarding level must be between intermediate and expert.

Mysterious Man: male, 18-21, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, a bystander at the skatepark, this mysterious man is around the same age as Omar, late teens. Skateboarding level must be intermediate at least.

ity. Include a video and/or reel with your submission.

com.

• Company: Chapman University. Staff:

Jennifer De Los Santos, Gaby Cuevas, casting dir.; Brittany Catallo, dir.; Tina Bui, prod.; Vijey Adithya-Mohanraj, DP. • Shoots Mar. 10-20 in Los Angeles, CA,

and Orange County, CA.

Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a shy but stubborn girl who is very passionate about doing the things she wants uses her creativity to try to overcome her insecurity. Naturally playful and dramatic talks like an adult but in an endearing way. Smart but too naive to know why she doesn’t fit in. Rate of pay TBD. Clarence: male, 26-35, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a single father who lost Kit’s mom when she was little and is now struggling with his daughter’s rapid ascent into adulthood. He is a bit bumbling and machismo and is growing up with his daughter, so he is very overprotective of her. He tries to balance his inability to say no to his daughter with his insecurity over being both a mother and a father. Works a grueling day job, has no help at home. Rate of pay TBD. Miss Morgan: female, 26-35, all ethnicities, Kit’s well-meaning, soft teacher with big loud earrings and a kind heart.

She understands her students and mothers them as much as she is able.

Sonia: female, 9-12, all ethnicities, a well-to-do girl that oozes all of the confidence that Kit lacks, she is the catalyst for the titular character’s desire for earrings; she is the host of the slumber party. Jenny: female, 9-12, all ethnicities, Sonia’s best friend. Her top priorities are the color pink and slumber parties. Henry: male, 9-12, all ethnicities, hanging out at the playground or throwing paper in class. Joe: male, 9-12, all ethnicities, hanging out at the playground or throwing paper in class. Katherine: female, 9-12, all ethnicities, hanging out with the other girls at the playground.

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

• In you cover letter, note your availabil-

note availability between the months of February and March.

• No pay.

• Casting “Golden Palms,” a student film.

• Pays $109.75 per performance. Equity

• Seeking—Kit: female, 9-12, Asian,

• For consideration, in your cover letter,

• Seeking submissions from CA. • Send submissions to brejiar@gmail.

26

Demo & Instructional Videos Virtual Care Video

• Casting a female actor to read an

approximately three-minute script from a teleprompter. The video is for patients who are on Medicare (65+ years of age) or Medicaid (low-income or disabled).

Production states: “Actor must be kind, compelling, engaging, professional, easy to understand. Must look healthy and professional.”

• Company: Health Care Transformation.

Staff: Meghan Nechrebecki, CEO.

• Shoots January in Brentwood, L.A., CA. • Seeking—On-Camera Lead: female,

35-50, will read an approximately three-minute script from a teleprompter. This is a video for patients who are on Medicare (65+ years of age) or Medicaid (low-income or disabled).

Actor must be kind, compelling, engaging, professional, easy to understand.

Must look healthy and professional.

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

• For consideration, prepare a video

audition using the script provided. Film yourself reading the script from a teleprompter whilst wearing professional attire (no cleavage).

• Pays $500 for approx. three minutes of

video content. Production states: “Should not take more than 30 minutes for entire shoot for a skilled actor. Actor will sign contractor agreement and video release form and must supply their own wardrobe ahead of shoot. If wardrobe is not suitable, actor must also come to the studio prior to the shoot for a fitting. Actor will complete short virtual coaching session before shoot and must supply their own professional hair and makeup and come prepared to shoot.”

Theme Parks & Attractions Knotts Berry Farm Boysenberry Games, Male And Female Comedic/Improv Performers • Seeking male and female comedic/

improv performers to host the Boysenberry Games at the Calico Mine Stage. Seeking energetic, outgoing performers who enjoy working with children to host a variety of games including relay races, trivia, pie-eating, and more.

Improvisational skills are required.

Materials will be taught at the audition.

Also, be prepared to improvise.

• Company: Knott’s Berry Farm

Entertainment. Staff: Jeff Tucker, dir. backstage.com

National/Regional casting

• Rehearsals begin in March in Buena

Park, CA.

• Seeking—Male And Female Comedic/

Improv Performers: 18+.

• Auditions will be held Jan. 25 at 10 a.m.

(sign-in, 9:30 a.m.) in Los Angeles, CA.

• Parking is available across the street on

Western Ave. between La Palma and Crescent. Proceed to Western Employee Entrance. A Knott’s Berry Farm Representative will escort applicants to the audition area. Applicants wanting to participate in auditions must apply directly through our website at https://jobs.cedarfair.com/knottsberry-farm. All ethnicities and backgrounds are encouraged. Bring a photo and resume. Performers must be at least 18 years of age.

• Pays $20.65/hr.

Stage Staff & Tech ‘Gem of the Ocean,’ Stage Manager

outdoors in the park.

• Seeking—Equity Actors: 18+.

• Seeking submissions from OH. • Submission instructions: Prepare two

• Seeking—Stage Manager: 18+.

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

contrasting pieces, at least one of them Shakespeare with a combined length of less than three minutes. Slate at the beginning of the video, stating your name and the pieces you will be doing.

Submit video via YouTube, Vimeo, or Google Drive link and attach headshot and résumé. Visit https://cincyshakes. com/auditions/ and complete the CSC Audition Application form at the bottom of the page. This form will allow you to copy your audition link, upload your headshot/résumé, and more.

Submissions deadline is Jan. 23, 2022.

pshah@sfshakes.org or mail to Attn: Pratiksha Shah, P.O. Box 460937 San Francisco, CA 94146. Submissions deadline is Jan. 31.

• For more info, visit www.sfshakes.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.

• Production states: “If there are any

provisions Cincinnati Shakespeare Company can make to enhance and support your audition experience or if you are having trouble submitting your CSC 2022-2023 Audition Application, contact Crystian Wiltshire at crystian. wiltshire@cincyshakes.com”

• Pays $860.40/wk. (rehearsals) and

$172.08/performance (2-4 shows per week). Equity LOA ref LORT D Contract.

National/ Regional

• Equity’s contracts prohibit discrimina-

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

• Seeking stage managers for submis-

sions for future consideration for “Gem of the Ocean. Note: All stage managerial positions have been filled.

• Company: TheatreWorks Silicon Valley.

Staff: August Wilson, playwright; Jeffrey Lo, casting dir.; Tim Bond, artistic dir.; Katherine Hamilton, casting assist.

• Rehearsals begin Mar. 10; runs Apr.

6-May 1 in Redwood City, CA.

• Seeking—Stage Manager: 18+.

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

resume to DMilligan@Theatreworks.org and tmcquesten@theatreworks.org.

