Backstage Magazine, Digital Edition: January 27, 2022

01.27.22

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JASON SUDEIKIS

Outstanding Male Actor in a Comedy Series

BRETT GOLDSTEIN

Outstanding Male Actor in a Comedy Series

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HANNAH WADDINGHAM Outstanding Female Actor in a Comedy Series

JUNO TEMPLE

Outstanding Female Actor in a Comedy Series

1/21/22 4:13 PM

01.27.22

Kristen Stewart

Tells the Truth

“It’s not what I gravitate toward, trying to hide behind characters”

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What Marvel’s box office domination means for actors

Maggie Gyllenhaal isn’t interested in pleasing everyone

Inside the

“King Richard”

search for Venus and Serena Williams 6 Pages OF CASTING NOTICES

24 W I N N E R

21 WINNER

8 WINNER

BEST SUPPORTING ACTOR KODI SMIT-MCPHEE

BEST ACTOR BENEDICT CUMBERBATCH

BEST SUPPORTING ACTRESS KIRSTEN DUNST

LOS ANGELES FILM CRITICS ASSOCIATION • NEW YORK FILM CRITICS CIRCLE NEW YORK FILM CRITICS ONLINE • SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE WASHINGTON DC AREA FILM CRITICS ASSOCIATION

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INCLUDING

INCLUDING

INCLUDING

“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.”

“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.”

“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.”

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®

© 1995 SAG-AFTRA

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S A G AWA R D NOMINATIONS

A FILM BY ACADEMY AWARD® WINNER JANE CAMPION

CRITICS CHOICE AWARD NOMINATIONS

Contents The Green Room 8 The 2022 SAG Award nominations 10 This week’s roundup of who’s casting

what starring whom

12 Casey Wilson on “The Shrink Next Door” and writing your own work

Advice 16 NOTE FROM THE CD Marvel mayhem

vol. 63, no. 02 | 01.27.22

Cover Story Cover Story Hide Prospecting and Seek for Gold Kristen Stewart is never not herself— Your official guide to the even when she’s playing someone else2020 Oscar nominations page 16

page 22

The Green Room 6 Broadway’s audience boom 8

10 Annie Murphy reflects on “Schitt’s Creek”

Advice 13 CRAFT

18 #IGOTCAST

Survive and thrive

Esha More

13 #IGOTCAST

18 SECRET AGENT MAN

Mark Beauchamp

Training to the top

14 SECRET AGENT MAN

Features

The power of intention

6 BACKSTAGE 5 WITH...

Features

J. Smith-Cameron

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14 MEET THE MAKER Maggie Gyllenhaal, “The Lost Daughter” writer and director

BACKSTAGE 5 WITH...

David Alan Grier

12 MEET THE MAKER

16 THE ESSENTIALISTS

Cathy Yan, “Birds of Prey” director

Tamara Deverell, production designer

20 IN THE ROOM WITH

14 THE ESSENTIALISTS

Avy Kaufman

Jeremy Woodhead, hair and makeup designer

28 BEAUTY OF THE BIOPIC The emerging trend this awards season: biography over originality

15 IN THE ROOM WITH Victoria Thomas

40 ASK AN EXPERT

21 OUR DREAM BALLOT

Kate Huffman and Libby Parker on body image and self-esteem

And the 2020 Oscar SHOULD have gone to…

Casting

32 ASK AN EXPERT

Amy Russ on principal and background work

30 New York Tristate 32 California

Casting

34 National/Regional

22 New York Tristate

Kristen Stewart photographed by Shayan Asgharnia on Nov. 14, 2021, at the Simon House in Beverly Hills, CA. Hair by Adir Abergel and Eduardo Mendez. Styling by Tara Swennen.

Makeup by Jamie Greenberg. Necklace by Jillian Dempsey. On cover: Outfit by Rag & Bone.

Heels by Jimmy Choo. This page: Suit by Pinko.

Bralette by RVN. Shoes by Christian Louboutin.

Additionally in story: Tank top by RE/DONE. Shorts by Pinko. Shoes by Christian Louboutin.

Cover designed by Ian Robinson.

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his week’s roundup of who’s T casting what starring whom

27 California 28 National/Regional Cover illustration by John Jay Cabuay.

Cover designed by Ian Robinson.

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01.27.22 BACKSTAGE

Backstage was founded in 1960 by Ira Eaker and Allen Zwerdling

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BACKSTAGE, vol. 63, no. 02 (ISSN#53635 USPS#39740) IS A WEEKLY PUBLICATION, WITH OCCASIONAL DOUBLE ISSUES IN MARCH, MAY, SEPTEMBER, FEBRUARY, JUNE, AUGUST AND DECEMBER AND ONE ISSUE PUBLISHED IN APRIL AND JULY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201. Publication Mail Agreement No. 40031729. ©2017 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Joshua Ellstein, Chief Executive Officer.

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F O R

Y O U R

C O N S I D E R A T I O N

BEST PICTURE BEST ACTRESS BEST ACTOR BEST SUPPORTING ACTOR ALANA HAIM

COOPER HOFFMAN

“ALANA HAIM LIGHTS UP THE SCREEN IN

A FILM DEBUT THAT IS ONE FOR THE AGES.” – PETER TRAVERS, ABC NEWS

BEST SUPPORTING ACTOR

BRADLEY COOPER

“BRADLEY COOPER AS JON PETERS IS

A MAJOR HIGHLIGHT OF THE ENTIRE FILM-GOING YEAR.” – VARIETY

BRADLEY COOPER

NOMINEE

SCREEN ACTORS GUILD AWARDS® BEST SUPPORTING ACTOR

BEST ACTRESS

BRADLEY COOPER

ALANA HAIM

WINNER

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WINN E R

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BAFTA

NOMINEE

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Backstage 5 With...

J. Smith-Cameron

By Allie Volpe

J. Smith-Cameron has thrived as a working stage actor for decades, even notching a Tony nomination in 1991.

Recently, though, she has become a TV lightning rod thanks to her fanfavorite performance as corporate attorney Gerri Kellman on the HBO hit “Succession.” For all of Gerri’s measured caution on the series’ recently concluded third season, Smith-Cameron masterfully lets her character’s anxieties and exasperation bubble to the surface.

What has playing Gerri on “Succession” added to your acting skills? The level of expertise she has to have about both big business and acquisitions, but also legal matters, is really challenging. It’s hard to memorize her lines. I did a film in November, and the part was a lead, and I was in a huge number of scenes, and I had not one moment of trouble learning lines.

What is your worst audition horror story? I remember auditioning for [Tom Stoppard’s] “On the Razzle”; I must’ve been in my early 20s. I had the word “panoply” in my line, and I said “pan-opoly.’’ After the whole thing was over, the director said, “I really liked your pronunciation of ‘panoply,’ ” and I said, “I must’ve thought it was a board game like Monopoly.”

Luckily, the whole room laughed.

What’s the wildest thing you ever did to get a role? I did play Juliet in a regional theater, and I was a little bit older than what

What performance should every actor see? Sissy Spacek in “Coal Miner’s Daughter.”

“Considering the kind of company she’s in, Gerri has to be on point all the time.

You have to be ready to pounce.”

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

they were looking for. They were trying to find someone who was 20 or 21, and I was in my mid- or late 20s. I hadn’t prepared that much, because I didn’t want to be disappointed when I didn’t get it. I remember getting out of bed the night before my audition and thinking, You’re not really trying for this because you’re sure they’re not going to consider you. I turned the light on and really worked on the thing way into the night.

When I went in, I just owned it. Their hair was blown back.

What advice would you give your younger self? I should have been bolder—in every way. When I started acting, I was a drama school purist. I wanted everything to be so completely real and untheatrical. Things can be broader and still be real.

That’s the trick: being believable and believing what you’re saying and having your intentions be sincere as a character.

Also, I didn’t dare be very ambitious when I was younger. I wanted to see if I could play good parts and make enough money to live, which is not a bad way to be. I’m very proud of my résumé now. I didn’t do years of shitty things. I didn’t try to get day player parts on TV shows. There’s nothing wrong with those parts, but they’re not always thoughtfully written.

Whereas if you play Juliet in a regional theater somewhere, that’s a really worthwhile thing that you’ll always reflect back on, and you’ll be proud of what you learned from that.

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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Cate Blanchett and Tyler Perry in “Don’t Look Up”

Awards

Your 2022 SAG Award Nominees Are…

The list is this year’s best indicator yet of Oscar contenders to come

By Jack Smart

BACKSTAGE 01.27.22

“House of Gucci,” Apple TV+’s “CODA,” and Netflix’s “Don’t Look Up.” Netflix amassed the most nominations this year, totaling 17 across the film and television categories.

Leading the film tally was “House of Gucci,” which also notched individual nominations for leading actress Lady Gaga and supporter Jared Leto; and Netflix’s “The Power of the Dog,” which secured nods for Benedict Cumberbatch, Kirsten Dunst, and Kodi Smit-McPhee.

Will Smith of “King Richard,” Caitríona Balfe of “Belfast,” Troy Kotsur of “CODA,” and Cate

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NIKO TAVERNISE/NETFLIX

HOLLYWOOD’S BIGGEST awards show celebrating and voted upon by actors has revealed its nominees, kicking a competitive 2022 awards race into high gear. Nominations for the 28th annual Screen Actors Guild Awards, announced Jan. 12, span new and returning contenders from both the big and small screens.

The nominees for SAGAFTRA’s top film award, the outstanding cast in a motion picture prize, are the ensembles of Focus Features’ “Belfast,” Warner Bros.’ “King Richard,” United Artists Releasing’s

Blanchett of “Nightmare Alley” and “Don’t Look Up” were also among the double nominees.

Other actors competing in the SAG film categories include Nicole Kidman and Javier Bardem of Amazon’s “Being the Ricardos,” Jessica Chastain of Searchlight Pictures’ “The Eyes of Tammy Faye,” and Ruth Negga of Netflix’s “Passing,” among others.

In the TV drama categories, HBO’s “Succession” notched individual nods for stars Sarah Snook, Brian Cox, Kieran Culkin, and Jeremy Strong.

Despite dominating the lists of other awards voting bodies, the Jesse Armstrong series has never been recognized at the SAG Awards until now.

Its cast is nominated for outstanding drama ensemble alongside Hulu’s “The Handmaid’s Tale,” Apple TV+’s “The Morning Show,” Paramount’s “Yellowstone,” and Netflix’s Korean thriller “Squid Game.” The latter is the first

non–English language entry in the category’s history, and it earned additional nods for stars Jung Ho-yeon and Lee Jung-jae.

TV comedy contenders include several winners from the 2021 Emmy Awards. Last year’s SAG winner for male comedy actor, Jason Sudeikis, the creator-star of Apple TV+’s Emmys-dominating “Ted Lasso,” is nominated alongside his co-star Brett Goldstein, plus Juno Temple and Hannah Waddingham. Joining that series in the outstanding comedy ensemble category are HBO Max’s “Hacks,” Netflix’s “The Kominsky Method,” and Hulu’s “The Great” and “Only Murders in the Building.”

Similarly, Emmy and recent Golden Globe winner Kate Winslet could extend her victory lap for HBO limited series “Mare of Easttown.” Among the SAG Awards’ 15 categories, limited series and TV movie contenders compete individually rather than in ensemble categories. Winslet is nominated along with co-star Jean Smart, Jennifer Coolidge of HBO’s “The White Lotus,” Cynthia Erivo of National Geographic’s “Genius: Aretha,” and Margaret Qualley of Netflix’s “Maid.”

Up for the male limited series acting prize are Murray Bartlett of “The White Lotus,” Oscar Isaac of HBO’s “Scenes From a Marriage,” Michael Keaton of Hulu’s “Dopesick,” and Emmy winners Ewan McGregor of Netflix’s “Halston” and Evan Peters of “Mare of Easttown.”

The 28th annual SAG ceremony will be simulcast live on TNT and TBS on Feb. 27 from the Barker Hangar in Santa Monica, California. Actor and philanthropist Helen Mirren will receive the 2022 SAG Life Achievement Award.

identity. Koy will star as a nurse and recent divorcée who moves back in with his mother—with his own son in tow. McCarthy/ Abellera Casting is finding actors for the single-camera comedy from producers Randall Park and Michael Golamco. So far, Koy is the only performer attached. Production is slated to take place in Los Angeles during pilot season in mid-March.

