Backstage Magazine, Digital Edition: January 30, 2025
“Anora” star on turning dreams into reality
Mikey Madison photographed by Shayan Asgharnia on Dec. 17, 2024, at Dust Studios LA in Los Angeles. Hair by Rena Calhoun. Styling by Jamie Mizrahi, assisted by Alex Moghtadaie. Makeup by Melissa Hernandez. Cover designed by Andy Turnbull.
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●Marianne Jean-Baptiste first worked with Mike Leigh when she performed in his 1993 play “It’s a Great Big Shame!” Then she earned an Oscar nod for his 1996 film “Secrets & Lies.” In their latest collaboration, “Hard Truths,” she delivers perhaps her greatest performance yet. She plays Pansy, a London woman whose life is defined by her afflictions. Pansy’s roiling anger results in a litany of complaints that, to the audience, can be very funny, but to her, come from a place of pain and fear. The film charts her fraying relationships with her worried sister (Michele Austin), her nearly silent son (Tuwaine Barrett), and her removed husband (David Webber).
1
When you first worked with Mike Leigh, did you know that the potential for such a fruitful collaboration was there?
My first encounter with him was an audition, where he just [said], “Come in. Think of a person you know. I want you to get into character, enter that character, and just be in the space.” I found that to be very exciting. I remember it was a loungy-type area and there was a kettle. I thought, I’m just going to sit down and have a cup of tea. There was a newspaper there. So I just sat reading the newspaper and he said, “Well done. Come out of character.”
Then we just talked about it a bit and I left. That was for “Naked.” I got a handwritten letter from him saying, “Sorry it didn’t work out this time, but I really want to work with you in the future.” Then I got the call to do “It’s a Great Big Shame!”
2
You said when you start on a project with him, he asks you to come in with a list of people you know who might inform the character. Other than that, do you start completely from scratch?
Scratch. You don’t know anything. The other thing he says is, “You won’t know anything your character wouldn’t know.”
3
How did Pansy start to take shape?
The list [of people] starts being whittled down. Once you’ve landed on five and you merge them, you start to go, “OK, well, what was school like [for the character]?” And you start discussing that. He starts giving [the character] failures because those are things he can decide. I can decide that Pansy loves math, and she does a test, and she works really hard; but he decides that she fails. That’s when you start getting the feel of this character and all of her anxiety and fear and disappointment and heartbreak.
4
Has your work with Mike changed the way you view other performances? Are there any you think everyone should see?
There are two women [Vic Carmen Sonne and Trine Dyrholm] in “The Girl With the Needle” who give absolutely beautiful, nuanced performances. And I think that they are worth watching; I really do. And, yeah, he’s spoiled me for watching performances in films, because I very often get pulled out by things that I don’t think other people get pulled out by.
5
What do those things tend to be?
Like when the clothes are wearing the character. Or sometimes you feel that when people are in love with the dialogue and what they’re saying rather than just saying it. When people are trying as opposed to being —when their performance is like that.
This interview has been edited for clarity and length.
TheGreen Room
Awards
Casting for Oscar Gold
Though the Academy won’t honor CDs until next year, here are our picks for the would-be nominees of 2025
By Jason Clark
●AS TOM DONAHUE’S
2012 documentary
“Casting By” brought to wider attention, “casting director” is the only main title credit that the Oscars have never recognized. But that’s about to change. Last year, the Academy of Motion Picture Arts and Sciences announced its plan to introduce the category at the 2026 ceremony. The decision comes after years of lobbying from cinema luminaries about how crucial the role is to the success of a film. (This marks the first time the Oscars have introduced a new category since the Academy added a prize for best
animated feature in 2002.)
But what would have happened if the achievement in casting award had debuted this year instead—and which films would have been the most likely contenders? AMPAS has yet to reveal details about the category, including how many nominees will be included and whether the award will honor individual CDs or their firms. (The Academy is releasing the official rules in April.) In any case, the award will celebrate the work of casting directors who have brought promising newcomers to the fore, introduced you to your latest screen crush, or perhaps orchestrated
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the spectacular comeback of an underused Hollywood vet.