Submissions deadline is Jan. 24 at 5 p.m. PDT. • For more info, visit https://theatre-

works.org.

• If you have any questions about the

submission process, please contact Taylor McQuesten at tmcquesten@theatreworks.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 B Non-

Rep Contract.

‘Much Ado About Nothing,’ Stage Manager

• Seeking an Equity stage manager for

“Much Ado About Nothing.”

• Company: San Francisco Shakespeare

Festival. Staff: Rebecca J. Ennals (she/ her), artistic dir.; Carla Pantoja (she/ her), casting assoc./resident artist.

• Possible developmental workshop in

March or April; rehearsals begin no earlier than June 7; runs July or AugustSept. 25 in San Francisco, CA. Note: The current plan is for our 2022 production to be performed in-person backstage.com

Plays Cincinnati Shakespeare Company 2022-23 Season

• Pays $435/wk. Equity Production (SPT

5) Contract.

• Seeking video submissions from Equity

Peninsula Players 2022 Season

actors for roles in Cincinnati Shakespeare Company’s 2022-23 Season. Season includes “King Lear” by William Shakespeare (Rehearsals begin Aug. 16, 2022; runs Sep. 9-Oct. 1); “The Living Dead” a World Premiere by Isaiah Reaves based on the film “Night of The Living Dead” by George Romero (Rehearsals begin Sep. 13; runs Oct. 14-Oct. 29); “Little Women” adapted for the stage by Kate Hamill (Rehearsals begin Oct. 18; runs Nov. 11-Dec. 3); “Every Christmas Story Ever Told (And Then Some)!” (Rehearsals begin Nov. 29; runs Dec. 8-31); “The Rewards Of Being Frank” a sequel to The Importance of Being Earnest, a World Premiere by Alice Scovell (Rehearsals begin Jan. 3; runs Jan. 27-Feb. 18, 2023); “The Taming Of The Shrew” by William Shakespeare (Rehearsals begin Feb. 7; runs Mar. 3-25, 2023); “As You Like It (The Musical)” by William Shakespeare (Cary Davenport, music. Rehearsals begin Mar. 7, 2023; runs Apr. 7-29); “The Amen Corner” by James Baldwin (Rehearsals begin Apr. 18, 2023; runs May 12-June 03). As a producer with the Actors’ Equity Association, CSC prohibits discrimination.

• Seeking video submissions from Equity

actors for roles in Peninsula Players 2022 Season. Season includes “The Rainmaker” (N. Richard Nash, creator.

Rehearsals begin May 31 2022; runs June 13-July 3 [set in a Western rural town.The Currys will be a family of multiple races or a completely BIPOC family.]); “Write Me A Murder” (Frederick Knott, creator. Rehearsals begin June 16; runs July 6-24 [British dialects required for all characters]); “Ripcord” (David Lindsay-Abaire, creator.

Rehearsals begin July 8; runs July 27-Aug. 14); “I And You” (Lauren Gunderson, creator. Rehearsals begin July 29; runs Aug. 17-Sep. 4 [the only essentiality is that the characters not be the same race]); Murder For Two” (Joe Kinosian and Kellen Blair, creators.

Rehearsals Aug. 19; runs Sep. 7-Oct. 16 [performers can be any gender; must be able to create distinct characters without being caricatures; must sing and play the piano very well]) in Fish Creek, WI. Production states: “BIPOC actors encouraged to submit. Local, and state COVID-19 protocols and guidance. Peninsula Players Theatre celebrates equity, diversity, accessibility, and inclusion. Audition for the role you want. Whatever your ethnicity, race, gender identity, age, body type - all are welcome and will be considered.”

• Company: Cincinnati Shakespeare

Company. Staff: Brian Isaac Phillips, producing artistic dir.; Crystian Wiltshire, assoc. artistic dir.; Candice Handy, dir. of education; Kate Bindus, production mgr.; Patrick Flick, producing artistic dir.; Amy Attaway, assoc. artistic dir.; Jemma Levy, dir. in residence; Jeremy Dubin, dir.; Stephen Burdman, producing artistic dir.; Brant Russell, dir.

• Company: Peninsula Players Theatre

Foundation, Inc. Staff: Linda Fortunato, artistic dir.

• Rehearses and performs in Fish Creek,

WI.

• Rehearsals and performs in Cincinnati,

• Seeking—Equity Actors: 18+.

• Seeking submissions from WI.

OH.

27

• For consideration, submit a video of a

short, contemporary monologue appropriate to our season to casting@ peninsulaplayers.com. Production states: “If auditioning for ‘Murder For Two,’ also submit of video of an uptempo song, self-accompanied on the piano.” Submissions deadline is Dec. 28.

• For more info, visit www.peninsulaplay-

ers.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 $885/wk. Equity Production

CORST (CORST Z) Agreement.

Steppenwolf Theatre Company 2022-23 Season • Seeking video submissions from

Equity actors for roles in Steppenwolf Theatre Company’s 2022-23 Season.

Season includes “Subscription Series Play 1 - Downstairs Theatre (CAT 6)” (Rehearsals begin Aug. 2; runs Aug. 25-Oct. 30); “Subscription Series Play 2 - Ensemble Theatre (CAT 5)” (Rehearsals begin Nov. 2; runs Nov. 23-Jan. 29, 2023); “Subscription Series Play 3 - Ensemble Theatre (CAT 5)” (Rehearsals begin Jan. 31; runs Feb. 23-Apr. 30); “Subscription Series Play 4 - Downstairs Theatre (CAT 6)” (Rehearsals begin Mar. 7, 2023; runs Mar. 30-June 4); “Subscription Series Play 5 - Ensemble Theatre (CAT 5)” (Rehearsals begin May 9, 2023; runs June 1-Aug. 6); and “Subscription Series Play 6 - Downstairs Theatre (CAT 6)” (Rehearsals begin June 6, 2023; runs June 29-Aug. 27).

• Staff: JC Clementz (CSA), casting dir.

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

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

ute contemporary monologue. Slate your name, pronouns (if you wish to share), the name of your audition piece, and any specific roles in which you are interested. Email a link to your audition (unlisted YouTube or Vimeo) to SteppenwolfEPAs@gmail.com . Note: attached files cannot be accepted.

Submissions deadline is Jan. 24. For more info, visit www.steppenwolf.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 $969-$1045/wk. Equity

Production (CAT 5) Contract. Equity Production (CAT 6) Contract.

‘Twelfth Night’

• Seeking video submissions from Equity

actors for roles in “Twelfth Night,” the last production of AthewnsWest Theatre Company’s 2021/2022 season.