What’s Casting

Chamian. The romance from production company Zanuck Independent is currently in preproduction, and cameras are scheduled to begin rolling this June. Principal filming is set to take place in Budapest.

Stanley Tucci Saves the Day The Oscar nominee will star in a romance set in post-WWII Paris

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!

“The Man Who Saved Paris” This upcoming period drama

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FILM

A ‘Weird’ Role for Radcliffe

By Casey Mink

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

ALWAYS ONE TO TAKE AN UNCONventional route in his career, Daniel Radcliffe has signed on to portray “Weird Al” Yankovic in an upcoming feature film about the iconic parody musician’s life.

“Weird: The Al Yankovic Story” will stream exclusively on the Roku Channel, making it the platform’s first biopic. It features a script written by Yankovic and Eric Appel; the latter will also direct. Production is slated to begin in Los Angeles this winter.

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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.

from director Dean Zanuck and screenwriter Phillip Jayson Lasker finds Stanley Tucci in charge of a taxing restoration project. The Academy Award nominee will star as Chevenchy, a Parisian brothel owner who descends into poverty during the Nazi occupation of the city.

After the war ends, the French government tasks him with restoring the City of Light’s image. Kristin Scott Thomas, Jean Reno, and Tom Wilkinson will also star, with additional casting coming through Denise

“Josep” A new comedy pilot for ABC from star and executive producer Jo Koy asks whether mother truly does know best.

The series will pull from his standup act, which centers on Filipino American culture and

“Girl You Know It’s True” It was a revelation that shook the music industry to its core: ’80s R&B sensation Milli Vanilli was riding high with a best new artist Grammy win when it was discovered that they not only regularly lip-synced to a prerecorded track, but that the vocals were dubbed. Fab Morvan and the late Rob Pilatus are now the subject of a new documentary from director-producer Luke Korem, which will follow the German French duo’s rise and fall. “Girl You Know It’s True” will feature interviews with Morvan and the actual vocalists behind Milli Vanilli’s chart-topping hits. Automatic Sweat Casting is tapping actors for reenactments to be seen in the documentary. Though it’s still in the early stages of preproduction, filming is rumored to begin in South Africa this fall.

things I want to be in,’ you can still do something creative. As much as I love writing, acting is my greatest love. But there’s something about walking into an audition room [and feeling] really desperate. I need a job; I don’t have money; I have to get this, or: I really want this part. Something about writing grounded me, like: OK, I am working on this other creative thing. It’s hard to act alone.

How many one-woman shows can I do? So at a certain point, writing allowed me to be creative on my own time.”

Casey Wilson on “The Shrink Next Door” Backstage Live

who’s a casting director said her one bit of advice to everyone was for your reader to read much more softly than you, because they’re near the camera. It drives [CDs] nuts, and sometimes they stop playing tapes when the reader is too loud. That was a hot tip!”

In Her Presence Casey Wilson talks self-tapes and being a master of the pen

By Phoebe Yates

The following audience Q&A for our on-camera series Backstage Live was compiled in part by 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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bestselling author in 2021 with her memoir “The Wreckage of My Presence.” Read on for her best tips on self-taping, writing when you’re in a rut, and always having the nerve to challenge yourself.

While self-taping in quarantine (which is how she booked “The Shrink Next Door”), Wilson got some tips from a casting director friend. “[Self-tapes] are almost harder, because you want to do it a thousand times. My friend

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THEATER

‘A Strange Loop’ Returns to NYC

By Casey Mink

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

“A STRANGE LOOP,” WINNER OF THE 2020 Pulitzer Prize for Drama, has announced full casting and dates for its Broadway premiere. In his Broadway debut, Jaquel Spivey will lead the cast as Usher; he’ll be joined by original Off-Broadway cast members Antwayn Hopper, L Morgan Lee, John-Michael Lyles, James Jackson Jr., John-Andrew Morrison, and Jason Veasey.

Previews will begin April 6 at the Lyceum Theatre, with an official opening set for April 26.

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BETH DUBBER

CASEY WILSON HAS LONG been finding ways to push her boundaries as a creative powerhouse. In recent years, the former “Saturday Night Live” and “Happy Endings” star traded in straight comedy for dark dramedy on “Black Monday”; she did it again last year on Apple TV+’s “The Shrink Next Door” opposite Will Ferrell, Paul Rudd, and Kathryn Hahn. In 2019, she directed and co-wrote the short film “Daddio.” Wilson also became a New York Times

Wilson’s writing projects have kept her grounded in an unpredictable industry.

“The writing piece of my career has always saved me, in the sense that when you can’t act, or you’re like, ‘I’m not getting a part,’ or, ‘I’m not in the kinds of

She has one piece of advice when it comes to writing your own work.

“As cheesy as it is, I think everyone has their own story. If you look at someone’s body of work, you see that story told in various ways over time. We all have our narrative. I say: Exploit your own story. Everybody’s got something to say, and we need more points of view; so if you’re thinking about it, try it! My husband says this, but I think he’s quoting someone: ‘Writing is finishing.’ Many of us want to write but just don’t finish anything. We let our own self-destructive voice get in the way, and I think a lot of times, successful writers are just able to sit down and finish.

That might be what’s standing between you and a job.”

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Meet the Maker

Maggie Gyllenhaal, “The Lost Daughter” writer and director

By Casey Mink

Olivia Colman in “The Lost Daughter”

“THE LOST DAUGHTER” MAY mark her directorial debut, but Maggie Gyllenhaal has been on enough sets in her years as an actor to know exactly how she wanted to run hers.

“Something I’ve learned to do as an actress is: if I need some kind of permission, to ask for it with a spoonful of sugar,” she says. “I really wanted to have a set where nobody had to bother with that bullshit, where I was interested in everyone’s ideas—where they didn’t have to ‘spoonful of sugar’ it with me.”

Adapted by Gyllenhaal from Elena Ferrante’s novel of the same name, the film is a harrowing blend of psycho-thriller and domestic drama about the expectations of motherhood, and what happens when they’re not met.

Gyllenhaal, who has been nominated for Emmy and Academy Awards for performing, has long wanted to step behind the camera, “in some ways consciously and in some ways unconsciously,” she says.

She adds that she’s never been the kind of actor who’s “satisfied to just stand on a mark where I was told to stand.”

So when she came across Ferrante’s book, “I could see it cinematically; I could see the reason to translate it into another form,” she recalls.

But the film’s tone was not

“There were times when people I respect didn’t agree with the choices I was making, but if I felt they were right, I stood by them.”

immediately evident, and Gyllenhaal spent the bulk of the preproduction period honing it.

Still, it wasn’t until she got on set and began to interpret the material with her actors that the piece formed its spine.

“There was this process with the actors; I could feel when we were what I would call ‘in the current,’ when all of a sudden, it’s something alive,” she says. “And I’m like, OK, I thought the tone was this, but it shifted just incrementally by the beauty of the way that scene was played. [What the film] ended up being was there from the beginning, but it got deeper and clearer and more focused and sharper in every single step of the process.”

Anchored by firecracker performances from Olivia

Colman, Dakota Johnson, and Jessie Buckley, the film wasn’t short on talent for Gyllenhaal to work with. But she also knows that no two actors’ working styles are alike, and she needed to be comfortable with all of them.

“I have a lot of opinions about how to help an actor get to a really exciting place. I have opinions about how I’d like to be helped to get to that place, and that certainly translated into the way I worked with my actors,” she says. “Everybody needs to be taken care of and seen in a different way, just like people. Some people want to have a long dinner and talk everything out. Other people, that would kill it for them. Part of the job of a director is to honor whatever [actors] need to get to a place of freedom.”

That freedom, Gyllenhaal adds, allows actors to access real spontaneity on camera, when “you don’t know what’s going to happen, even if you have a point of view about how you walk into the scene.”

For directors to succeed, they need to tap into a similar freedom so they can make decisions and believe in them unapologetically.

“The thing that served me was really to listen to myself. I got great notes and I took them often, but I took them when they felt right to me,” she says.

“There were times when people I respect didn’t agree with the choices I was making; but if I felt they were right, I stood by them. I’m so glad I did, because the movie is its own expression that isn’t watered down by trying to please everybody.”

NETFLIX

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culture +

Spotlighting the people and projects you need to know THE ESSENTIALISTS

TAMARA DEVERELL production designer

By Casey Mink

Less is more when it comes to film and television sets. One major exception? The work of Guillermo del Toro. Just ask TAMARA DEVERELL, the production designer for the Oscar-winning auteur’s latest noir saga, “Nightmare Alley.”

More is more with del Toro.

“The thing with Guillermo is: So much of the story is the look of the films.

With other projects, you want to sort of slide back; you want the production design not to overtake the experience of watching the movie. But with Guillermo, every little prop, the micro and the macro—he sees everything, and he really shows

Note From the CD

Marvel Mayhem

By Marci Liroff

BACKSTAGE 01.27.22

and of the remaining five, four were franchise sequels or reboots. (“Free Guy,” in 10th place, was the only original property.) And generally, the projects that have earned money at all fall into the genre space that includes action, superhero, and kids’ movies.

These aren’t the only films studios are greenlighting, but they are the ones the industry is placing its bets on and spending millions to market. The numbers indicate that these days, the only surefire way to attract an in-person audience is to book an “event” movie like “Spider-Man” or “F9: The Fast Saga.” It begs the question: Are these big-budget, hyper-produced films the only ones we’ll be seeing on the big screen in the years to come? I certainly hope not.

As audiences, we’re still in

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Production design is a multidisciplinary field.

“I went to art school, and I studied everything: painting, printmaking, sculpture, filmmaking, photography.

search of good stories. We want to see ourselves reflected in a way that exposes our flaws, vulnerabilities, kindness, and quirkiness. As a casting director and producer, my taste veers toward smaller movies without special effects that tell personal stories—ones like 2021 indie “C’mon C’mon.”

While these films have never made a killing at the box office, I believe that with all the streaming platforms available, these stories will still be told in some fashion. But especially in our current situation, predicting a long-term trend is nearly impossible.

Actors may wonder how all of this affects them. Projects with Marvel present a huge opportunity for any performer, but there are still many other roles to fill in film and television. Lower-budget movies, indie films, and limited series are all booming.

That said, should you be training specifically to become an action hero? Your craft would

I wanted to be an artist.

When I work on something like ‘Nightmare Alley,’ that’s a realization of me as an artist…. Don’t learn one thing. I think part of my success as a production designer comes from the fact that I studied everything. Cooking, sewing—everything you can lay your hands on, because it’s all information about life, color, and texture.”

be better served by focusing on the priority of all stories: We need to see actors telling their truth. Physical fitness is important in this field, but so is imagination—especially if you end up being cast in movies with special effects. When you’re on a soundstage surrounded by green screens and you have to react to a tennis ball that represents a giant asteroid coming toward you, your imagination is your best friend.

I’ve always encouraged actors to tap into their inner child.

Remember when you created a whole universe in your toy box? Acting is sometimes the same thing. We can’t care about looking like clowns; we are at play. As an adult actor, those childlike skills are just what you’re looking for.

Want more?

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

backstage.com

ILLUSTRATION: MARGAUX QUAYLE CANNON; “NIGHTMARE ALLEY”: KERRY HAYES

IT’S BEEN A ROLLER COASTER ride to calculate box office trends for the last two years.

The way we view first-run movies has completely changed over the course of the pandemic due to theaters closing, isolation directives, and distributors taking films straight to streaming.

For years, critics and film executives alike have been looking for the magical formula to draw audiences in.

Since its release in December, “Spider-Man: No Way Home” has grossed over $700 million domestically (as of this printing). Internationally, it has become the eighth-highest-grossing movie of all time.

Those would be huge numbers even in nonpandemic times. And it’s a trend we’ve seen across the board. In 2021, five of the 10 top-earning features were Marvel properties,

it. I felt like I actually had to force myself to push more into the foreground of the film with the colors, especially with the carnival and the banners.”

SAG AWARDS® NOMINEE OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES

MI C HAEL KE ATON

3 CRITICS CHOICE AWARDS NOMINATIONS BEST LIMITED SERIES

Best Actor In A Limited Series or movie made for television

MICHAEL KEATON

Best Supporting Actress In A Limited Series or movie made for television

KAITLYN DEVER

“MICHAEL KEATON IS FANTASTIC” – VULTURE

“KEATON IS INCREDIBLE” – PASTE

“POWERFUL PERFORMANCES” – THE HOLLYWOOD REPORTER

project: DOPESICK – BACKSTAGE FP AD

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Spotlighting the people and projects you need to know

Secret Agent Man

Training to the Top

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key is not to get stuck in one course for too long. You want to study with different teachers in each of these categories.