Two 2024 projects seem like sure bets for a hypothetical nomination at the 97th Academy Awards. There’s Jon M. Chu’s runaway smash “Wicked,” which was cast by veteran team Tiffany Little Canfield and Bernard Telsey. Not only did the pair take risks that paid off in spades—the film also boasts one of the most diverse ensembles of the year.
Their most successful gambit was casting pop star and cinema newcomer Ariana Grande opposite Broadway powerhouse Cynthia Erivo, who’s only one letter away from an EGOT.
(Maybe this Oscars will be the charm?) Anyone who’s seen “Wicked” will tell you that the electric chemistry between these two witches speaks for itself. The film also includes turns from Hollywood royalty (Jeff Goldblum, Michelle Yeoh); stage and TV star Jonathan Bailey; and fresh faces like theater actor Ethan Slater and wheelchair user Marissa Bode. Fortunately, the sequel, which debuts later this year, will be eligible to compete for casting gold in 2026.
Though “Wicked” is the clear frontrunner for the hypothetical 2025 prize, it would have faced stiff competition from Jacques Audiard’s Mexico-set “Emilia Pérez,” cast by Christel Baras and Carla Hool. The diverse, bilingual ensemble includes leading actor Karla Sofía Gascón, who is a trans woman; Latin American A-listers Zoe Saldana and Selena Gomez; and Mexican performer Adriana Paz. Then there’s the ingenuity of the film itself—a genre-defying blend of crime thriller, telenovela-style romance, and musical theater. Add to that Gascón, Saldana,
Ethan Slater and Marissa Bode in “Wicked”
Gomez, and Paz’s joint lead actress win at Cannes, and Audiard’s film would have been a strong competitor for the casting prize.
Or perhaps the statuette would have gone to Laure Cochener and Léa Moszkowicz for “The Substance.” Yes, Coralie Fargeat’s feminist body horror has a much smaller ensemble than “Wicked” or “Emilia Pérez.” But it also gave us the comeback performance of the year with Demi Moore’s Elisabeth Sparkle, a lonely, insecure star grappling with aging in a youth-obsessed
FILM
Jesse Armstrong’s Successor to ‘Succession’
By Jalen Michael
● NEARLY TWO YEARS AFTER the finale of his Emmy-winning HBO drama “Succession,” Jesse Armstrong is re-teaming with the network on a movie for HBO Films, which will follow a group of friends who reunite in the midst of a global financial crisis. Though Armstrong is primarily known for his small-screen work, he’s co-written films including 2020’s “Downhill” and 2009’s “In the Loop,” which earned him an Oscar nod for best adapted screenplay. Production on the as-yet-untitled feature is slated to begin later this year.
industry. It’s a career-defining turn for the actor, whose Golden Globe speech was a rallying cry for moviegoers to celebrate the talent of older women in Hollywood. Margaret Qualley is the perfect foil as Elisabeth’s younger counterpart, Sue. Extra points for the inclusion of Dennis Quaid, who stepped in for the late Ray Liotta to play a misogynistic, shrimp-snarfing TV producer.
There are plenty of other titles that could round out the category. Sean Baker’s “Anora,” cast by the filmmaker himself, introduced the world to the prodigious talents of Mikey Madison as the titular sex worker and Russian actor Yura Borisov as a sensitive thug. Brady Corbet’s Golden Globe–winning “The Brutalist,” cast by Kristina Erdely and Cassandra Kulukundis, could also have been in the running for its thoughtfully crafted central ensemble (Adrien Brody, Felicity Jones, and Guy Pearce). There’s also James Mangold’s Bob Dylan biopic “A Complete Unknown,” cast by Yesi Ramirez. The film has earned acclaim for Timothée Chalamet’s uncanny leading turn as the legendary
singer-songwriter—not to mention Edward Norton and Monica Barbaro’s performances as Pete Seeger and Joan Baez.