01.20.22 BACKSTAGE

casting National/Regional • Company: AthensWest Theatre

Company. Staff: Drew Fracher, dir.; Bo List, prod. artistic dir. (He/Him/His); Mark Mozingo, assoc. artistic dir. (He/ Him/His); Marianne Miller, assoc. prod.

(She/Her/Hers); Kelly Giles, audition coord.

• Rehearsals begin Mar. 28; runs Apr.

22-May 8 at the Pam Miller Downtown Arts Center in Lexington, KY. • Seeking—Equity Actors: all genders,

18+, all ethnicities.

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

tion, headshot and resume to athenswestauditions@gmail.com. Audition Video Instructions: Prepare a monologue from “Twelfth Night” or a scene from “Twelfth Night,” up to two minutes.Script: https://shakespeare.folger. edu/downloads/pdf/twelfth-night_ PDF_FolgerShakespeare.pdf For those actors who sing and/or play instruments, demonstrate your ability in a separate segment (up to 20 bars).

Auditionees interested in reading the play in advance may do so online.

Submission deadline is Jan. 22 (2 p.m.

ET). Callbacks by appointment only on Jan. 25 (2-6 p.m. EST).

• AthensWest Theatre Company operates

on an SPT3 contract with Actors’ Equity Association. Roles are available for both Equity and nonEquity performers, and non-Equity performers have the opportunity to earn EMC points through this production.

- day play reading contracts for four plays.”

• Casting Equity actors for roles in

“Young Frankenstein.” Circle Theatre is committed to being a diverse, inclusive, and equitable workplace. We are committed to an equal opportunity for all artists, whatever their gender, race, ethnicity, national origin, age, sexual orientation, identity, education, or disability. We respect and value diverse life experiences and will ensure that all voices are valued and heard.

• Seeking—Equity Actors: 18+.

• Seeking submissions from TX. • Prepare one of the sides and songs pro-

vided at https://www.circletheatre. com/sides. You may also perform a comedic monologue if a reader is not accessible to you. Submit audition video to https://airtable.com/shrnUiTF8oxAUs9Jn Submissions deadline is Jan. 24 at 8 p.m. on CT. Callbacks will be held Jan. 31.

‘Always... Patsy Cline’

actors for roles in WAM Theatre 2022 season. Season includes “Walden” by Amy Berryman (rehearses Apr. 30; reading runs May 1); “Bright Half Life” by Tanya Barfield (Gina Kaufma, dir.

Rehearses June 4; reading runs June 5); “Escaped Alone” by Caryl Churchill (Kristen Van Ginhoven, dir. Rehearses July 6; reading runs July 7); “Cadillac Crew” by Tori Sampson (rehearses Sep. 6; runs Sep. 29-Oct. 16 [ThursdaySaturday 7:30 p.m., and Sunday 2 p.m.]).

Local actors encouraged to submit.

Although WAM centers stories of women and considerably more roles are women than men, actors of all genders are encouraged to submit. Play titles to be confirmed.

actors for roles and understudy roles in “Always... Patsy Cline.”

Talya Kingston, assoc. artistic dir.; Cate Alston, artistic assit.

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

• Seeking submissions from MA. • For consideration, submit a résumé and

headshot (as PDF and JPEG attachments) and a video audition (a brief introduction and a contemporary monologue) to casting@wamtheatre. com with EPA audition in the subject line. State your full name and indicate your union status and whether you have local housing in the Berkshires in your email. Production states: “Let us know in your email if you have prior commitments during any of the dates.”

Submissions deadline is Feb. 1, 2022.

• Pays $416 wk. Equity Production (SPT

4) Contract. Production states: “SPT 2

BACKSTAGE 01.20.22

Lane, exec. prod.; Gayle Seay, artistic dir.; Lin-Manuel Miranda, music-lyrics; Quiara Alegria Hudes, book; Luis Salgado, dir.-choreo.; Walter “Bobby” McCoy, musical dir.; Scott Wojcik, Holly Buczek, Courtney Hammond, and/or Nick Ferrao (Wojcik Casting Team), casting dirs.

• Rehearses July 5-21; runs July 22-Aug.

21 in Chesterfield, MO.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from MO. • For consideration, submit a video of the

• Rehearsals begin Feb. 14, 2022; runs

Mar. 18-Apr. 16, 2022 at Raue Center for the Arts in downtown in Crystal Lake, IL.

provided material below or material of your own choosing to stagesepa@ gmail.com. Material should be one minute in length. In your recording, slate your name and height. Label your audition file with your Name. Also submit your headshot & resume as an attachment labeled with your name. No downloads on headshot/resume.

Submissions deadline is Jan. 20.

• Seeking—Patsy Cline: 20-30, the leg-

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

• 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. Email audition with a pdf/jpeg of your resume and headshot with a brief introduction by Jan. 16, 2022 to casting@wsrep.org.

• Soprano “Breathe” Sheet Music -

https://www.dropbox.com/s/yz3qlnhnbpl9dcz/ITH%20soprano.pdf?dl=0 • Melody Track - https://www.dropbox.

com/s/p6z8fg9rklidk35/Breathe%20 -%20MELODY.wav?dl=0

• Pays $216/wk. Equity CAT Agreement,

• Accompanist Track - https://www.

pending approval.

dropbox.com/s/blhjmncoebkoea4/ Breathe%20-%20ACCOMP.wav?dl=0

‘Dreamgirls’

• Alto “Paciencia Y Fe” Sheet Music -

https://www.dropbox. com/s/02yc21o2fg2q95r/ITH%20 Alto%20excerpt.pdf?dl=0V

• Seeking video submissions from strong

Equity actors and singers of all genders, ethnicities, ages and types for roles in “Dreamgirls.” All stage managerial positions have been filled.

• Melody Track - https://www.dropbox.

com/s/n9q9j8oziaiysd5/Paciencia%20 Y%20Fe%20-%20MELODY.wav?dl=0

• Company: Aurora Civic Center

Authority. Staff: Christopher D. Betts, dir.; TBD, choreographer; TBD, music dir.; Jim Corti, artistic dir.; Amber Mak, artistic prod.; Trent Stork, CSA- casting dir.; Rueben Echoles, assoc. casting dir.; Paul-Jordan Jansen, assoc. artistic prod.

• Accompanist Track - https://www.

dropbox.com/s/c5p07l7z7txdnak/ Paciencia%20Y%20Fe%20-%20 ACCOMP.wav?dl=0

• Tenor “Piragua” Sheet Music - https://

www.dropbox.com/s/

28

• Melody Track - https://www.dropbox.

com/s/5lm3roedgemp108/ In%C3%BAtil%20-%20MELODY. wav?dl=0

• Accompanist Track - https://www.

dropbox.com/s/zg99kkc23qjt5ac/ In%C3%BAtil%20-%20ACCOMP. wav?dl=0

• Equity’s contracts prohibit discrimina-

Contract.