Two other primary choices are classes in commercial acting and voiceover technique. You should pursue both, because they’re a huge part of the business. Working in these areas will help you earn additional income, which will then allow you to make a living, book more auditions, and maybe even pay for new classes. See how that works?

The secondary training options are more à la carte.

What fits your unique desires, strengths, and needs?

When casting director Ellen Chenoweth was putting together the ensemble of “The Tragedy of Macbeth,” I was able to score several auditions for smaller roles. Unfortunately, some of the clients who taped

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#IGOTCAST. Esha More

By Jalen Michael ESHA MORE has clear-cut methods for finding success as an actor, including an audition prep trick she swears by.

Find a community to share your successes with.

“If you’re not careful, it can get lonely. Make it a point to make friends.

Working day and night to advance your career can burn you out a lot more quickly than you expect. It’s way more fun to share your success with your friends and your community than celebrate by yourself.”

Small roles can lead to big opportunities.

“Don’t be afraid to take on smaller roles or be part of smaller projects.

Connections can spark anywhere. You never know what may come out of an opportunity!”

Try this game-changing audition hack.

“As soon as I get the sides, I memorize my lines. I outline the C.R.O.W. in the scene (character details, relationships, the objective, and the where). Then I change up the genre, which helps me get out of my head and find any subtext that I might have missed before.”

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

backstage.com

ILLUSTRATION: SPENCER ALEXANDER; MORE: DAVID S. HOGAN PHOTOGRAPHY

THEY SAY VARIETY IS THE spice of life. I totally agree. As an actor, variety is especially important when deciding what kind of training to pursue.

There’s nothing more limiting than being stuck in the same scene study class for years on end. Where’s the spice in that?

If you’re at the dawn of your career, there aren’t going to be a lot of credits on your résumé.

So how do you make yourself more attractive to agents? One answer is to focus on expanding your range of training. What better time to work toward that goal than in the first few months of the new year?

Let’s break down your options into primary and secondary choices. The primary ones are obvious: I’m talking about scene study and cold reading classes. Training in both is essential; they’re the foundation of your program. The

for the project weren’t able to handle the classical material.

You’re probably asking: What’s the big deal? Shakespearean film adaptations come along once in a blue moon. That’s true, but I would argue that an actor who masters that type of language can handle pretty much anything that comes their way, including the technobabble you often hear on sci-fi shows. (“My brother’s positronic brain has a type-L phase-discriminating amplifier” is a real line I once heard on an episode of “Star Trek: The Next Generation.”)

Another great secondary option is improv training, especially if you want to pursue comedic roles or commercial work. It teaches you to be in the moment and how to listen and react. CDs love to see improv training on an actor’s résumé, and every agent I know agrees that improv skills are extremely valuable.

Over the last few years, one of my clients, a very physical actor, has earned an absurd amount of money by doing motion-capture work. That wasn’t one of his long-term career goals; he was just looking to shake things up and decided to take a class. Next thing you know, he’s one of the top people in the field. You never know where you can go by being thoughtful about the classes you take.

Movement, stunt work, firearm training, stage combat, dance, hosting, accent training, interview skills, and singing and voice are just some of the options available to a performer. Any of these will make you a more well-rounded actor. I also believe it’s fun and invigorating to try something outside your comfort zone!

Your training is one of the few things you can control in this business. What and where you study is your decision and yours alone. Get out there and make some choices that will send the message that you’re serious about your career.

FO R YOUR CO NSID ERATIO N

5 SAG AWARDS NOMINATIONS ®

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A DRAMA SERIES

BRIAN COX

OUTSTANDING PERFORMANCE

BY A MALE ACTOR IN A DRAMA SERIES

WGA AWARDS NOMINEE DRAMA SERIES

JEREMY STRONG

OUTSTANDING PERFORMANCE

BY A MALE ACTOR IN A DRAMA SERIES

SARAH SNOOK

OUTSTANDING PERFORMANCE

BY A FEMALE ACTOR IN A DRAMA SERIES

3 GOLDEN GLOBE® AWARDS BEST DRAMA SERIES

JEREMY STRONG

BEST PERFORMANCE BY AN ACTOR IN A DRAMA SERIES - TELEVISION

SARAH SNOOK

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE ON TELEVISION

KIERAN CULKIN

OUTSTANDING PERFORMANCE

BY A MALE ACTOR IN A DRAMA SERIES

AFI AWARDS HONOREE TELEVISION PROGRAMS OF THE YEAR

8 CRITICS CHOICEBESTAWARDS NOMINATIONS DRAMA SERIES BRIAN COX

BEST ACTOR IN A DRAMA SERIES

JEREMY STRONG

BEST ACTOR IN A DRAMA SERIES

SARAH SNOOK

BEST SUPPORTING ACTRESS IN A DRAMA SERIES

KIERAN CULKIN

BEST SUPPORTING ACTOR IN A DRAMA SERIES

MATTHEW MACFADYEN

BEST SUPPORTING ACTOR IN A DRAMA SERIES

NICHOLAS BRAUN

BEST SUPPORTING ACTOR IN A DRAMA SERIES

J. SMITHCAMERON

BEST SUPPORTING ACTRESS IN A DRAMA SERIES

“The FINEST DRAMA ENSEMBLE on TV ” EN TERTAINMEN T WEEKLY

“STRONG gives a world-class performance ” NPR

“CULKIN is exceptional ” T V GUI DE

“SNOOK is mesmerizing ” THE TIMES

“★★★★★

ensemble work doesn’t get better than this ” FINANCIAL TIMES

“COX’S performance is staggering ” N EWSDAY

culture +

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

Avy Kaufman

The award-winning casting director on finding fresh-faced talent for “Succession” and “King Richard”

By Jack Smart

to find actors who can deliver that tone. There’s a tone [on “Succession”] that weaves in and out of the believable world.

Sometimes that world is so outrageous, and you’ve got to believe it. If I try to say those lines, they’re just going to come out not as well. When you have actors reading, it becomes simple for me: Whom do you believe? Who’s going to fit in with this dialogue? Everyone’s got to really raise the bar with certain roles to keep up with the [Roy] family.

What’s your go-to advice for actors who are auditioning for you? The only thing that I would say is: Know your character; know the character you’re bringing into the room. Feel comfortable with that character so that you don’t leave with regrets. Give it all you’ve got.

And do your homework.

AVY KAUFMAN HAS POPULATED SOME OF THE BUZZIEST FILMS and television series of the last few decades, from “Brokeback Mountain,” “The Sixth Sense,” and “Ma Rainey’s Black Bottom” to “Billions,” “High Fidelity,” and Emmy-winning 2021 miniseries “Mare of Easttown.” Over the past year, she has cast “The Chair,” “The Eyes of Tammy Faye,” “Encounter,” “Dopesick,” and “The 355.” She’s in the film and TV mix this awards season for Warner Bros.’ “King Richard,” starring Will Smith as Venus and Serena Williams’ father, and HBO’s “Succession,” both of which dominated the Critics’ Choice and Screen Actors Guild Awards ballots.

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work. But that’s the thing about casting: If you can’t find it, you can’t make it like a wardrobe or a set. You have to find it. But I knew we would, and I thought [Saniyya Sidney and Demi Singleton] were brilliant.

For roles that require specific skills—like tennis for Venus and Serena in “King Richard”— do you look for actors who already have that experience?

How does populating the world of “Succession” work, especially three seasons in?

To nail these things is so not easy. No. 1: I’m always looking

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Does the same apply for selftaped auditions? I think it’s the same thing as if you were walking into a room. I don’t want to say bring your personality into it, because I think that’s going to confuse people with certain roles. Don’t overdo it, because with the self-tape, sometimes you can explode with that.

What misconceptions do actors have about your job?

In this business, we’re all together. I’m rooting for you.

I want you to do a really good job. I want you to get the job.

You get that job, and you make me look good.

Want more?

Read the full interview at backstage.com/magazine

backstage.com

ILLUSTRATION: RAQUEL APARICIO

Reinaldo Marcus Green’s “King Richard” is a biographical film. How did you go about casting its roles, which are based on real people? I’ve worked with [Green] before [on “Monsters and Men”], and he’s done stories based on real people and real situations. This is not a biopic; it’s a drama. I knew that if we didn’t nail [the casting of young Venus and Serena Williams], it wouldn’t

Everybody we brought to Rei had tennis skills. We reached out to tennis camps; we reached out to actors all over America and Canada. That was the first place we started. We always see actors first, and if they have the skills, brilliant. We didn’t plan to teach anyone tennis.

I mean, 100 years ago, I cast “Searching for Bobby Fischer.”

I went to every chess camp and every chess club, because even if he didn’t play it in the film, [it wouldn’t work] if the actor didn’t have the idea of what it means. Same thing with tennis: They have to know.

Kristen Stewart is never not herself— even when she’s playing someone else

By Jack Smart Photographed by Shayan Asgharnia

THE LAST INTERVIEW OF THE LAST DAY OF HER relentless “Spencer” press tour has finally arrived, and Kristen Stewart is somehow still not tired of talking about acting. The self-described “movie nerd” is at her most animated when she’s wrestling with the most nitty-gritty questions about her craft—like whether actors can truly, fully disappear into their roles.

“There’s losing yourself in a character, and it’s really common for actors to say, like, ‘It’s about getting the closest to this person as you can,’ ” she says, then gestures, reaching for the next thought. “But I think in doing that, you’re getting the closest to yourself.”

Stewart understands why some, when discussing a particularly transformative performance, might opt to distance or obscure themselves. “It’s a slippery slope,” she acknowledges.

“You open a door, and you start articulating the fact that this is really vulnerable and really personal. You open yourself in a way that’s a little scary.

“Look, I’m totally not coming for people who sidestep this question and say, ‘No, I disappear into the role. It has nothing to do with me,’ ” she clarifies. “It just doesn’t make sense. It’s totally an illogical answer. Like, how could you possibly be anyone but yourself?”

Few people seem as fully themselves as Stewart. She treats a photo shoot at a lavish house in the West Hollywood Hills— complete with eye-poppingly chic clothing and, at one point, a colorful pet bird—as just another day on the job. Tomorrow, she’ll fly to Vancouver to film a new project and put a pause on promoting her work as Diana Spencer, Princess of Wales.

“Spencer,” Neon’s horror-biopic from director Pablo Larraín, has earned Stewart film festival honors and leading actress nominations at the 2022 Critics’ Choice and Golden Globe Awards. But for now, she’s sipping celebratory Champagne out of a plastic cup and giving her full attention to the discussion at hand.

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But back to her rant about how—and how not—to approach acting. Although Stewart hesitates to give fellow artists advice, she’s certain on one point: If you’re losing yourself, you’re lost.

“It’s not what I gravitate toward, trying to hide behind characters,” she explains. “I really want to bare myself and feel revealed and discovered through the lens of cinema and through this sort of new perspective.

“Even if you’re not an actor,” she adds, “anyone who’s not a complete and total narcissist, basically, you use these curiosities to bridge gaps between [yourself and] your fellow man. [Actors] just do the most elaborate version of that, where we try and think about it, we make it physical, we do it sonically—all of it. It’s just thinking, God, I wonder what that’s like. That’s the whole endeavor.”

That’s one of the many reasons “Spencer” can still provide fresh talking points for her months into an awards campaign. The film is an extreme example of that kind of imagination; it’s a jazz riff that’s more interested in emotional truth than biographical fact, and backstage.com

You’re fully knowable, you’re fallible, and you’re ever-evolving and changing. I like to invite people on that journey.

it leads to as thorough a transformation as we’ve seen from Stewart. Taking the opposite approach of many womb-to-tomb Hollywood biographies, Larraín and screenwriter Steven Knight narrow in on Spencer’s separation from Prince Charles (Jack Farthing) over three claustrophobic days at Queen Elizabeth II’s (Stella Gonet) Sandringham House. The movie bills itself as a “fable from a true tragedy.” As Stewart says of the film’s take, “To distill a person and examine their truest colors in a state of trauma makes sense. Those times are so revealing of who you are.”

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In this case, she doesn’t just mean Spencer.