Another biopic, Ali Abbasi’s “The Apprentice,” proved the doubters wrong thanks to Sebastian Stan and Jeremy Strong’s surprising takes on Donald Trump and Roy
Cohn, respectively. In the film, cast by Carmen Cuba and Stephanie Gorin, the two actors brought unexpected shades of gray to this pair of outsize hucksters. As we reflect on these couldhave-beens, we can’t wait to see where the newly minted category takes us next year.
Karla Sofía Gascón in “Emilia Pérez”
Monica Barbaro in “A Complete Unknown”
In the Envelope
On With the Show
How Pamela Anderson brought her “messy,
wild life” to “The Last Showgirl”
By Vinnie Mancuso
●PAMELA ANDERSON IS THE MOST DELIGHTFUL SURPRISE of the 2025 awards season. Perhaps best known for her turbulent tabloid stories of the ’90s, she’s a revelation in Gia Coppola’s “The Last Showgirl.” She stars as Shelly Gardner, a Las Vegas showgirl who finds herself staring down the dark side of showbiz—and its treatment of aging women—when her long-running revue closes after 30 years. Her performance has garnered nominations at both the Golden
“I’ve been very conscious of the fact that this is my opportunity to work. This is my chapter to be an actress,” Anderson tells us. “Sure, I’ve done a lot of wild and crazy things; those were different chapters. This is something that feels better than anything I’ve ever experienced—being able to express myself in this way.”
Here, Anderson discusses discovering her love of acting and her long road to the role of a lifetime.
“The Last Showgirl” marks the first time Anderson has ever enjoyed watching herself onscreen.
or a musician or anything. I was just building all of this from scratch. We don’t really know if we’re capable of anything until we try. I’ve always wanted to know what I’m made of, and I always knew there was more to me than what I was doing.”
The actor poured a lot of herself into Shelly.
“It was the first time I ever experienced seeing myself completely transform. I could feel that I maintained the character throughout. For me, this is a new experience. I never really liked to watch myself.
I never watched an episode of ‘Baywatch.’ When I was shooting the cover of Playboy, I would go to Samuel French and read Eugene O’Neill, Tennessee Williams, Sam Shepard, all these great plays, thinking: How do I get from here to here? Is this what this business even is? And am I part of it?
I took acting classes, but then I would get into another television show where I didn’t really need to apply myself. There’s nobody who is an artist in my family
“I wrote emotional journals and diaries, and [used acting coach Ivana Chubbuck’s concept of] substitution. Every part of my life is in this film. Interestingly enough, just doing Ryan White’s documentary ‘Pamela: A Love Story’ and writing my memoir, ‘Love, Pamela,’ and going back home, even—I get chills thinking about it, because I feel like I found a place to put my life experience. I kept thinking I had this little monster inside me that couldn’t get out. Ivana really taught me how to turn my messy, wild life into interesting work. It was all worth it to have those experiences.”
Anderson is excited about the rise of films that tell stories about older women, including
acclaimed 2024 projects like “The Substance” and “Maria.” “It’s exciting to see so many stories about women—and not just about young women. I really am proud of the fact that ‘The Last Showgirl’ is not exploitative in any way. It’s about generations of women hitting the same crossroads of reinvention. Sometimes when you think it’s the end, it’s really the beginning. I’m very sensitive to exploitation; and I know that sounds funny coming from a Playboy Playmate, because I didn’t look at it that way back then, and I don’t regret it. But film is really changing. It’s really opening. No one’s holding back, and it’s exciting to see.
I love my little zone that I’m in; I love being my age; I love being at this point where I’m able to create characters who are these heart-on-their-sleeve, flawed beings, because we all are. That’s what makes characters so relatable and inspiring and exciting to play: not their superficial qualities, but their inner lives.”
This interview has been edited for clarity and length.
Pamela Anderson in “The Last Showgirl”
Globes and the SAG Awards.
MARCH 11 -23
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Spotlighting the people and projects you need to know
Jesse Eisenberg on the set of “A Real Pain”
Jesse Eisenberg Walks the Fine Line Between Acting + Filmmaking in ‘A Real Pain’
By Siddhant Adlakha
● IN JESSE EISENBERG’S MOVING COMEDY-DRAMA “A REAL Pain,” a pair of American Jewish cousins embark on a Holocaust tour through Poland in remembrance of their late grandmother. By the end, they’ve been fundamentally changed by their experience. The film picked up Oscar nominations for original screenplay and Kieran Culkin’s supporting performance.