• Company: STAGES St. Louis. Staff: Jack

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

www.dropbox.com/s/teq76sn57ojz3dk/ ITH%20baritone%20Excerpt.pdf?dl=0

‘In the Heights’

actors for principal roles in “In the Heights.”

• Company: Williams Street Repertory.

• Baritone “Inútil” Sheet Music - https://

COST) Agreement.

• Seeking video submissions from Equity

• Seeking video submissions from Equity

• Accompanist Track - https://www.

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 $791/wk. Equity LOA (LOA ref

• Pays $279/wk. Equity SPT 1 Contract.

WAM Theatre 2022 Season

dropbox.com/s/wubmdncf9l2drxj/ Piragua%20-%20ACOMP.wav?dl=0

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

16-July 23 in Fort Worth, TX.

Musicals

• Seeking submissions from IL. • For consideration, submit a video along

• Equity’s contracts prohibit discrimina-

• Rehearsal begins May 17 runs June

• Melody Track - https://www.dropbox.

com/s/jd13n61c25tof2s/Piragua%20 -%20MELODY.wav?dl=0

with your headshot/resume via YouTube, Vimeo, or Dropbox to casting@parmaountarts.com. The video should include one one-minute cut of a song in the style of the show, or you may use the accompaniment at https:// www.dropbox.com/sh/0vwu8n7n5fdaq mb/AAC4kHC8Rnf__8AQcsJY9pjIa?dl=0 . Submissions deadline is Jan. 24, 2022.

Brooks and Thomas Meehan, book; Mel Brooks, lyrics; Joel Ferrell, dir.; Cody Dry, music dir.; Liz Stevens, prod.-stage mngr; Tim Long, exec dir.

ye1qo7wm77n77p4/ITH%20Tenor%20 excerpt.pdf?dl=0

• Seeking—Deena Jones: female, 20-30,

Black / African Descent.

• Company: Circle Theatre Inc. Staff: Mel

contract.

• Company: WAM Theatre, Inc. Staff:

Aug. 25; first preview on Aug. 31; runs Sept. 9-Oct. 16, 2022 at Aurora Civic Center Authority in Aurora, IL.

“Young Frankenstein”

• Pays $375/wk. Equity SPT (SPT 3)

• Seeking video submissions from Equity

• First rehearsal on Aug. 1; tech begins on

• Pays $622/wk. Equity LOA ref COST

‘Land Of Oz’

• Seeking video submissions from Equity

actors for roles in “Land Of Oz.” Synopsis: Tip was raised by an evil witch but manages to escape with the help of his new friend Jack the Pumpkinhead.

Together they journey to the Emerald City to save it from a rebel army. With the help of our old friends the Scarecrow, the Tin Man, and the Lion they must save Oz and set the rightful heir to the throne! Production states: “Based on the second book in L. Frank Baum’s Oz series, this world-premiere musical is adapted by the award-winning playwright of ‘Grounded,’ ‘Marie and Rosetta,’ and ‘Into the Breeches.’”

• Company: Dobama Theatre. Staff:

George Brant, book and lyrics; Nathan Motta, lyrics; Nathan Motta, dir.; Matthew Dolan, music dir.

• Rehearsals begin Oct. 22; runs Dec.

2-31 (possible development workshops runs June 19-26) in Cleveland Heights, OH. • Seeking—Equity Actors: 18+.

• Seeking submissions from OH. • For consideration, submit the Unlisted

YouTube link in an email along with an attached: completed audition form, résumé, and headshot to auditions@ dobama.org . Production states: “The video should be uploaded to YouTube and set to ‘Unlisted.’ Audition forms and instructions for uploading an Unlisted YouTube link can be found at: https:// www.dobama.org/workingatdobama#audition . Submissions deadline is Feb. 5. Callbacks will be held Feb. 20 (5 p.m.-10 p.m.), and 21 (6 p.m.10 p.m.)

• Preparation Instructions: Record one

monologue 60-90 seconds in length and 30-60 seconds of a song that are both generally in the general style of an Oz-based musical theatre piece (“The Wizard of Oz,” “The Wiz,” or “Wicked”).

If you would like to use the accompaniment at www.dobama.org/workingbackstage.com

National/Regional casting

atdobama#audition record both songs.

Feel free to take notes or sections up or down an octave if that makes them more comfortable for you. Slate at the beginning of the video (state your name and what you’re performing). We ask that the camera show as much of the actor’s body as possible in order to replicate a live theatre audition.

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.

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.

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 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.

• Equity’s contracts prohibit discrimina-

• Pays $404/wk. Equity Production (SPT

4) Contract.

‘Mamma Mia’

• Seeking video submissions from Equity

actors for roles in “Mamma Mia.”

• Company: Encore Musical Theatre, Inc.

Staff: Jason Briggs, managing dir.; Alexander Kunitz, stage mgr.; Monica Kapoor, dir.-choreo.; Dan Cooney, producing artistic dir.

• Rehearsals begin May 17; runs June 15-17

in Dexter, MI.

• Seeking—Equity Actors: all genders,

18+, all ethnicities.

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

tion to dan@theencoretheatre.org.

Audition Video Instructions: Prepare either: a one minute up tempo and one minute ballad or a one minute monologue and one minute Song. You may also use the accompaniment provided at https://drive.google.com/drive/ folders/1uotXF CP6s1NXsZILt2pgw0i96e8uZMpD Submission deadline is Jan. 18.

• 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. Equity SPT (SPT 4)

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.

• Rehearsals begin May 10, 2022 at the Capital City Theatre in middleton, WI; runs June 3-12 in person and fully immersively indoors at Four Winds Farm.

• 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 backstage.com

• Audience will be masked and all rele-

• Pays $600/wk. Equity SPT 5 contract.

‘The Rocky Horror Show’

• Seeking video submissions from Equity

actors of any ethnicities for roles in “The Rocky Horror Show.” Note: Actors local to the Austin, Texas area encouraged to submit.

• Company: Zachary Scott Theatre

Center. Staff: Richard O’Brien, bookmusic-lyrics; Dave Steakley, dir.-prod. artistic dir.; Allen Robertson, musical dir.; Gabriela De La Ros, prod. coord.

• Rehearsals begin Mar. 15, 2022; runs

Apr. 6-May 1 with six to seven shows per week (Weds.-Sun. at 7:30 p.m. and some Sat. and Sun. at 2:30 p.m.) in Austin, TX. • Seeking—Equity Actors: 18+.

• Seeking submissions from TX. • For consideration, submit your video,

headshot, and resume via https://bit. ly/3zdGrus . Submissions deadline is Jan. 25 at 6 p.m. CST. In person callbacks will be held in Austin the first week of February and in NYC the second week of February.