Her extraordinarily physical, impeccably made-up and costumed performance pulls off that cinematic magic trick wherein an icon plays an icon; but Stewart’s mission to use a character to reveal more of herself was put to the test like never before. “The only way I can be truthful about Diana is to focus solely on my perspective of her. If you start playing everyone’s version of her, you’re playing a watered-down person. It’s a nonperson.”

Her approach makes for a performance that’s balanced by precise gestures, expressions, and speech patterns filtered through Stewart’s greatest acting tool: herself.

“I bet you, if you did full side-by-sides [of Diana and me], we don’t walk the same; we don’t talk the same; we don’t do everything the same at all. But I was inspired by her. And all of the things that I did, I think, say just as much about me as they do about her. It’s the both of us,” Stewart says. “There was a melding of souls.”

The child of a filmmaker–stage manager and a TV producer, Stewart began working 01.27.22 BACKSTAGE

onscreen at age 8 after an agent spotted her performing in a school play. Her work in David Fincher’s “Panic Room” and Sean Penn’s “Into the Wild” led to the role of Bella Swan in the “Twilight” film franchise. The part made her a household name and led to the kind of invasive public scrutiny that, yes, bears a resemblance to the way the paparazzi treated Spencer until her untimely death in 1997. Of her years in the spotlight, Stewart admits, “You bring all of this to your work, and so does the audience.”

For an established star, the trick is to use one’s reputation to color and texture a story rather than hiding behind voice, accent work, and prosthetics. “I really like when [wellknown actors] use it,” she says, “versus trying to act like they’re untouchable in this way, or

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they’re unknowable. I’m like, ‘Dude, you’re not unknowable!’ You’re fully knowable, you’re fallible, and you’re ever-evolving and changing. I like to invite people on that journey, and it’s all evident in my work.”

Actors who aren’t yet familiar to audiences can do this, too. “It starts with one person wanting to get closer to why something made them feel things,” Stewart says.

Watch her trajectory through independent film, from playing Joan Jett in “The Runaways” to her César Award–winning performance in “Clouds of Sils Maria,” and you’ll see evidence of an artist finding herself onscreen. As she excavated her own grief in “Personal Shopper,” harnessed paranoia as actor Jean Seberg in “Seberg,” and brought easy charm to “Charlie’s Angels” and “Happiest

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Season,” she grew more comfortable offscreen, too. Defying warnings from industry insiders, Stewart began dating women and owning her queerness; she recently got engaged to screenwriter Dylan Meyer.

Stewart will next adapt and direct Lidia Yuknavitch’s memoir “The Chronology of Water,” making her feature-length debut behind the camera. What excites Stewart more than anything is the collaboration between filmmaker and star. “I feel like great directors get you closer to the things you want, not the things they want. Then, somehow, by osmosis, they get what they want,” she says. “You share a fucking heart.

And when you are finished with the take and you make eye contact with the person who’s directing this movie, who set you on this path—if you’re not at the same rhythm, if they’re not there with you, [the connection is] not going to be evident in the movie.”

How often does she make that connection?

Practically never, she says, laughing. “When that happens, I literally do backflips and jump for joy.” (She has stated in previous interviews that her résumé probably only includes “five really good films.”) But while shooting “Spencer” with Larraín, cinematographer Claire Mathon, and a tight-knit crew at various castles across Germany, Stewart experienced that synergy more than ever before. Especially in the semi-improvised “controlled chaos” opposite the young actors playing Prince William and Prince Harry (Jack Nielen and Freddie Spry), she says, “everything just started vibrating…. It’s so sacred, the moments that we are rolling and the moments that I am attempting to channel the things I’ve learned.

“As composed as the movie is, it was a mad dash. It was always that we prepped and prepped and fucking prepped. And then once we got there, it just felt like juggling water— like we were throwing water balloons. Every single time, I felt that our balance and connection held the content.”

That leads into Stewart’s ultimate advice on becoming both a movie star and actor: Love the craft enough to spend an entire career chasing that high. “This is what keeps you working—trying to get to that point,” she says. “It’s so rare that, when it happens, you’re like, Oh, my God, this would sustain me for 10 fucking years!”

If you’re as passionate about creating characters and art as Stewart is, you’re well on your way. “I love movies so much—the alchemy of it, how many people it takes,” she says. “There are things, whether they’re ways of expressing an idea, an evocative image, an evocative sound, that are truer than the truth. That’s what cinema gives us; it gives us this manifestation of dreams. We get to actually take the most inside notions and externalize them, find pictures and words for them.”

The reason we make movies, she concludes, is to answer one question: “What does it feel like to be alive?” backstage.com

Beauty of the Biopic The emerging trend this awards season: biography over originality

By Jack Smart DEAR BACKSTAGE READER, Do you want to win an acting award? If so, you should consider playing a real person rather than a fictional character. The former is more likely to capture voters’ attention, and so far, the 2022 awards season indicates that trend is due to continue.

Consider the recently announced Screen Actors Guild Award film nominations, which are particularly prophetic this season. Because the Critics’ Choice Awards have been postponed and the 2022 Golden Globes announced unusually muted results via Twitter instead of in a televised ceremony, SAGAFTRA’s nominations are our best indicator yet of who’s in the running for the 94th annual Academy Awards. Of the SAG Awards’ leading ladies in film, all but one (Olivia Colman in “The

Lost Daughter”) are playing reallife figures. In the leading male category, only two (Benedict Cumberbatch in “The Power of the Dog” and Denzel Washington in “The Tragedy of Macbeth”) are fictional.

The many controversies dogging the Hollywood Foreign Press Association notwithstanding, the Golden Globe results speak to this tendency to recognize biographical over fictional performances. Among the winners were Nicole Kidman as Lucille Ball in “Being the Ricardos,” Will Smith as Richard Williams in “King Richard,” and Andrew Garfield as Jonathan Larson in “Tick, Tick…Boom!” If you also count contenders playing roles that are recognizable because they’re

Jennifer Hudson in “Respect”

remakes (Globe winners Ariana DeBose and Rachel Zegler in “West Side Story,” Critics’ Choice nominee Peter Dinklage in “Cyrano,” or SAG nominee Cate Blanchett in “Nightmare Alley,” for example), the amount of actors who are playing characters completely from scratch is small.

A number-crunching study from the Hollywood Reporter confirmed that playing real people gives you much greater odds of notching an Oscar nomination or win. Even more fascinating is that this trend has increased over the past two decades; in the 21st century, close to half of all nominees have gotten on the ballot by playing a real person.

One explanation for this is that a re-creation provides a more obvious metric of success than a creation: Does the actor do a

Sincerely,

Jack

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backstage.com

QUANTRELL D. COLBERT

good job transforming into or inhabiting an actual person we can reference? In a BBC article titled “How to Win an Oscar,” journalist Helen O’Hara pointed out that “it is extremely difficult to see what difference is made and which performance is better than another” when it comes to fictional characters. “But when an actor plays a real person, you can judge a little better.”

Other factors include the actor’s resemblance to a character and the source material’s commitment to documentary-like facts.

Jennifer Hudson doesn’t look much like Aretha Franklin, but SAG nominators clearly considered the true-to-life re-creations in “Respect.”

Golden Globe and Critics’ Choice nominee Kristen Stewart provides a physically and cosmetically authentic Princess Diana, but the events of “Spencer” are far from factual (an element that might have factored into her SAG snub).

Considering whether Kidman resembles and delivers essential truths about Ball is part of the fun for awards voters.

Looking at what’s shaping up to be a thrillingly competitive awards season for film stars, I can’t help but admire the character-builders who started with less rather than more. While Smith, Garfield, and the “House of Gucci” cast had actual people to research, and the stars of book-to-film adaptations “Dune,” “The Lost Daughter,” and “The Power of the Dog” had source material to read, someone like SAG nominee Caitríona Balfe had only her own relationship with the politics and history of Ireland to bring Ma to life in “Belfast.”

As always, I’m hoping there continues to be variety in what is considered an award-worthy performance.

We don’t want pursuing a biographical role to become a calculated strategy employed to win over voters.

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE

OUTSTANDING PERFORMANCE

BY A FEMALE ACTOR IN A SUPPORTING ROLE

ARIANA DEBOSE

“ VIBRANT,

URGENT, UTTERLY BEAUTIFUL.

‘West Side Story’ once again feels thrilling, romantic, drenched in movement, life and color — and ultimately, an aching sadness.

A film whose greatest achievement might be its surpassing gracefulness.”

“ARIANA

DEBOSE’S ANITA IS A STAR-MAKING PERFORMANCE – full of thought and passion and wonderful dancing and singing.”

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Submit a Notice |

New York Tristate Plays ‘Coal Country’

• Seeking video submissions from Equity

actors for roles in “Coal Country.”

Synopsis: In 2010, the Upper Big Branch mine explosion killed 29 men, and tore a hole in the lives of countless others.

The play is based on first-person accounts by survivors and family members, Jessica Blank and Erik and digs deep into the lives and loss of the most deadly mining disaster in recent U.S. history.

• Company: Coal Country LLC. Staff:

Jessica Blank and Erik Jensen, writers; Jessica Blank, dir.; Audible Theatre, prod.; Victor Vazquez, casting dir.-CSA. • First rehearsal Feb. 7; tech rehearsal

Feb. 26; runs Mar. 4-Apr. 17 at Cherry Lane Theatre in NYC.

• Seeking—Equity Actors: all genders,

18+.

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

tion (as file via the submission form online at www.xcastingnyc.com/auditions) and include one copy of a headshot and resume. Submission videos will not be accepted via email, or if they are linked to an external website (such as Vimeo, Dropbox, We Transfer, YouTube).

• Audition Video Instructions: Prepare a

short contemporary dramatic monologue (must not exceed 2 minutes).

Slate your name, preferred pronouns, name of material, and your current location. Script: https://xcastingnyc.co/ coalcountryscript Submissions deadline is Jan. 28.

• NYC actors encouraged to submit.

COVID safety: All employees in this position must be fully-vaccinated (as defined by the CDC) and must also have a third booster vaccination (dated prior to two weeks of first date of employment, currently scheduled for Feb. 7).

• Pays $772/wk. Equity Off Broadway

(Commerical Tier A) contract.

Westport Country Playhouse

• Seeking video submissions from Equity

actors for roles in Westport Country

BACKSTAGE 01.27.22

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.

Playhouse 2022 Season. No roles will be understudied at this juncture. Season includes: “Next to Normal” (Marcos Santana, dir.-choreo.; Emily Croome, music dir. Rehearsals begin Mar. 8 in NYC; tech begins Mar. 31; runs Apr. 5-24 with a possible extension through Apr. 30 or May 1); “Straight White Men” (Jean Young Lee, playwright; Mark Lamos, dir.

Rehearsals begin Apr. 26; tech begins May 19; runs May 24-June 5 in Westport, CT); “Kim’s Convenience” (Ins Choi, playwright; Nelson T. Eusebio III, dir.

Rehearsals begin June 7 in NYC; tech begins June 30; runs July 5-17 with a possible extension through July 23 or 24); “4000 Miles” (Amy Herzog, writer; David Kennedy, dir. Rehearsals begin July 27; tech begins Aug. 18; runs Aug. 23-Sept. 4 in Westport, CT); and “From the Mississippi Delta” (Endesha Ida Mae Holland, playwright; Goldie E. Patrick, dir. Rehearsals begin Sept. 20; tech begin Oct. 13; runs Oct. 18-30 with a possible extension to Nov. 6, 2022).

Casting picks of the week

BY LISA HAMIL

stage

‘Coal Country’ Delve into this documentary play in NYC

tv

‘The Sympathizer’ Join Robert Downey Jr. in this HBO series in LA and Vietnam

musical

‘Aladdin’ Soar your magic carpet on this National tour

• Company: Westport Country

Playhouse. Staff: Mark Lamos, artistic dir.; David Dreyfoos, assoc. prod.; Tara Rubin, Claire Burke, and Laura Schutzel (Tara Rubin Casting), CSA, casting dirs.

tv

‘Blindsided’ Seek out this SAG-AFTRA lead role in Vancouver and LA

• Rehearses and performs live at the

Westport Country Playhouse in Westport, CT. Note: Westport Country Playhouse is a fully vaccinated company and will require proof of vaccination as part of your employment.

musical

‘Head Over Heels’ Fall in love with this Concord, MA Equity production

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from CT. • For consideration, submit a video link

for viewing (YouTube or Vimeo preferred) and an attached PDF of your headshot and resume to WestportVideoEPA2022@gmail.com with the subject line “Actor Full Name / Westport Country Playhouse 2022 EPA/ Union Status (Equity/EMC/or Non Equity)” Submissions deadline is Jan. 31.