This is Eisenberg’s second outing as a feature filmmaker, and the first he also performed in. In the movie, he plays a distinctly “Eisenberg-ian” character: a well-to-do, high-strung introvert named David Kaplan. But he’d originally intended to play David’s unhinged, alluring cousin Benji, an unpredictable loner who unravels over the course of the film.
The Kaplan cousins have been marinating in Eisenberg’s mind for some time; he originally envisioned “A Real Pain” a s a n adaptation of his 2017 short story “Mongolia,” a tale of two college buddies who
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“I’m a fast-paced person—the way I speak, the way I write. That gives me the advantage of having the quiet moments hit that much harder, because they’re unexpected.”
go on a trip to reunite with an old friend. Prototypes of David and Benji also exist in his theatrical work.
Eisenberg ultimately heeded the advice of his producers (Emma Stone among them), who discouraged him from playing such a volatile character while also managing a set. T he part of Benji instead went to “Succession” Emmy winner Culkin, whom Eisenberg cast based on a recommendation from his sister even though he’d never seen any of the actor’s previous work. The filmmaker didn’t even have him audition beforehand.
The gambit paid off: Culkin delivers a wild, instinctive performance that comes from a place of buried agony. Here, Eisenberg discusses finding the delicate balance between writing, directing, and acting.
How do you bring a script to life through performance, particularly when it’s one you wrote yourself?
My background is in playwriting, and I would always act in t he plays that I’d written. Early on, people would say that some of the characters I played were unlikable. And I remember reading some notices about my plays where they attributed that unlikability to me, Jesse, personally. And my thought always was: But wait, I also wrote the likable people! When
Meet the Maker
I’m writing a script, I am every single character—because my background is as an actor, where you’re trained to try to understand your character even if they’re the villain.
“A Real Pain” is as much about the dialogue as the silences in between. Did you write moments like that into the screenplay?
I think about it a lot, because I’m conscious of pacing the movie in such a way that the emotion sneaks up on you. I prefer that you get to know these people in a way that feels comfortable and accessible, and then they start to surprise you. When you meet Kieran’s character in the beginning, he just seems like an affable, charming guy. But by the end, [you realize that this is] a man who’s suffering.
Also, I’m a fast-paced person— the way I speak, the way I write. That gives me the advantage of having the quiet moments hit that much harder, since they’re unexpected.
Was it difficult for you to find the balance between what the audience discovers about Benji over the course of the film and how much you, as the screenwriter, already knew?
I was writing from David’s [point of view] as he was trying to figure Benji out. I wasn’t particularly conscious of how the audience learned more about Benji. And my hope is that by the end of the movie, the audience, like David, realizes: You know what? I don’t think I’ll ever understand this person fully, but we have to accept him for who he is.
This interview has been edited for clarity and length.
Secret Agent Man
A Leg Up
●THE BEGINNING OF A NEW YEAR ALWAYS FINDS ME LOOKing back on the start of my career, when I was working as an assistant at one of those big agencies that you’d know by its initials alone. Those days were stressful, but they were also exciting.
Back then, the idea of a “safe” workplace didn’t exist. Agents threw staplers at assistants who made mistakes; the use of inappropriate language would shock you; and the word “triggered” wasn’t even in our lexicon. Once, a male assistant at my agency snapped and tried to strangle his female colleague. Believe it or not, no one called the police, and the guy wasn’t fired.
The clients didn’t make our lives easy, either. I once drove all the way across town to deliver a hard copy of a screenplay to an A-lister who didn’t own a printer and refused to read scripts on his computer. Then there was the time I spent the better part of a Monday measuring the dimensions of a client’s trailer because he thought that his costar’s was bigger. (It wasn’t.)
Still, the positives were legion. I learned how to represent
talent and negotiate contracts; and most importantly, I made high-level contacts that would serve me in the future.