• Video Instructions: Film your audition,

beginning with a slate, followed by a brief cut of a song from the show. We welcome the use of any cut or accompaniment that you prefer, but accompaniment tracks can be found at this link if needed www.dropbox.com/sh/ yg0j1jww76uwenn/ AACPOByuoVIHAnAkwxuCPcuRa?dl=0 If interested in submitting as an actor/ musician film one video of yourself singing with a track played by a secondary audio source so it is audible in the recording and then a second video of you accompanying yourself on your instrument.

• For more info, visit www.zachtheatre.

org.

• ZACH is intending to operate as a fully

vaccinated workplace per the guidance issued by Actors Equity. Equity members will be expected to follow strict health and safety protocols set forth in accordance with Actors Equity Associations guidelines.

• 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 $740/wk. Equity LOA ref LORT

Contract.

Chorus Calls Disney’s ‘Beauty and The Beast’

• Seeking video submissions from

Equity actors for chorus parts in “Beauty and the Beast.” Note: Local actors encouraged to submit. The Ordway is committed to diversity and engages in a policy of equal employment opportunity designed to promote a positive model of inclusion.

Performers of all racial and ethnic backgrounds, gender identities, sexual orientations, ages, and performers with disabilities are encouraged to audition.

• Company: Ordway Center for the

Performing Arts. Staff: Rod Kaats, Ordway prod. artistic dir.; Michael Heitzman, dir.; Darryl Archibald, music dir.; Rachel Murch-D’Olimpio, Ordway general mgr.; Robbie Roby, choreo.

• Studio rehearsals will be held Nov. 1-23;

tech rehearsals will be held Nov. 25-Dec. 4; runs Dec. 6, 2022-Jan. 1, 2023 in Saint Paul, MN.

• Seeking—Female Identified Ensemble

Dancers/Singers: female, 20-49, great technical dancers who sing. Any ethnicities and types for all roles welcome. Ensemble includes various townspeople, enchanted objects, and wolves. (Featured in Ensemble: The Silly Girls: 3 Females: Gaston’s admirers. Sing and have good comedic timing.). Male Identified Ensemble Dancer/Singers: male, 20-49, great technical dancers who sing. Any ethnicities and types for all roles welcome. Ensemble includes various townspeople, enchanted objects, and wolves. (Featured in Ensemble: Carpet: Male. Advanced Tumbling Skills, including consecutive backhandsprings and tumbling passes.).

• Seeking submissions from MN. • For consideration, videos, resume and

headshots can be uploaded to the following secure dropbox https://www. dropbox.com/request/oeFPukxb48HIjZ6OSeb1 Submissions deadline is Jan. 24. Callbacks will be scheduled at a future TBD date.

• Video Preparation Instructions:

Singers, submit a video performing a brief song in the style of the show. You may also use the accompaniment provided in the following dropbox: https:// www.dropbox.com/sh/uujeyd2szgppvfg/AACksor4YYZKxjn84heHTLxa?dl=0 Dancers, prepare a video performing the dance combination found in the following drop box: https:// www.dropbox.com/ sh/2o35f22zag4g5fx/ AAAbQKiN1Hr0CYL5OMY4n0vka?dl=0

29

• 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 $1,125/wk. Equity COST Contract.

‘In the Heights’

• Seeking video submissions from Equity

actors for chorus roles in “In the Heights.”

• Company: STAGES St. Louis. Staff: Jack

Lane, exec. prod.; Gayle Seay, artistic dir.; Lin-Manuel Miranda, music-lyrics; Quiara Alegria Hudes, book; Luis Salgado, dir.-choreo.; Walter “Bobby” McCoy, musical dir.; Scott Wojcik, Holly Buczek, Courtney Hammond, and/or Nick Ferrao (Wojcik Casting Team), casting dirs.

• Rehearses July 5-21; runs July 22-Aug.

21 in Chesterfield, MO.

• Seeking—Ensemble Singers: 18-50, all

ethnicities, he/him/she/her/they/them; interesting, diverse and well-rounded people of the community. All shapes and sizes. We would like to see more than just great singers. Bring your strength, your vulnerability, your history, your sass, your humor and your love and pride from your ancestors.

Challenging part singing. Ensemble Dancers: 18-50, all ethnicities, he/him/ she/her/they/them; interesting, diverse and well-rounded people of the community. All shapes and sizes. We would like to see more than just great dancers. Bring your strength, your vulnerability, your history, your sass, your humor and your love and pride from your ancestors. Challenging modern dance choreography. Hip-hop and Latin moves/acro tricks.

• Seeking submissions from MO. • For consideration, submit a video of the

provided material below or material of your own choosing with headshot and resume as an attachment labeled with your name. Material should be one minute in length. In your recording, slate your name and height. Label your audition file with your Name. No downloads on headshot/resume. In your recording, slate your name and height. Dancers send submissions to stageseccdancer@ gmail.com and singers send submissions to stageseccsinger@gmail.com with the subject line “In the Heights - Actor Name”. Submissions deadline is Jan. 20.

• Female Identifying Performers: • “Breathe” Sheet Music - www.dropbox.

com/s/yz3qlnhnbpl9dcz/ITH%20 soprano.pdf?dl=0

• Melody Track - www.dropbox.com/s/

p6z8fg9rklidk35/Breathe%20-%20 MELODY.wav?dl=0

• Accompanist Track - www.dropbox.

com/s/blhjmncoebkoea4/Breathe%20 -%20ACCOMP.wav?dl=0

• Male Identifying Performers: “Piragua”

Sheet Music - www.dropbox.com/s/ ye1qo7wm77n77p4/ITH%20Tenor%20 excerpt.pdf?dl=0 • Melody Track - www.dropbox.com/s/

jd13n61c25tof2s/Piragua%20-%20 MELODY.wav?dl=0

01.20.22 BACKSTAGE

casting National/Regional • Accompanist Track - www.dropbox.

com/s/wubmdncf9l2drxj/Piragua%20 -%20ACOMP.wav?dl=0

• Dancers: Submit a video of the provided

material below. Instructional Video & Full Combo www.dropbox.com/s/ hsrow20r5wshr9c/Luis%20Salgado%20 Carnaval%20Del%20Barrio%20 Audition%20Combo.mp4dl=0 MP3 track - www.dropbox.com/s/nav642bmeye8sbd/CARNAVAL%20DANCE%20 CUT.mp3?dl=0 • Pays $622/wk. Equity LOA ref COST

Contract.

Scripted TV & Video ‘Chespirito’ Biographical Series

• Seeking talent for “Chespirito,” a new

biographical series. Synopsis: The life, work, genius and legacy of Chespirito, a man who transformed millions through laughter creating a universe of fun.