• Preparation Instructions: Prepare a 1-½

minute contemporary monologue for the plays. Note that the video should be listed as “Unlisted” rather than “Private” on YouTube, and as “Anyone” or “People with the private link” on Vimeo. Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms that require downloading to view.

• Pays $1,008/wk. Equity LORT B Non-

Rep Contract.

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

Middle Eastern, North African, and South Asian (MENASA) cultures, languages and aesthetic traditions.”

• Company: Disney Theatrical

Productions. Staff: Alan Menken, music; Howard Ashman and Tim Rice, lyrics; Alan Menken and Chad Beguelin, additional lyrics; Chad Beguelin, book; Michael Kosarin, musical supervisor; Casey Nicholaw, dir.-choreo.; Tara Rubin, casting; Felicia Rudolph, casting dir.

• Rehearsals begin Aug. 25; runs Oct.

12-16 in New York, NY.

• Seeking—Equity Actors: 18+.

• Seeking submissions from NY. • For consideration, submit a tape and fill

out this form: https://tinyurl.com/ ALADDINTourEPAsubmit . Production states: “Only submit a Dropbox or Google Drive Link. Submissions deadline is Jan. 28 (6 p.m./ EST).

• Preparation Instructions: Prepare a

video of you singing the material best suited for your vocal part from this link: https://tinyurl.com/ ALADDINTourEPAmaterials or a brief traditional up-tempo musical theatre song using your own accompaniment.

No reels. Slate with your name and height. Note that this production will use smoke and haze in accordance with guidelines established with Actors’ Equity Association.

• Pays $1,317/wk. Equity Production

(Disney Tier C) Contract.

‘Only Gold’

• Seeking video submissions from Equity

actors for “Only Gold.”

• Company: MCC Theater. Staff: Robert

Musicals ‘Aladdin’ Nat’l Tour

• Seeking video submissions from Equity

actors for principal roles in “Aladdin.”

Production states: “The musical stage production of ‘Aladdin’ on Broadway is a spectacle adventure based on a tale that has been reimagined time and again across many cultures. We acknowledge the tremendous cultural responsibility inherent in adapting this timeless fable that is based on tales from Africa, Arabia, China, Europe, India, Persia, and Russia and beloved across generations and cultures, and our adaptation is deeply indebted to the rich and diverse tapestry that is

30

LuPone, Bernard Telsey, William Cantler, co-artistic dirs.; Blake West, exec. dir.; Kate Nash, music-lyrics; Andy Blankenbuehler & Ted Malawer, book; The Telsey Office, casting dirs.; Beth Dembrow, general mngr. Rachel Hoffman, C.S.A., casting dir.; Andy Blankenbuehler, dir.-choreo.; Cian McCarthy, music dir.

• Runs Mar. 14-Apr. 9 in NYC. • Seeking—King Belenus: 45-60. Queen

Roksana: 45-60. Tooba: 20-25.

• Seeking submissions from NY. • Preparation Instructions: Submit one

video. Those auditioning for King Belenus, Sing a song of your own (any style) or read the provided monologue or sing the provided song. Those auditioning for Queen Roksanaor Tooba, or to be considered in the future for Henri or Jacques: Submit a video of the provided dance combination. Those auditioning to be considered in the future backstage.com

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casting California for Camille, sing a song of your own (pop/rock or any style) or sing the provided song. Note: To view songs and dance combination see the online listing.

• For consideration, submit videos at

Contract.) Equity Off Broadway Agreement.

• Preparation Instructions: Dancers:

• Pays $617/wk. (Level Four Development

• Seeking video submissions from Equity

Submit a video of the provided dance combination. Singers: Choose one of the following: Sing a song of your own (pop/rock or any style) or sing the provided song. Note: To view songs and dance combination see the online listing.

• Staff: Claude-Michel Schönberg, music;

Contract.) Equity Off Broadway Agreement.

‘

Chorus Calls

‘Les Miserables’ Tour, Singers chorus singers for the tour of “Les Miserables.”

Alain Boublil and Claude-Michel Schönberg, book; Alain Boublil and Herbert Kretzmer, lyrics; Cameron Mackintosh, prod.; James Powell & Laurence Connor, dirs.; Stephen Brooker, musical supervisor; James Moore, US musical supervisor; NETworks and Gregory Vander Ploeg, general mgr.; Tara Rubin, casting; Felicia Rudolph, casting-CSA-casting dir.

• Rehearsals begin Aug. 22; perfor-

mances begin Oct. 7 in NYC.

• Seeking—Equity Singers & Swings: all

genders, 18+.

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

tion (via a Dropbox or Google Drive link) singing the provided ensemble show material cut best suited for your vocal part at (https://tinyurl.com/ LesMisTourAEAcallsmaterial). To submit your tape for the ECC for singers, fill out this form (https://tinyurl.com/ LesMisTourAEAcallssubmit). Audition Video Instructions: No songs of your own and only submit once. Slate with your name and height. Submissions deadline is Feb. 2 at 6 p.m. EST. • The producers, creative team and cast-

ing team are committed to an equitable, inclusive, and accessible casting process for “Les Misérables.” We are actively seeking performers of all races, ethnicities, cultural backgrounds, abilities, gender identities, and body types to audition. All touring employees must adhere to strict protocols and guidelines and will be required to be fully vaccinated for COVID-19, administered at least two weeks prior to any on-site work for production (including any inperson callbacks).

• Pays $859/wk. Equity Short

Engagement Touring (Category 3) contract.

‘Only Gold’

• Seeking video submissions from Equity

singers and dancers for “Only Gold.”

• Company: MCC Theater. Staff: Robert

LuPone, Bernard Telsey, William Cantler, co-artistic dirs.; Blake West, exec. dir.; Kate Nash, music-lyrics; Andy Blankenbuehler & Ted Malawer, book; The Telsey Office, casting dirs.; Beth Dembrow, general mngr. Rachel Hoffman, C.S.A., casting dir.; Andy Blankenbuehler, dir.-choreo.; Cian McCarthy, music dir.

• Runs Mar. 14-Apr. 9 in NYC. • Seeking—Dance Ensemble: 18+.

Ensemble Singers: 18+.

• Seeking submissions from NY.

BACKSTAGE 01.27.22

Holland, playwright; Goldie E. Patrick, dir. Rehearsals Sept. 20-Oct. 12 in Westport, CT; tech Oct. 13-16; runs Oct. 18-30 or Nov. 6.).

https://docs.google.com/ forms/d/e/1FAIpQLSfOiEBSsGgLuQ9riD kik7KZmWi1IqxI3RTLANRlZraHB0Sw6g/ viewform. Submissions deadline is Feb. 1.

• Company: Westport Country

Playhouse. Staff: Mark Lamos, artistic dir.; David Dreyfoos, assoc. prod.; Tara Rubin Casting: Tara Rubin, CSA, Claire Burke, CSA and Laura Schutzel, CSA, casting dirs.

• Rehearses and performs live at the

Westport Country Playhouse in Westport, CT. Note: Westport Country Playhouse is a fully vaccinated company and will require proof of vaccination as part of your employment. Each production will have a possible streaming component in accordance with the LORT media side letter agreements with Equity.

• Pays $617/wk. (Level Four Development

Stage Staff & Tech

• Seeking—Equity Stage Manager: 18+.

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

David Dreyfoos at David Dreyfoos/ Associate Producer, Westport Country Playhouse, 25 Powers Court Westport, CT 06880. Submissions deadline is Jan. 31.

Ogunquit Playhouse 2022 Season, Stage Managers

• Seeking an Equity stage manager for

the Ogunquit Playhouse’s 2022 Season.

Season includes: “The Cher Show” (Rehearsals begin Apr. 25 in Maine; runs May 14-June 25); “The Nutty Professor” (Rehearsals begin June 6 in NYC; runs July 9-Aug. 6); “Mr. Holland’s Opus” (Rehearsals begin July 18 in NYC; runs Aug. 20-Sept. 17); “Clue” (Rehearsals begin Sept. 5 in NYC; runs Sept. 24-Oct. 30); and “Elf” (Rehearsals begin Nov. 14 in Maine; runs Dec. 2-18 at the Music Hall).

• Pays $1,202/wk. Equity LORT B Non-Rep

Contract.

Southern California Student Films

• Company: Ogunquit Playhouse. Staff:

Brian J. Swasey, prod. dir.; Mark Brandon, CSA and Chad Eric Murnane, CSA, casting dirs.

‘Bulwark’

• Season runs in Ogunquit, ME. Note: The

• Casting “Bulwark,” a short film about

EEOC takes the position that employers can ask employees about vaccination status and seek proof that they have been vaccinated, such as the vaccination card.

positive forces defending the vulnerability of Earth from the negative. If they are successful, peace will continue. If they are not, the Earth will surely show its displeasure which could cost human lives.

• Seeking—Equity Stage Manager: 18+.

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

• Company: University of Southern

California.

Staff: Rob Monroe, dir.- writer.

production@ogunquitplayhouse.org.

Submissions deadline is Jan. 28, 6 p.m.

• Shoots Feb. 26-27 and Mar. 5-6 (dates

are subject to change) in L.A.

• For more info, visit www.ogunquitplay-

house.org.

• Seeking—Orit: male, 19-26, all ethnici-

ties, attentive, strong, flowing; new to this battle (mentioned in the production description), but he is ready; a sponge to any and all teaching and courageous enough to test his limits. He is eager, yet focused. He is the “young Obi-Wan” of this story. Note: Must have extensive Martial Arts experience (provide reel or video sample). Yerxa: male, 28-38, all ethnicities, seasoned; wise, discerning.

He is strong and powerful, but more often chooses restraint. He loves to teach and loves to see his teachings flourish in his students; objective driven and will do what is necessary to accomplish the mission at hand. Note: Must have extensive Martial Arts experience (provide reel or video sample). Isaura: female, 25-35, all ethnicities, is... well, she’s bada** in a royal kind of way. She is the guardian of the Alsu Temple. She is direct, elegant, decorous. She is water: soft when at peace, but a tsunami when she needs to be. Note: Must

• Pays $1,035/wk. (new agreement under

negotiations.) Equity COST Agreement.

Westport Country Playhouse 2022 Season, Stage Manager • Seeking an Equity stage manager for

the Westport Country Playhouse 2022 Season: “Next To Normal” (Marcos Santana, dir.-choreo.; Emily Croome, music dir. Rehearsals Mar. 8-30 in NYC; tech March 31, Apr. 1-3; runs Apr. 5- 24 or May 1), “Straight White Men” (Jean Young Lee, playwright; Mark Lamos, dir.

Rehearsals Apr. 26- May 18 in Westport, CT; tech May 19-22; runs May 24-June 5), “Kim’s Convenience” (Ins Choi, playwright; Nelson T. Eusebio III, dir.

Rehearsals June 7- 29 in NYC; tech June 30-July 3; runs July 5-17 or July 24), “400 Miles” (Amy Herzog, playwright; David Kennedy, dir. Rehearsals July 27-Aug. 17, 2022 in Westport, CT; tech Aug. 18-21; runs Aug. 23-Sept. 4), and “From The Mississippi Delta” (Endesha Ida Mae

32

have extensive Martial Arts experience (provide reel or video sample). Artis: male, 25-30, all ethnicities, isn’t someone you want to oppose. His walk alone, steady and smooth is enough to tell you he’s a bad man. His eyes are focused but behind them is anger, passion, and a plan. He’s not to be tamed and will only adhere to those who are in extreme power. That is, until, he is strong enough to overtake them. Note: Must have extensive Martial Arts experience (provide reel or video sample).

Hanoff: male, 35-50, all ethnicities, the voice of Hades, thunderous, and not the voice you ever want to hear. When he speaks, everything and everyone listens. He demands, and expects the demands to be followed. This role will only be saying one word, “Return!”

Visual Effects Artist (Sci-Fi, Fantasy): all genders, 18+, all ethnicities, to create a visual, pulsating beacon. For this project, we will also be looking for energy flashes of sorts when our characters’ main blow connects (fist to fist as if to stalemate).

• Seeking submissions from CA. • Send submissions to rlmonroe@usc.

edu.

• Note: Per strict COVID-19 Safety

Guidelines you must be vaccinated and provide proof. Must be boosted if your second dose has been within 6 months.