I’m taking this walk down memory lane because actors rarely give much thought to assistants, often viewing them as mere peons guarding the gates of the agency. But making this assumption would be a major mistake.
Let’s say you’re seeking representation. Because agents rarely respond to submissions, it can be a frustrating process. So here’s an idea: Target their assistant. Find out who they are, then submit to them instead. You never know what might happen. When I was in that position, I kept track of promising actors who approached me so I could sign them once I’d moved up. This approach works especially well if you’re trying to get a rep to attend a play, comedy
show, or other live performance. As an agent, I rarely have the time, but my assistant loves going to those things— and she usually comes back with the name of a performer she liked whom she wants me to consider signing.
Assistants are vital to your career even if you already have representation, since they’re the link between you and your agent. If you get to know them, they can become your cheerleader at the company. Forging a relationship with them can make all the difference.
The opposite is also true. I don’t care if you had a rough day or an audition that went badly—never, ever be rude to an assistant. Mine tells me whenever this happens, and I then unleash hell on that actor. By the way, don’t forget that casting directors also have assistants. I always approach these people with courtesy and respect, and in return, they help me book auditions for my clients. So make them your champions, too.
The entertainment industry is a food chain. Almost everyone starts at the bottom, and only some of us climb higher; so you and your rep’s assistant have quite a bit in common. If you assist them, they just might be willing to assist you in return.
You and your rep’s assistant have quite a bit in common. If you assist them, they just might be willing to assist you in return.
Just like Joan Holloway (Christina Hendricks) in “Mad Men,” the assistant you connect with today could go on to head up their own company.
The Essentialists
Desira Pesta Costume Designer
By Emma Fraser
● THEATER HAS THE POWER to transport actors and audiences whether it’s performed on Broadway, in a park, or in a prison. In “Sing Sing,” Colman Domingo stars as the wrongly convicted John “Divine G” Whitfield, a participant in the real-life Rehabilitation Through the Arts program. The Oscar nominee shares the screen with a host of actual RTA alums, including Clarence “Divine Eye” Maclin, who costars as a version of himself.
For costume designer Desira Pesta, working on the film meant conceiving both everyday prison uniforms and creative looks for the stage. “This was a dream project, because we had the research-based reality as well as the fun, tangible, crafty aspect,” she says. Here, Pesta discusses the unique experience of working on Greg Kwedar’s acclaimed drama.
How did you become attached to “Sing Sing”?
I was approached by Monique Walton, one of the producers, who had seen my work. When I talked to Greg Kwedar, we connected over the fact that I’m a huge proponent of criminal justice reform; I’ve been a longtime supporter of the Innocence Project. Additionally, my sister is a psychotherapist for those who used to be incarcerated. “Sing Sing” is a wonderful story and there are a lot of beautiful theatrical moments; but I think, on a human-interest level, that’s where Greg and I connected.
He was super game. We had some quick fittings, but because I got his measurements, we talked through a lot of stuff prior [to filming]. Colman is a very gracious and open person, and he wants to hear what others think. I know he spent a lot of time with [the real] Divine G, talking through his life. He was a sponge about what made sense for the collective.
What was the process like when you were fitting the formerly incarcerated actors? Did you take steps to ensure that they weren’t re-traumatized by the experience of putting on prison uniforms? Absolutely. I want the world
The film was shot over only 18 days. What was it like to develop Colman’s character with him in such a short amount of time?
to know what a giant step this was for anyone who was playing either a version of themselves or a different character within the prison system. I don’t think many costume designers have experienced [working with] actors who are being re-traumatized, and that’s something the producers and the filmmakers were super sensitive to. As somebody who is a voracious learner, I want to be as informed as possible. And I thankfully had my sister to glean from; she is a huge proponent of being trauma-informed. Costume designers often [act as] psychologists and therapists; we have a lot of very intimate moments with people, and we need to have a sensitivity to the human experience and to bodies that other people on set don’t necessarily have. Going into fittings, [we had] conversations with Clarence Maclin and some other folks who had been in prison. It was a great learning experience for me and my assistant costume designer, Katharina Windemuth.