Since his beginnings as a writer in the mid-20th century, the creation of iconic characters, the long road to make his dream come true, and the conflicts that the creator, family guy, husband, writer, actor, director, producer and musician went through since youth all the way to becoming the childhood companion of many generations throughout Latin America in the 70’s.

• Note: Auditioning for this project is not

a promise or guarantee of employment.

No one will be charged to audition for this project and this is not an offer or guarantee of employment. If picked to audition, talent will need to sign an NDA before receiving any materials.

• Company: Carla Hool Casting. Staff:

Carla Hool, casting dir.

• Rehearsals begin in August 2022.

Shoots September 2022-September 2023 in Mexico. Talent must be fully available for these dates and able to shoot on location in Mexico.

• Seeking—Young Chespirito: male,

20-35, Latino / Hispanic, character portrayed as male, a charismatic and charming young man. He uses his intelligence and creativity to his advantage in order to indoctrinate himself in any group, family or friends, even the admiration of the neighborhood girls. He is a dichotomy. While shy, discrete and protective of his private life, he has a longing for recognition and hunger for applause. Must speak native Mexican Spanish. Adult Chespirito: male, 40-50, Latino / Hispanic, character portrayed as male. While he has had great success in his career, he carries heavy nostalgia and warm memories of his friends from his early life. He is torn between the glory of his fame and success, and yet longs for privacy. He doesn’t tolerate demagogy in politics, oppression of the weak and exhibitionism. He considers his children “his best creation” and his deepest love. Must speak native Mexican Spanish. Doña Florinda: female, 20-30, Latino / Hispanic, character portrayed as female, a brave young woman who sets out to conquer

BACKSTAGE 01.20.22

her future, fleeing a painful past.

Haunted by memories of abuse and neglect in her childhood, she can escape in the fantasy of performance.

Her need for recognition, belonging and control are slowly coming to light.

She has a great fear of going back to her origins, and as a result, clings tightly to what she has. She is not afraid to use her physical attractiveness to get what she wants. She can be described as possessive, dominant, ambitious, and fearful of financial ruin. Must speak native Mexican Spanish. Ma. Antonieta: female, 20-30, Latino / Hispanic, character portrayed as female, a talented actress, with skill in both comedy and drama. Despite her very short stature, she still maintains a vanity, and invests a lot of time, money, and effort into her physique and appearance. She was bullied as a child and carries a complex because of it. She is respected for her talent and that is why she appreciates and values her career. She seeks to reinforce respect for her person by extolling the adventures she tells about her life, always exaggerating a bit. Must speak native Mexican Spanish. Quico: male, 28-38, Latino / Hispanic, character portrayed as male, a man that could be described as petulant, vain, outgoing, eccentric, and egotistical, with intellectual limitations, and a mercantile mentality.. Skilled at quick comebacks, and being the center of attention. He revels in his success with a sarcastic humor and a cynical attitude that dominates over those with weaker dispositions. On stage he is a much kinder version of himself, and has a charisma that enchants the audience. He needs constant affirmation and validation. He is competitive, but a poor sport. Must speak native Mexican Spanish. Don Ramón: male, 45-55, Latino / Hispanic, character portrayed as male. Member of a family of very talented comedians with musical ability to boot. He can be described as relaxed, witty, easygoing, and charming, with an agile mind, and great sense of humor. While not exactly a man of culture, he is not ashamed of his shortcomings. He is a noble and loving man, who enjoys being surrounded by friends, and even can be a bit of a prankster. While able to avoid media scandals, he does, however, indulge in recreational use of alcohol, tobacco and marijuana that complicates his health. Must speak native Mexican Spanish. Rubén: male, 18+, Latino / Hispanic, character portrayed as male, man with an outstanding masculine and powerful voice. Creative with literary habilites, he ends up becoming a famous actor. Tough and direct, he has a forceful way of reasoning, extremely popular, but very practical. He is good at negotiating, cold and accurate. A lover for horses and a faithful follower of the Fiesta Brava (Bull fight), he is not daunted by any antler and even less by a debate or controversy. Must speak native Mexican Spanish. Sr. Barriga: male, 24-34, Latino / Hispanic, character portrayed as male,an excellent impersonator and singer endowed with a musical ear that allows him to control the precise modulation of his voice, and master accents, tones and notes.

Despite his size, he is surprisingly agile.

He is a great orator and storyteller with an exceptional memory, allowing him to debate with just about anyone. He is a sensitive man. When he is hurt he feels it deeply, but possesses unwavering loyalty and gratitude. Must speak native Mexican Spanish. Angelines: female, 50-60, Ethnically Ambiguous / Multiracial, White / European Descent, character portrayed as female. Coming from a Spanish republican family, Angelines was a refugee during the Spanish civil war, where she lived in the Madrid theater in the 1930s. She is much more reserved than the rest of the cast. Must speak native Mexican Spanish with a slight Spanish accent.

• Seeking submissions worldwide.

• For consideration, submit headshot/

resume and contact info to ChespiritoSubmissions@gmail.com with the name of the role you would like to audition for in the subject line.

• Auditioning for this project is not a

promise or guarantee of employment.

No one will be charged to audition for this project and this is not an offer or guarantee of employment. If picked to audition, talent will need to sign an NDA before receiving any materials.

• This is an ANDA (Asociación Nacional de

Actores) project. Travel to/from and accommodations in Mexico will be provided by production.

Reality TV & Documentary ‘SUDS’ Premium Streaming Network Docu-Series, Rerelease of 7 Roles

• Casting nonunion LA actors to portray

real people for recreations in a documentary series for a premium streaming network. Note: These roles will likely be non-speaking. However, due to the nature of recreations they may be heavily featured.

• COVID-19 Notice: Production will com-

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

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

• For the health and safety of all individu-

als on “SUDS”, all cast and crew must be fully vaccinated against COVID-19 prior to beginning work. We will consider reasonable accommodations as required by law for individuals who cannot be vaccinated due to age, a disability or a sincerely held religious belief, practice or observance. Note that anyone accompanying a minor to set must be fully vaccinated.

• Staff: Jason Crow & Barbara Stordahl,

casting dirs.

30

• Project outside dates are Feb. 15-Mar. 5

(possibly Tues.-Sat. schedule) in Los Angeles.

• Seeking—Vaughn: male, 30-39, White /

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

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

He needs a good-natured wingman to keep him honest and on course. (Think a younger Billy Bob Thornton) Large Role. Pays $210 + 10% agency fee for 12 hr. day. Role could work 12-15 days. Bill: male, 30-49, White / European Descent, balding; should be around 5’10”, slight heavier build, 180-200 lbs.

Motivated event planner, who’s creative thinking separates him from the pack.