We will require a negative test result within 72 hours of filming.

• This is a student film being produced

through The University of Southern California’s School of Cinematic Arts.

IMDb credit will be provided as well as meals.

‘Earrings’

• Casting “Earrings,” a coming-of-age

Chapman University thesis film.

• 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.

• Seeking—Kit: female, 9-12, Asian, 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. 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.

Miss Morgan: female, 26-35, all ethnicities, Kit’s well-meaning, soft teacher backstage.com

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casting National/Regional 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. Joe: male, 9-12, all ethnicities. Katherine: female, 9-12, all ethnicities.

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

gmail.com.

• In you cover letter, note your availabil-

ity and confirm that yourself or the underage talent are fully vaccinated for COVID-19. Include a video and/or reel with your submission.

• Copy, credit, meals. Travel expenses

can be covered. Pay rate only for Kit and Clarence is $50/day guaranteed.

‘Golden Palms’

• Casting “Golden Palms,” an original

short film for a Junior thesis at Loyola Marymount University. Synopsis: After feuding with his mother, a troubled teenager escapes to a skatepark where he is forced to confront loss.

• Company: Loyola Marymount

University. Staff: Rejiar Barzani, student-coord.

• Shoots spring in L.A., CA. • Seeking—Omar’s Mother: female,

35-45, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, around her late 30s. Omar’s Father: male, 35-44, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent.

Omar: male, 18-24, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent. Mysterious Man: male, 18-21, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent.

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

com.

• For consideration, in your cover letter,

note availability between the months of February and March.

• No pay.

‘Reggie’

• Casting “Reggie,” a student film.

• Company: AFI Conservatory. Staff: J.

Hsu, student filmmaker.

• Rehearsal dates TBD in-person; shoots

Feb. 12-14 at AFI Conservatory in L.A.

• Seeking—Rory: female, 9-12, all ethnic-

ities, imaginative, curious, and kind. The quirkiest girl you’ll ever meet. Young and naïve enough to still believe in fantasy and fairy tales. At first, Rory is reactive and sensitive to everything around her. But as she goes on her journey, she becomes a bold character who takes charge of whatever situation she finds herself in. This is a story about grief and letting go, so the actor will be expressing different parts of grief: fear, depression, and ultimately acceptance.

• Seeking submissions from CA.

BACKSTAGE 01.27.22

• Apply on Backstage.com.

• Auditions Jan. 19- 31 through self-tape

and Zoom.

• Note: The story takes place in the

“sewer,” so there is a possibility that we’ll have a small amount of water on the soundstage. Ideally, the actor will feel comfortable walking through very shallow puddles, and we will have extra clothes in case their outfit becomes wet. The script includes a scene where a match is used. The scene will not require to use real fire. It will be executed with lightning and props.

• All AFI Conservatory productions,

including this production, require every member of cast, crew, and production staff to be fully vaccinated against COVID-19, subject to limited, legally required exceptions. You will be required to show proof of vaccination (or your AFI-approved accommodation) regularly. All minors must be accompanied by a parent or guardian.

• No pay. Copy, credit, and meal provided.

Production states: “This piece is produced exclusively as a part of the AFI Conservatory MFA program and will not otherwise be promoted or submitted to festivals. You will receive a digital copy for your reel. These films are designed to be a safe space for filmmakers and actors to take risks and to forge relationships. They are also opportunities to add beautifully shot footage to your reel. AFI will be strictly following SAG-AFTRA COVID Protocol. Let us know if you are currently enrolled in the SAG-AFTRA L.A. Conservatory. SAG Eligible and NonUnion may also submit.”

‘What’s Going Down in K-Town?’

• Casting “What’s Going Down in

K-Town?” a student film. Synopsis: Set on the day the 1992 LA riots destroy Koreatown, Brandon must choose between his best friend Mac and his own community when protestors threaten to burn down his family’s laundromat.

• Company: Chapman University. Staff:

Sophia Chacon, casting dir.

• Shoots Feb. 24-27, Mar. 4-6 in Korea

Town and LA area; exact call times vary.

• Seeking—Brandon: male, 20-24, a

22-year-old Korean-American who runs his family’s laundromat in the heart of Koreatown, Los Angeles as well as cohosting the 187.4 FM radio show; all too familiar with the universal struggle second-generation immigrants face: where do I fit in? Brandon is the epitome of the average achiever, someone who lives for the sake of living and thus has a similar worldview as the rest of the KoreanAmerican urban community, save for one thing. His lifetime friendship with Mac is a quality that is rare among his peers and the interests they share bring them closer in understanding where each other comes from. Stubborn, suffers from his own biases due to his upbringing but when push comes to shove he is not afraid to do the right thing; loyal and sensitive. Mac: male, 20-24, a 22-year-old Black young man who works with Brandon at the laundromat and is the other half of the 187.4 FM radio show.

Through being childhood friends with Brandon, Mac over time has been the

most receptive to learning about different cultures between the two. Mac is level-headed and pacifistic in reaction to his experiences with police violence growing up in the South Central area. He is someone who is deeply empathetic, yet is sometimes indecisive as he tries to consider everyone else’s feelings but not his own. Mac’s lifelong friendship with Brandon is also a rare phenomenon in his own community as well, due to the grown-ups never trusting each other in an extension of cultural differences.

When the two sides of his life collide, Mac is in for the diplomatic mission of his life.

He is dependable and compassionate while also being very indecisive through his curiosity. Shania: female, 25-29, a 26; one of the first people to hit the streets when the 1992 Los Angeles Riots break out. Mac’s older cousin, but the complete opposite of him on surface-level personality, with her ironically sharing the same stubborn streak as Brandon; driven by her unwavering resolution to be a voice for those who are silenced. When Shania approaches the laundromat with a vendetta, her resolution is a force to be reckoned with. She is steadfast, vigilant, and anguished. Marty: 18-23, a 20-year-old white man who has known Brandon and Mac since grade school. A pesky local guy who just wants to be friends; both cared for and reviled by the boys. Marty’s over-the-top enthusiasm and carefree attitude towards life make him both a lively presence in the neighborhood as well as a potential catalyst for conflict. As oblivious as he may seem, Marty comes to realize that there is more to the world than what he sees; especially when it comes to the lives of his reluctant friends; energetic, oblivious, tenacious, and also understanding. Background: all genders, 20-30, Black / African Descent, the protestors that arrive at the laundromat.

Note: Due to COVID restrictions, production is seeking talent as a background actor and a set hand. If you are familiar with set protocol and are willing to be extra hands-on set, as well as stand in for background. If you are only a background, there is no pay.

• Seeking submissions from CA. • Send submissions to chacon@chap-

man.edu.

• For consideration, submit your pre-

screen audition when submitting. If you do not submit a self tape for prescreen audition, your submission risks not being accepted in the casting processes. Sides will be attached to the role. If you have any issues accessing these sides email chacon@chapman. edu.

• Pays $250/day (leads); $125/day (sup-

porting) and $60/day (extras/hands-on set); copy and credit provided.

Demo & Instructional Videos Virtual Care Video

• Casting a female actor to read an

approximately three-minute script from

34

a teleprompter for a video for patients who are on Medicare (65+ years of age) or Medicaid (low-income or disabled).

• 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; 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.”

Gigs Life Alert, Sales Job

• Seeking actors for sales jobs with Life

Alert. Casting states: “Perfect Sales job for Actors. Earn a good living, work a flexible schedule, and help save lives.

This is not an acting job; it is a very good source of income between acting jobs.

If you have sales experience and love helping others, this may be a perfect match. No cold calling. No driving. TV leads. Flexible schedule. Help seniors.”

• Company: Life Alert. Staff: Wayne

Edwards, coord.

• Works in Encino; established salespeo-

ple can work from home after six months.

• Seeking—Salesperson: 18+.

• Seeking submissions from CA. • Send submissions to barry@lifealert.

com.

• Pays $15/hr. Production states: “Draw

VS Commission.”

National/ Regional Plays ‘A Midsummer Night’s Dream’

• Seeking video submissions from Equity

actors for roles in “A Midsummer Night’s Dream” by William Shakespeare.

• Company: Folger Theatre. Staff: Victor

backstage.com

A W A R D

®

N O M I N E E

MALE ACTOR IN A LEADING ROLE ANDREW GARFIELD

© 1995 SAG-AFTRA

S A G

CRITICS CHOICE AWARD NOMINATIONS

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casting National/Regional Malana Maog, dir.; Beth Emelson, assoc. artistic prod.; Karen Ann Daniels, artistic dir.

• Rehearses June 6-July 10; runs July

12-Aug. 28 at Folger Theatre in Washington, DC.

• Seeking—Equity Actors: 18+.

• Seeking submissions from DC. • For consideration, prepare a brief

Shakespeare or other classical monologue. A brief song to be sung a cappella or played on a personal instrument may also be prepared. An accompanist will not be provided.

Include a headshot and resume with your submission. Include a link to stream your submission video on a site like Vimeo, YouTube, or Dropbox. Check privacy settings before linking. We will not download attachments. Must specify you are Equity in the email subject line. Send submissions to casting@folger.edu. Submissions deadline is Jan. 28.

• Note: This play will be performed with

the actors’ natural accents. Roles may be doubled. Any singing in the production will be a cappella.

• For more info, visit www.folger.edu/

theatre.

• Folger Theatre practices non-tradi-

tional casting. We encourage people of every race, ethnicity, culture, age, gender, sexual orientation, and physical ability to audition, Equal Opportunity Employers.

• Pays $642/wk. Equity LOA ref LORT

Contract.

‘Our Daughters, Like Pillars,’ Equity Headshot/Resume Submissions

• Casting Equity actors “Our Daughters,

Like Pillars.”

• Company: Huntington Theatre

Company. Staff: Kirsten Greenidge, playwright; Kimberly Senior, dir.; Alaine Alldaffer, Lisa Donadio, casting dirs.

• Rehearsals begin Mar. 15; tech Apr. 2;

runs Apr. 8-May 8 in Boston, MA.

• Seeking—Paul King: male, 33-36, Black

/ African Descent, he hasn’t seen much of anything and is determined to not be like the people in his hometown who’ve never strayed beyond their block; he met Zelda at a bar two weeks ago and jumps at the romantic idea of roadtripping through the country; however, he did not expect to end up in New Hampshire in the middle of a family intervention; quick and witty in a quiet way, at first, until he starts to find his footing in this place; self-described “go with the flow” kind of guy.

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

resume to alldaffercasting@gmail.com with your union status in subject line.

Submissions deadline is Feb. 2.

• The Huntington Theatre Company is an

Equal Opportunity Employer and encourages actors of all backgrounds and abilities to audition.

• Pays $1008/wk. Equity LORT B Non-Rep

Agreement.

‘The Boys in the Band’

• Seeking video submissions from Equity

actors for roles in “The Boys in the Band.” Theater states: “Celebrating 25 years in Pittsburgh, PICT Classic

BACKSTAGE 01.27.22

Theatre is Pittsburgh’s home for classic and Irish productions. PICT is committed to a casting focus that is intentionally inclusive and local to the Greater Pittsburgh Area. All are welcome.”

• Company: PICT Classical Theatre. Staff:

Alan Stanford, artistic-exec. dir.; Monteze Freeland, dir.; Sharon McCune, assoc. prod.; Catherine Kolos, general operations mgr.

• Rehearses May 24-June 15, 2022; runs

June 16-July 9 (no performance or rehearsal will be held on Memorial Day or July 3) in person at WQED Studios in Oakland (Pittsburgh, PA).

• Company: Theatre Raleigh. Staff:

Lauren Kennedy, artistic dir.; Holly Buczek, Scott Wojcik and Courtney Hammond (Wojcik Casting Team), casting dirs.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from PA. • Prepare two contemporary mono-

logues of your choosing. Videos should begin with a slate of your name and home city. You are welcome to indicate a specific role you would like to be considered for. The total video should be no longer than two minutes in length.

• Rehearses and performs in Raleigh, NC.

Note: Full Vaccination is required.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from NC. • For consideration, email video submis-

sion with headshot, resume, and union status to theatreraleighepa@gmail. com with the subject line stating your name, the production you are submitting, and whether you are local to Raleigh or NYC/other based. Mp4 files, youtube, vimeo and personal website links are preferred. Submissions deadline is Feb. 1.

• For consideration, submit your audition

along with your current headshot & resume at www.picttheatre.org/participate/2021-2022- boys-in-the-band/ .