The play the characters stage, “Breakin’ the Mummy’s Code,” was originally written and performed by real-life RTA members. How did you put together the costumes for the production?
I was able to watch the entirety of the original [production] because they had it filmed, and we also have photos. Ruta Kiskyte, the production designer, and I wanted to lean into the creativity, originality, and finding the magic in theater.
We were looking at black-box community theater: How do you take a piece of cardboard and imbue it with this power? It’s all about make-believe. Everything was practical. I wanted to use materials that were able to be grabbed within the prison system. What was donated? What was brought from granny’s attic? What was found in a thrift store? We wanted to make sure things felt real. We also made a lot of costumes by hand. We had the great benefit of
Clarence Maclin in “Sing Sing”
Colman Domingo
having access to the SUNY Purchase costume shop in upstate New York, which had supplied some of the costumes for the original production. We went there with [former RTA volunteer director] Brent Buell, who Paul Raci plays in the film. They were really sweet and gave
us the ability to take 15 things, so we were really discerning.
In a recent Variety interview, Colman said that “Sing Sing” had a “very gentle set.” Would you agree with that description?
When you said “gentle set,”
it made me really emotional. Not to be super cheesy, but we knew it was more than a film. Bringing these men, who I now call dear friends, together and [watching them] re-experience things and also find t he ecstasy of being onstage was incredible. Because the
subject matter is deeply hard to witness, we had a lot of real stories being shared on set, and there were a lot of unabashed tears. I think that’s what was gentle about it—that we were all loving and open and knew how hard this was [for the actors].
Everyone who worked on “Sing Sing” received equal pay. What was that like for you? It’s so awesome to go into something knowing that a production assistant who is working their butt off—starting before us all, picking up the vans, cleaning up the garbage at the end of the night—is making the same amount as the producer and lead actor. I think that egalitarianism is essential. I’m not trying to get into socialism, but I think there’s a horrible hierarchy on [many] sets—so many people sitting in chairs and calling shots and getting $18 coffees. And then the people doing the hard lifting are not even making a living wage. I think [“Sing Sing”] is hopefully opening eyes as to how a film can be successful and how everyone can feel like they own a piece of it.
Did you learn anything from working on this film that you hope to bring to your future projects?
This experience taught me how to cull information from everywhere. Finding out what people wear in prison was so hard. I did so much digging; I love going down rabbit holes. I was able to ask the actors who had been incarcerated for firsthand information. And I met a corrections officer, randomly, because her son was in a commercial I was doing, and I interviewed her. [It’s all about] learning new skills and figuring out things you might not know how to do.
This interview has been edited for clarity and length.
Pesta’s concepts for some of the theatrical costumes the actors wear onstage in “Sing Sing”
A piece from the film
FALLING IN LOVE WITH
By Tomris Laffly
Photographed by Shayan Asgharnia
ikey Madison’s rescue dog, Jam, has the zoomies. The sweet 9-month-old mutt can hardly contain his excitement after the actor’s long day away in December doing press. As Jam settles down next to her in their L.A. home, the conversation turns to the final scene of Madison’s latest film, “Anora,” which has made her a frontrunner this awards season. She received an Oscar nod for best actress—not to mention an additional 45 wins and 38 nominations from various critics’ groups and other industry bodies.
In Sean Baker’s Palme d’Or winner, Madison delivers a stunning portrayal of the titular headstrong Brooklyn sex worker whose deceptively cheery Cinderella story unravels over the course of the film. Like all of Baker’s movies—the filmmaker places a great weight on endings—“Anora” resolves on a note that’s both beautiful and haunting.
For most of the film, Ani (the name Anora goes by) keeps her cards close to the vest. But in the richly earned climax, something shifts; she finally cracks emotionally, shedding a single tear. It’s one of the year’s most rewarding cinematic moments. But getting to that point proved more challenging than Madison anticipated.