He’s an honest and jolly soul, who truly believes that any problem can be solved with a little “out of the box” thinking.

He’ll kill you with kindness, but also get the job done at the end of the day. Pays $210 + 10% agency fee per 12 hr. day.

Role could work 2-4 days. Benjamin: male, 30-39, White / European Descent, should be around 5’10”-6’0”, thin build 160-175 lbs. An energetic and driven publicist, he’s an over achiever who always wants to please the room. He’s been thrown into situations that would make most cower, but he’s able to strive forward on guts and guile. Pays $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days. Brandon: male, 40-49, White / European Descent, should be around 5’7”-5’9”, small build, thin, 150-165 lbs. A Corporate executive for a major wine company, he’s all about building up the brand and expanding business across the globe. When he’s not making deals with famous actors to become spokespeople, he’s filming ads, and making sure the ship runs smoothly. Pays $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days.

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

Accomplished building contractor, his attention to detail is well known in the industry. His determination and cunning have allowed him to land some big deals and secure his financial future. He keeps more secrets than friends, and won’t divulge more than he wants you to know, especially if he thinks you’re curious. Pays $210 + 10% agency fee per 12 hr. day. Role could work 2-4 days.

Noah: male, 40-49, White / European Descent, should be around 6’0”, medium build, 165-175 lbs. A former British Army mechanic who always knows how to solve the problem, he doesn’t shy away from tough jobs. He’s now in the private sector and excels in repairing older cars. Friendly and honest, he maintains strong relationships with the guys he used to serve with.

Role could work 2-4 days. Burt: male, 40-49, White / European Descent, should be 5’7”-5’10”, medium build, 150175 lbs.; a bit weathered. Think Don backstage.com

National/Regional casting

Knotts aka Barney Fife, both in look and character. Kind of idiot that thinks he knows more than everyone else. A career maintenance chief for a refinery, he is a man of order and precision.

“Thorough” would be an understatement if someone had to describe his work ethic. Some might say he’s slower than a snail, but he would contend that he’s just a perfectionist, that insists that every I is dotted and every T is crossed.

Pays $210 + 10% agency fee/12 hr. day.

Could work 2-4 days.

Property Inspector in London inspector. Company states: “We would like to offer the opportunity for ‘between job’ actors to carry out residential property inspections in London.

This is a flexible, non-office-based role where you are on the move, carrying out inspections that determine how much of a tenant’s deposit, is returned at the end of a tenancy.”

Kentucky Derby Style Wine Photoshoot

• Casting a photo and video shoot for a

resume if available) to sandtcasting@ gmail.com. Casting will send out requests to tape if you are a fit. Note: These roles will likely be Non-Speaking, however due to the nature of recreations they may be heavily featured. day.

Matut, coord.

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

• Seeking talent to work as a property

Print & Digital Modeling wine brand. Synopsis: Kentucky Derby themed, this shoot will be located in downtown, Kentucky and at Churchill Downs. To be featured, a group of men & women enjoying an at home Derby Party, as well as a party scene down in the tracks! Wine lovers and enthusiasts welcome to apply.

• Seeking submissions nationwide.

• For consideration, submit a picture (and

Gigs

you sign the contract and the other part when the footage is approved.”

• Company: LetCheck Inventories. Staff:

Adrian Kelly, company dir.

• Works asap.

• Seeking—Property Inspector: 18+, car-

ries out property inspections at the beginning and end of tenancies to accurately capture the condition and contents of a property. By being an impartial observer, your work helps to protect the landlord’s property, the tenant’s deposit, and our client’s reputation. Will use the company’s app to capture images and a dictaphone to describe the detail in front of you. For an end-of-tenancy report, you then have to assess liability using the training provided, with a dollop of common sense.

• Company: JetFuel Studio. Staff: R.

• Shoots at Kentucky Derby, Downtown

Louisville, KY.

National Commercials Sun Glasses Fashion UGC Content

• Seeking—Models 1-8: female, male,

23-35, all ethnicities, requires modeling experience.

• Seeking submissions from KY. • Send submissions to Hello@jetfuelstu-

dio.com.

• Pay TBD. Lunch will be provided.

• Seeking submissions from England.

• Send submissions to adrian.kelly@let-

• Casting for Quay, a sunglasses brand.

Company states: “We want to set a trend by looking towards fashion, with the latest styles of frames. They have different and high-quality products.”

• Seeking new moms and fashion queens

who want to generate content online.

• Company: READY SET. Staff: A S, cast-

ing dir.

• Self-taped content, outdoors and

indoors, with friends and family in New York, Texas, Florida and California.

• Seeking—Glamorous Woman: female,

18-34, all ethnicities, bold, dramatic, dreamy and idealistic. You long for a richly unlimited life of luxury.

Fashionista, vlogger, high energy, wants to look good at an affordable price, fun, knows what she wants. New moms welcome. Classic Woman: female, 18-34, all ethnicities, elegant and appropriately dressed for any occasion and always well dressed. The style is simple, refined and somewhat restrained!Fashionista, vlogger, high energy, she wants to look good at an affordable price, fun, bold, she knows what she wants. New moms welcome.

Baddie Woman: female, 18-34, all ethnicities, centered around being conventionally attractive by today’s beauty standards.Fashionista, vlogger, high energy, wants to look good at an affordable price, fun, knows what she wants. New moms welcome.

Trendsetter Woman: female, 18-34, all ethnicities, trendsetters are competitive and ambitious. They sense what the next big thing will be.Fashionista, vlogger, high energy, wants to look good at an affordable price, fun, knows what she wants. New moms welcome.

• Seeking submissions from CA, NY, TX

and FL.

Stage Staff & Tech

(usually three-four inspections); if you work an extra-long day you can charge up to £120/day. Production states: “We work with some of the most prestigious agents and landlords in the UK, so our attention to detail is high and consistently high standards expected. Please check out both short videos on www. letcheck.co.uk/recruitment for more information about what the role entails.

You are paid on a day rate, if you only carry out inspections in a morning or an afternoon, this is a half-day. You are self-employed so control your calendar and tell us when you are available to be added to the rota.”

Workshops & Classes

• Staff: Richard Feldman, general mgr.

• “In The Heights” (Rehearsals begin Apr.

5; runs May 4-May 29); and “Rock Of Ages” (Rehearsals begin May 31; runs June 29-Aug. 14), runs TuesdaysSaturdays (7:30 p.m.), and Sundays (2 p.m.) in Hilton Head Island, SC.

Online Actors Summit with 150+ Top Industry Speakers

• Seeking—Equity Assistant Stage

• Seeking participants for a three-day

Manager: 18+.

actors summit.

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

• For consideration, submit a résumé,

• Company states: “Actors Summit is the

largest online acting event in the world.