Submissions deadline is Jan. 28, 5 p.m.

ET. • Pays $523/wk. Equity SPT Tier 6

Contract.

‘The Winter’s Tale’ & ‘The Alchemist’

• Preparation Instructions: For the EPA

submission for the plays, prepare a 1-2 minute monologue in the style of the plays you wish to be considered for. For the EPA submission for the musicals, please prepare the song provided at https://wojcasting.com/theatreraleigh-required-epa-and-ecc-information/ , based on your vocal part or 1-2 contrasting cuts of songs in the style of the show.

• Seeking video submissions from Equity

actors for roles in “The Winter’s Tale” and “The Alchemist” by Ben Jonson to be performed in rotating repertory.

Production states: “Actors from underrepresented populations are encouraged to submit. Quintessence is committed to diversity in all hiring and is considering all genders and races for all roles.”

• Pays $508/wk. plus travel, housing,

shared car, and per diem. Equity SPT Tier 6 Contract.

• Company: Quintessence Theatre

Group. Staff: Alexander Burns and Paul Hebron, dir.; Lee Cortopassi, creative dir.; Emily Cross, office mgr.

• Rehearsals begin Feb. 9; runs Mar.

Musicals

16-Apr. 24 in Philadelphia, PA.

• Seeking—Equity Actors: 18+.

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

• For consideration, submit two verse

tracks here - https://drive.google.com/ drive/folders/1VHIJu74ej3YAxwRz7AvN QkcXMIyQwKVc . If available, you may also share a dance reel or performance clip showcasing your movement abilities.

• Pays $328/wk. Equity Production (SPT

2) Contract.

Pittsburgh Civic Light Opera 2022 Summer Season, Principal

• Seeking video submissions from Equity

actors for the principal roles for the Pittsburgh CLO summer season. Equity performers of all racial and ethnic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition.

Season includes “The Drowsy Chaperone” (Runs June 14-26); “Kinky Boots” (Runs June 28-July 10); “Godspell” (Runs July 5-17); “A Chorus Line” (Runs July 29-31); and “Sister Act” (Runs Aug. 2-14).

• Company: Pittsburgh Civic Light Opera.

Staff: Mark Fleischer, exec. dir.; Billy Mason, producing assoc.; James Cunningham, music supervisor; Geoff Josselson and Katja Zarolinski (JZ Casting), casting dirs.

• Rehearses and performs at the

Benedum Center in Pittsburgh, PA. All performers must be fully vaccinated against Covid-19, as defined by the CDC, by the first rehearsal.

• Seeking—Equity Actors: 18+.

• Seeking submissions from PA. • Read and follow the instructions at

https://www.pittsburghclo.org/about/ clo-auditions. Prepare a brief contemporary musical theater song that shows range, in a style appropriate to season’s shows. If you wish, you may choose one of the prepared songs, appropriate for your voice type and range at https:// www.dropbox.com/sh/o0icd6humf9vuxx/AAAXjAHPHE5xW_Wczf82LRKa?dl=0. Non-complete or incorrectly labeled submissions will not be considered. Submission deadline is Feb. 1.

• Pays $1,203/wk. Equity RMTA Contract.

‘Head Over Heels’

• Seeking video submissions from Equity

monologues, one dramatic and one comedic along with a headshot/résumé to Artistic@QuintessenceTheatre.org.

Submissions deadline is Jan. 28.

Production states: “Doubling to be decided in casting.” For more info, visit www.qtgrep.org

actors/singers/dancers for roles in “Head Over Heels.”

Chorus Calls

James Magruder, adaptation; James Whitty, concept-original book; The Go-Go’s, music; Brian Boruta, producing artistic dir.-dir.; David Wright, music dir.; Lara Finn Banister, choreo.

Pittsburgh Civic Light Opera 2022 Summer Season

• Company: The Umbrella Arts. Staff:

• Pays $523/wk. Equity Production (SPT

6) Contract.

• Rehearsals begin March 21; runs April

15-May 8 in Concord, MA.

Theatre Raleigh 2022 Season • Seeking video submissions from

choreo.; Wojcik Casting, casting dir.

Rehearsal begin July 11; tech begins July 29; runs Aug. 3-14); “The Play That Goes Wrong” (Lauren Kennedy Brady, prod. artistic dir.; Tim Seib, dir.choreo.; Wojcik Casting, casting dir.

Rehearsals begin Aug. 22; tech begins Sept. 9; runs Sept. 14-25); and “Natasha, Pierre & the Great Comet of 1812” (Lauren Kennedy Brady, prod. artistic dir.; Abbey O’Brien, dir.choreo.; Wojcik Casting, casting dir.

Rehearsals begin Oct. 3; tech begins Oct. 21; runs Oct. 26-Nov. 6).

Equity actors for principal roles in Theatre Raleigh 2022 Season. Season includes: “Forever Plaid” (Lauren Kennedy Brady, artistic dir.; Gerry McIntyre, dir.-choreo.; Wojcik Casting, casting dir. Rehearsals begin Apr. 18; tech begins May 6; runs May 11-22); “Yellow Face” (Lauren Kennedy Brady, artistic dir.; Telly Leung, dir.; Wojcik Casting, casting dir. Rehearsals begin May 30; tech begins June 16; runs June 22-July 3); “City of Angels” (Lauren Kennedy Brady, prod. artistic dir.-dir.-

• Seeking—Equity Actors: 18+.

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

• For consideration, submit a headshot

and résumé to Auditions@theumbrellastage.org. Production states: “Videos may be sent via Youtube or Vimeo links.” Submissions deadline is Jan. 31 (12 p.m./ ET).

• Preparation Instructions: Share a video

clip of two contrasting songs in the style of the show. If preferred, those auditioning may use the pre-selected music sides which can be found along with pre-recorded accompaniment

36

• Seeking video submissions from Equity

singers of all voice parts and vocal ranges who move well and strong technical dancers that sing for the Pittsburgh CLO summer season. Equity performers of all racial and ethnic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition.

Season includes “The Drowsy Chaperone” (Runs June 14-26); “Kinky Boots” (Runs June 28-July 10); “Godspell” (Runs July 5-17); “A Chorus Line” (Runs July 29-31); and “Sister Act” (Runs Aug. 2-14).

• Company: Pittsburgh Civic Light Opera.

Staff: Mark Fleischer, exec. dir.; Billy Mason, prod. assoc.; James Cunningham, music supervisor; Geoff Josselson and Katja Zarolinski (JZ

backstage.com

DON’T PUT YOUR FUTURE ON HOLD Start training in February and graduate an industry-ready professional actor in eighteen months.

Study in New York City with working actors.

OUR PROGRAMS

casting National/Regional Casting), casting dirs.; Baayork Lee, Gerry McIntyre, and Robbie Roby, choreos.

• Rehearses and performs at the

Benedum Center in Pittsburgh, PA.

• Seeking—Equity Singers: 18+. Equity

Dancers: 18+.

• Seeking submissions from PA. • For consideration, note any special

skills such as playing an instrument or experience performing in heels. Read and follow the instructions at https:// www.pittsburghclo.org/about/clo-auditions. Non-complete or incorrectly labeled submissions will not be considered. Be sure to follow the submission instructions closely and submit before the deadline on Feb. 1. Auditions will be viewed by Feb. 7.

• Preparation Instructions: Singers:

Prepare 32 bars of a contemporary musical theater song, that shows range, in a style appropriate to season’s shows. If you wish, you may choose one of the prepared songs, appropriate for your voice type and range at this link: https://www.dropbox.com/sh/o0icd6humf9vuxx/ AAAXjAHPHE5xW_Wczf-82LRKa?dl=0 • Dancers: Prepare the two short chore-

ography pieces found at https://www. dropbox.com/sh/jypk8j3pby32ht7/ AACkTH2r0TSlSHvuOA58Gm3ea?dl=0

• Note: If you are using an iPhone to video

record, be sure to film horizontally and in a well-lit space (not backlit). At the top of the video, slate your name and height. Title your video: “Full name – PCLO 2022 DANCE ECC or SINGER ECC or EPA.” Video link should be in a streaming format (Vimeo, YouTube, Google Drive, Dropbox, etc.). Do not send download links (ie, WeTransfer, YouSendIt, etc).

• Pays $1,203/wk. Equity RMTA Contract.

Theatre Raleigh 2022 Season • Seeking video submissions from

Equity actors for chorus parts in Theatre Raleigh 2022 Season. Season includes: “City of Angels” (Lauren Kennedy Brady, prod. artistic dir.-dir.choreo.; Wojcik Casting, casting dir.

Rehearsal begin July 11; tech begins July 29; runs Aug. 3-14) and “Natasha, Pierre & the Great Comet of 1812” (Lauren Kennedy Brady, prod. artistic dir.; Abbey O’Brien, dir.-choreo.; Wojcik Casting, casting dir.

Rehearsals begin Oct. 3; tech begins Oct. 21; runs Oct. 26-Nov. 6).

• Company: Theatre Raleigh. Staff:

Lauren Kennedy, artistic dir.; Holly Buczek, Scott Wojcik and Courtney Hammond (Wojcik Casting Team), casting dirs.

• Rehearses and performs in Raleigh, NC.

Note: Full Vaccination is required.

• Seeking—Equity Actors: 18+, all

ethnicities.

• Seeking submissions from NC. • For consideration, email video submis-

sion with headshot, resume, and union status to theatreraleighecc@gmail. com with the subject line stating your name, the production you are submitting, and whether you are local to Raleigh or NYC/other based. Mp4 files, youtube, vimeo and personal website links are preferred. Submissions deadline is Feb. 1.

BACKSTAGE 01.27.22

• Preparation Instructions: Singers, pre-

pare 1-2 contrasting brief cuts of a contemporary musical theatre song of your choice or the Ensemble Song Cut pulled for the season – “You Gotta Look Out” at https://wojcasting.com/theatre-raleigh-required-epa-and-eccinformation/ Dancers, prepare the combination at https://wojcasting.com/ theatre-raleigh-required-epa-and-eccinformation/ . Record in landscape format…make sure we can see you head to toe.

• Pays $508/wk. plus travel, housing,

shared car, and per diem. Equity SPT Tier 6 Contract.

Short Films ‘The End of All Things’

• Casting four male roles in “The End of

All Things,” a short (approx. 15 minute) film to be shot in late April of 2022.

Logline: Three old friends gather to support another friend, at his time of loss. Then out of nowhere, the loss comes them all. The script calls for four guys who can look the part of being in their late 30s (high school friends originally). The setting is South Shore Boston, though, for practical reasons, some of the shoots will occur on the South Coast near New Bedford.

• Company: Skycam Films. Staff: BT

Hathaway, coord.

• Shoots Apr. 22-24, with a partial day in

Hull, MA for Butch and Kyle; and then the full cast on the South Coast for an afternoon and evening shoot.

Production states: “If the weather gets in the way, then subject to availability, we would reschedule to a subsequent weekend. Most of the footage will be shot outdoors, so the weather will be a factor.”

• Seeking—Butch: male, trans male,

30-45, an army officer with a closecropped haircut, and a gym-maintained physique. He’s a leader type, but who has had a falling out in his career, and is struggling with a painful secret. Note: Must have a valid driver’s license to play this part. Kyle: male, trans male, 30-45, Local guy, always trying to look stylish, though not always with enough budget to pull it off. He manages a couple of laundromats in town. He’s traditionally been the whiner of the group. Jonesy: male, trans male, 30-45, scruffy to look at but has a heart of gold. Would give the shirt off his back to anyone in need.

He supports his family by working as a mechanic at a local marina, plus whatever side jobs he can pick up in the offseason. David: male, trans male, 30-45, the most ambitious of the group out of high school, who went on to work at a venture capital firm in California. At this point, he’s down on his luck and despondent. The love of his life died in the middle of the pandemic, and now months later he’s brought the ashes back home for scattering.

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

• Seeking submissions from MA. • Send submissions to bt@skycamfilms.

com.

• Note: Casting is open to all male-identi-

fied actors who bring the skills, stature, and look needed to bring the story to life on screen.

• Compensation: This is a portfolio proj-

ect for the writer/director, so all participants must plan to work as local. Film credit will be the primary form of thanks, though food and reasonable gas expense will be covered.

Scripted TV & Video ‘Blindsided’

• Casting visually impaired actresses

only for a lead role in “Blindsided,” a two hour pilot with an eight episode guarantee. Synopsis: Injured and permanently blinded during the course of a police action, Emma Bardovi now working as a civilian liaison for some difficult, high profile cases, where her excellent brain and superb detective skills more than make up for her lack of sight...