With 150+ Industry Speakers comprised of top industry professionals including Agents, Managers, Casting Directors, Showrunners, Filmmakers, Influencers, Celebrities, and more, this event is unprecedented. For 3 full days, Actors Summit will live-stream 8+ Summit Themes consisting of speeches, panels, and live Q&A sessions covering 100+ different topics, and delivering 60+ hours of content from some of the

references, and letter in PDF to Richard Feldman, General Manager, with ASM ITH & ROA in the subject line.

Submissions deadline is Jan. 31.

• For more info, visit www.artshhi.com .

7) Contract.

backstage.com

• Pays £47.50/half-day and £95/full day

ers for “In The Heights & Rock Of Ages” to work with our stage manager and our production team. Production states: “Someone well versed in regional musical theater and summer stock preferred. Equity Approved the Fully Vaccinated Company for this production. The Arts Center. 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.”

states: “You would receive half when

• Pays between $ 250/350. Production

interview to start with; followed up by an interview at a central London location, details TBD.

• Seeking Equity assistant stage manag-

set.co.

• “Our tickets include: Admission to the

World’s largest online actors event; Three days of 150+ speakers including agents, managers, casting directors, showrunners, influencers, filmmakers, and celebrities; Exclusive VIP 30 agent/manager mega showcase event (only 50 spots available); Agent/manager submissions: your headshot, resume, and reel sent to 100+ agents and managers; 20% off one-time discount code at acting and voice studios; One-on-one networking with industry professionals; One-on-one networking with 10,000+ attendees; Eight (plus) themes covering many aspects of the entertainment industry; Access to live speeches, panels, Q&A sessions.”

• Company: Acting And Voice Studios.

• The three-day virtual event will be held

on May 20-22, 2022.

• Seeking—Actors: 6+, all ethnicities.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• To register go to: https://actorssummit.

com/pages/tickets.

• The price will be going up but current

ticket prices are: $299 for regular admission and $499 for VIP admission.

• For consideration, will have an online

‘In The Heights’ & ‘Rock Of Ages’

Production states: “The Arts Center of Coastal Carolina is an SPT level 7 Theater on Hilton Head Island, SC.”

• Send submissions to cast.me@ready-

check.co.uk.

industry’s most influential professionals. It is an amazing opportunity to learn from the best of the best in the entertainment industry.

• Pays $608/wk. Equity Production (SPT

31

Competitions The 9th Annual ScreenCraft Screenwriting Fellowship

• Seeking applicants for the ScreenCraft

Screenwriting Fellowship, a program designed to provide career guidance with personalized plans of action and thoughtfully curated industry meetings for emerging screenwriters.

• The program provides seven days of

intensive meetings and three months of personalized career consultation for emerging writers. Every year, three chosen Fellows receive ongoing professional support, mentorship, and personal introductions to key entertainment professionals.

• The ScreenCraft Screenwriting

Fellowship is open to any writer applying with a finished draft of a television pilot or feature-length project. Apply to start your professional writing career and to be a part of ScreenCraft’s growing community of talented screenwriters with meaningful connections to industry mentors.

• Company: ScreenCraft.

• The fellowship experience takes place

virtually in October 2022.

• Seeking—Screenwriters: 18+.

• Seeking submissions worldwide.

• For more info and to apply, visit https://

screencraft. org/ fellowship/?utm_ source=backstage&utm_ medium=castingcall&utm_ campaign=scfellowship.

• The late deadline is Jan. 31, with an

application fee of $69.50. The final deadline is Feb. 28, with an application fee of $79.50.

01.20.22 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Social Media Theater Unions Voiceover

Our Experts Maggie Bera is the founder of Actor Aesthetic.

Carlos Neto is a professional dancer and teacher.

Nicole Sellars is a media coach and founder of TV Hosting Academy.

Q:

What’s your No. 1 piece of networking advice, and how can actors use social media to connect with industry pros?

“Write out a sketch and perform it on Instagram Reels. Give us a little behindthe-scenes [insight] into your daily life. Share your favorite moment onstage.

Entertaining content also tends to be trending. The easiest way to keep up-todate is by spending just a few minutes on social media daily…. Shareable content is anything you post on social media that your audience feels inclined to share.

They may tag their friends or even repost it to their own feeds. More shares mean more traffic, which will ultimately bring more potential followers to your page.”

—Maggie Bera “Create a professional email address and add all your social media and website links to your email signature. This will maximize your reach. Every time someone forwards your email, the signature will be attached.” —Carlos Neto

*Submit questions for our Experts on Backstage’s Facebook 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 01.20.22

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM

“Actors should put a digital pitch package or electronic press kit together. Always include a headshot, a few lines about who you are, highlights of your project, and how you can add value to a potential segment you’re interested in appearing on.

For these opportunities, actors should reach out to the entertainment reporter or producer for that segment. In some cases, stations have talent bookers that actors can reach out to as well. Another great way for actors to gain visibility is by guest posting. Actors should research what publications or digital platforms have an audience they want to reach. Choose an angle that speaks to the audience and adds value, and pitch yourself to the relevant editor.” —Nicole Sellars

backstage guides

In The Envelope The Actor’s Podcast

Ken Jeong

Oscar Isaac & Jessica Chastain

Corey Hawkins

Michael Shannon

Rosie Perez

Catriona Belfie

Subscribe now wherever you listen to podcasts!

backstage.com/podcasts

BACKSTAGE.COM

THE BEST PICTURE OF THE YEAR The Washington DC Area Film Critics Association Phoenix Film Critics Society Iowa Film Critics Association Las Vegas Film Critics Society

WINNER Toronto Film Festival • People’s Choice Award

WINNER

WINNER

WINNER

WINNER

WINNER

WINNER

WINNER

WINNER

Twin Cities Film Festival Best Feature Film Award

National Board of Review Best Supporting Actor - Ciarán Hinds

Dallas Film Festival Audience Award

Middleburg Film Festival Audience Award

San Diego Film Festival Audience Award

Montclair Film Festival Audience Award

Mill Valley Film Festival Overall Audience Favorite

A

Scottsdale Film Festival Audience Award

KENNETH BRANAGH

FILM

BEST ENSEMBLE CAST

© 1995 SAG-AFTRA

S C R E E N A C T O R S G U I L D A W A R D S® N O M I N A T I O N S

Cait ríona Ba lfe, J ud i Dench, J am ie D orn an , Jude Hill, Cia rán Hinds, Coli n M org an

OUTSTANDING PERFORMANCE

BY A FEMALE ACTOR IN A SUPPORTING ROLE Ca i tr í o n a Ba l f e

“Visually stunning and gloriously human, ‘Belfast’ bursts with life.”

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