• Company: Johnson Production Group.

Staff: Jeff Sagansky, Scott Siegler, exec. prods.; David Weaver, dir.; Joseph Schneider, SAG-AFTRA writer; Lindsay Chag, US casting dir.; Brad Clark, casting assoc.

• Shoots TBD in Vancouver, Canada and

Los Angeles, CA.

• Seeking—Emma Bardovi: female,

35-45, female, any ethnicity, early 30’s to mid 40’s, visually impaired, very intelligent, with alogical, scientific mind, wry-humored, confident, strong-willed (possibly to a fault), stubborn, Emma Bardovi was a first-rate Los Angeles police detective who excelled at finding a way into a case when no one else could; now permanently blinded from a police action that’s still unsolved, Bardovi has acclimated herself amazingly to livingas a blind person: she uses a dog clicker for echolocation, has honed her other senses (smell, hearing, touch) to a high level, and is fearless at venturing out into the world, despite the total blackness around her; while struggling to figure out the strange sequence of events that lead to her injury, Bardovi has been given the job of a sort ofcivilian consultant by her captain, who values her mind and skill set; now working on solving the murder of a young woman, partnered with the rookie Tyler Knappe and just getting used to having a service dog, Bardovi puts her unique talents into play to solve an apparently dead-end case--and it clearly won’t be the last...lead; salary negotiable.

• Seeking submissions nationwide.

• Submissions to AuditionsLCC@gmail.

com.

• Pays TBD. SAG-AFTRA.

‘The Sympathizer’

• Casting various roles in “The

Sympathizer,” co-starring Robert Downey Jr.

38

• Company: HBO/A24. Staff: Park Chan-

wook, dir.-co showrunner; Don McKellar, writer-co showrunner; Viet Thanh Nguyen, original novel author; Susan Downey, Amanda Burrell, Ava Nelson, Niv Fichman, Fraser Ash, Kevin Krikst, Kim Ly, Ravi Nandan, Hallie Sekoff & Sydney Coleman, prods.; Jennifer Venditti, casting dir.; Alan Scott Neal, casting assoc.; Ivy Pham, casting asst.

• Shoots June 2022-March 2023 in Los

Angeles, CA and Vietnam.

• Seeking—The Captain: male, 25-35,

Asian, Ethnically Ambiguous / Multiracial, White / European Descent, late 20s to early 30s. Half Vietnamese / Half Caucasian. A refugee from conflict in the North, he works in counterintelligence for the South Vietnamese army but at the same time is a double agent for the Viet Cong. Educated in America.

Slender. Charismatic, witty and intelligent. Sensitive with an edge / darkness to him. Believable he could carry a secret and also have a violent side to him. Must speak fluent Vietnamese (Northern dialect) and fluent English (both flawlessly). Ability to speak some French a plus. Series lead; multi-year deal; nudity, sexual situations and simulation required. The General: male, 43-55, Asian, mid 40s to mid 50s.

Vietnamese. Head of the South Vietnamese Secret Police, a Christian and an epicure (though not necessarily in that order). Paranoid, hen-pecked, and proud to an almost ludicrous degree, he is an ardent believer in the American Dream and, if cornered, a dangerous patriot. Perfect posture. A leader of men. Can be dangerous, but there’s a pathetic side to him as well. A bit of a Napoleon complex. Must speak fluent Vietnamese (Southern dialect).

Must speak English (but doesn’t have to be perfect). Series lead; multi-year deal; some nudity required. Bon: male, 25-35, Asian, late 20s to early 30s.

Vietnamese, a devoted friend, husband and father. His closest friend is the Captain. A born soldier, a nationalist, a fearless fighter and, if necessary, a killer, but at the same time, sentimental.

He has a wholesome love of violence.

Should look physically strong. Not traditionally handsome. A face with lots of character. Gets into fights. Training in kung fu or taekwondo a plus. Must speak fluent Vietnamese (Southern dialect). Must speak some English (but not perfect). Series lead; multi-year deal.

Nudity required. Man: male, 30-43, Asian, Vietnamese, an effortless leader, who acts like a big brother to the Captain, and also as his handler for the Communists. He is protective and compassionate, an idealist, but also an ideologue with a dangerous zealous streak.

Self-disciplined. A dentist by trade.

Must speak fluent Vietnamese. No English is required. Series lead; multiyear deal. Lana: female, 18-21, Asian, Vietnamese, the General’s eldest daughter. Forced immigration from Vietnam accelerates her rapid maturation from sulky teen to seductive songstress. She’s salty, she speaks her mind, and she’s pragmatic. She embraces the promise of her new country and its evolving liberal morality. Must speak backstage.com

National/Regional casting flawless English (as she wants to pass as American). Does not have to speak Vietnamese. Ability to sing and dancing skills are a plus. Series lead; multi-year deal; nudity, sexual situations, and simulation required. Crapulent Major: male, 18+, Asian, 40s. Half Chinese / Half Vietnamese; an officer in the South Vietnamese Secret Police. He evacuates Vietnam with the General’s party to Los Angeles. An overweight, gregarious, social character. Loves food and talking. Comic ability. Very likable. Must speak fluent Vietnamese (Southern dialect) and English (doesn’t have to be perfect). Ability to speak some Cantonese is a plus. Series lead; 1 year deal.

• Seeking submissions worldwide.

• For consideration, submit to casting8@

jv8inc.com and note if you are able to speak Vietnamese.

• Pay provided.

Reality TV & Documentary ‘LCA Franchise’

• Casting “LCA Franchise (Multiple

Cities),” a dramatic digital reality series.

Drama is a major component of the show as well as showing your real life in solo videos.Cast interacts in a Messenger group chat and then films 20-minute Zoom calls with cast two to three times a week. Will also do onethree min. long solo vlogs twice a week about cast drama and personal lives.”

• Company: DEN+. Staff: Bryce Cameron,

prod.

• Shoots March-June remotely over Zoom

(approx. 45 mins./wk.)

• Seeking—Reality Show Cast Member:

18+, don’t shy away from conflict; opinionated; big personalitie; not afraid to speak their minds; okay with stirring the pot and are able to throw shade (and handle shade thrown back); people who have exciting things and projects going on in their lives (big career or family moments) and/or tragic things they are comfortable sharing about on camera; dynamic people who have watched things like ‘Real Housewives’ and know how to bring the drama.

• Seeking submissions nationwide.

• For consideration submit a cover letter

noting why you’d be a good fit for a dramatic reality series to thebrycecameron@gmail.com.

• No pay for the first season. Will receive

stipend is asked back for a second season.

Online Commercials & Promos

who is a pet insurance company.

Stavro Victor, content prod.

• Video will be recorded remotely with

your own high-quality phone camera.

• Seeking—UGC Talent: 21-50, all ethnici-

ties, fun, energetic talent who has experience with UGC video work to read a provided script and capture additional b-roll footage of you and your dog.

• Seeking submissions nationwide.

• Send submissions to stavro@growwith-

bamboo.com.

• For consideration, submit a sample UGC

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

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

perpetuity.

Print & Digital Modeling Kentucky Derby Style Wine Photoshoot

• Casting a photo and video shoot, repre-

senting a wine brand for a Kentucky Derby themed shoot 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.

Matut, coord.

Theatre By The Sea 2022 Season, Stage Manager

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

• Seeking Equity stage manager and

assistant stage manager in Theatre By The Sea’s 2022 Season. Season includes “Million Dollar Quartet” (Rehearses May 10; runs May 25-June 18); “Footloose” (Rehearses June 7; runs June 22-July 16); “Cinderella” (Rehearses July 5; runs July 10-Aug. 13); “Kinky Boots” (Rehearses Aug. 2; runs Aug. 7-Sep. 11). Production states: “Stage managers of any ethnicities are encouraged to submit. Proof of Covid vaccination required.”

• Company: Matunuck Live Theatre, Inc.

Staff: Bill Hanney, prod.; Kevin P. Hill, producing artistic dir.; Tom Senter, general mgr.; Thom Warren, assoc. prod.; Matthew Chappell, casting dir.

• Rehearses and performs in Wakefield,

twarren.tbts@gmail.com or mail to Thom Warren, assoc. prod., 364 Cards Pond Rd., Wakefield, RI 02879.

Submissions deadline is Jan. 31.

Online Actors Summit

• For more info, visit www.theatrebythe-

sea.com

• Pays $675/wk. plus travel and housing

provided. Equity LOA ref. COST Contract.

• Seeking—Models for Kentucky Derby

Property Inspector in London

Style Wine Photoshoot: female, male, 23-35, all ethnicities, requires modeling experience.

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

dio.com.

• Must be local; travel not provided.

• Pay TBD. Lunch will be provided.

Stage Staff & Tech ‘A Midsummer Night’s Dream,’ Stage Manager

• Seeking an Equity stage manager for “A

Midsummer Night’s Dream” by William Shakespeare.

• Company: Folger Theatre. Staff: Victor

Malana Maog, dir.; Beth Emelson, assoc. artistic prod.; Karen Ann Daniels, artistic dir.

• Rehearses June 6-July 10; runs July

12-Aug. 28 in Washington, DC.

• Seeking—Equity Stage Manager: 18+.

• Seeking submissions from DC. • For consideration, mail resume to David

about their experience with our client

theatre.

(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. 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 selfemployed so control your calendar and tell us when you are available to be added to the rota.”

Workshops & Classes

• Seeking—Equity Stage Manager: 18+.

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

• For consideration, submit a résumé to

Gigs

Kentucky Derby, Downtown Louisville, KY.

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

RI.

• Shoots Feb. 22 and Feb. 23 at the

UGC Dog Commercial For Online Insurance Company

backstage.com

• For consideration, will have an online

• Company: JetFuel Studio. Staff: R.

Polk, Folger Shakespeare Library, Haskell Center, 201 East Capitol Street SE, Washington, DC 20003.

Submissions deadline is Feb. 2.

• Seeking a UGC talent/ influencer to talk

• Pays $857/wk. Equity LOA ref LORT

Contract.

• Company: Grow With Bamboo. Staff:

• Seeking talent to work as a property

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.”

• Company: LetCheck Inventories. Staff:

Adrian Kelly, company dir.

• Works in London.

• 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.

• Seeking submissions from England.

• Send submissions to adrian.kelly@let-

check.co.uk.

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

• For more info, visit www.folger.edu/

39

• Seeking participants for a three-day

actors summit with 150+ Top Industry Speakers. 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 industry’s most influential professionals. It is an amazing opportunity to learn from the best of the best in the entertainment industry.

• “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-onone 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: $79 for regular admission and $399 for VIP admission.

Tickets can be purchased here: https:// actorssummit.com/pages/tickets.

01.27.22 BACKSTAGE

Ask An Expert

Agents Auditions Health & Wellness Television

Our Expert Kate Huffman is an actor, playwright, and certified body image coach.

Libby Parker is an actor, registered dietitian, and author.

Theater

Unions

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Content warning: The following article contains mentions of disordered eating.

Q:

How can I improve my self-esteem and body image?

“Even though you may feel pressure to have a ‘perfect’ body as an actor, the truth is that this is not a requirement. If anything, focusing on maintaining or achieving a perfect body detracts from the trajectory of your career. If you’re at an audition and you’re distracted by the way your thighs look, you can’t fully focus on your character’s wants and needs. Furthermore, if you’re restricting your food, you’ll be hungry and weak during an audition or rehearsal. You can’t properly do your work in this state. Ask yourself: Is this useful? Is focusing on diet and weight loss before your next audition a good use of your time and energy? Or would doing practice auditions be better?” —Kate Huffman

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

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“Performers seem to be at a higher risk for developing eating disorders due to the level of perfectionism and drive one must possess to succeed in showbiz, as well as the public body scrutiny. Food, or lack thereof, can give a sense of control or a means of ‘checking out’ as a way to cope with stress. If you’ve struggled with an eating disorder in the past or have a predisposition to one, it’s worth keeping an eye on how you’re relating to food. Some signs to watch out for include trying to numb yourself with eating, excessively thinking about food, avoiding eating or being very rigid with what you allow yourself to eat, or eating in secret. If you notice any of these behaviors or thoughts coming up, be sure to seek help.

Look for a registered dietitian, therapist, or physician who specializes in eating disorders.” —Libby Parker

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