“I’m playing this character who is pushing everything in. And I unconsciously started to do that myself, which is not how I am in real life. It was frustrating,” she recalls. “I was nervous about that scene. [Whenever I thought about it], I would instantly get a pit in my stomach.”
After witnessing Ani’s journey, which Madison charts with astounding compassion and verve, the actor’s anxious anticipation about the ending is understandable.
“Anora” begins as a “Pretty Woman”–esque romp that calls back to classic rom-coms, charting the fateful meeting between Ani, a
first-generation Russian American, and Ivan (Mark Eydelshteyn), the carefree son of a Russian oligarch. Their whirlwind romance leads to an impulsive trip to Vegas, where the duo ties the knot.
But everything changes when the groom’s disapproving parents dispatch henchmen Toros (Karren Karagulian), Garnik (Vache Tovmasyan), and Igor (Yura Borisov) to get the marriage annulled. Ivan flees, sparking a search for his whereabouts across New York. Along the way, Ani fights relentlessly to save her marriage, even as Igor finds himself quietly falling for the resilient woman.
In the film’s big-hearted, deeply humanistic ending, the exhausted Ani’s carefully maintained control finally breaks as she sits in a car beside the compassionate Igor. At first, Madison says couldn’t shed a tear no matter how hard she tried. “Ani has all this heartbreak that she hasn’t yet expressed. She’s put on this brave face [despite] how
unfairly she has been treated. She’s heartbroken. She knows she’ll have to go back to work. When I got to that scene, I was angry and I didn’t understand why.”
The breakthrough came from something deeply personal: an old voicemail from Madison’s father that she listens to whenever she needs to feel centered. While Baker was sitting in the backseat, she played the message. “The voicemail was left at a time when I was searching for hopefulness, and my dad was trying to give me some of his,” she explains. “Sharing it with other people was vulnerable for me. But it worked and felt truthful to the moment. And that’s the scene.”
Madison is nothing but grateful when she talks about her parents, two psychologists who raised her to have a deep understanding of human behavior. “I am who I am today because of their life philosophy, and I’ve only just started to recognize its exact nuances, [which have taught me] to be curious about people and to be accepting of different kinds of morals and philosophies,” she says.
That inherited perceptiveness and daring proved instrumental when Madison discovered acting. When she was growing up in the San Fernando Valley, she had a deep love of John Hughes films (especially his Molly Ringwald collaborations “Pretty in Pink” and “Sixteen Candles”) and all things River Phoenix, particularly “Stand by Me.” She first dipped her toe into the craft when her mom enrolled her in children’s acting classes.
First came a few shorts and small features. Then she landed a supporting role on Pamela Adlon and Louis C.K.’s FX series “Better Things” as Max, the eldest daughter of actor Sam Fox (Adlon) who’s navigating life post-adolescence. “I learned the beginning of everything on that show,” Madison says. “It was my first big role, my film school.”
Remembering the days when she was starting out, Madison can’t help but laugh. “I’ve had so many weird auditions—like, driving from the Valley to Hollywood for 45 minutes and then just leaving [without auditioning].” She recalls the time that she tried out for a character who had a British accent and decided that she’d speak in dialect not only while reading for the part, but throughout the audition. “Casting was like, ‘Are you British?’ ” she says with a laugh. “I was just trying something, and I didn’t get the part.”
Madison and Mark Eydelshteyn in “Anora”
Her persistence paid off when she got her biggest break yet: At the age of 19, she was cast in Quentin Tarantino’s 2019 historical-fiction film “Once Upon a Time… in Hollywood” as Sadie, a member of the notorious Manson Family. This happened only a few years after Madison and her father went to see the director’s “The Hateful Eight” together in NYC, which remains a fond memory for her. “We saw it on film, with an intermission. Tarantino is one of the reasons I fell in love with film; he’s a bucket-list director for me. I was like, God, wouldn’t it be incredible to be in one of his films? I kept that ticket stub in my wallet and carried it around with me every day.”
“It was my choice to go that hard. Bruises are temporary, but Ani’s fight in the film is going to live on forever.”
Madison’s relatively short screen time culminates in Sadie’s brutal death. (“The more gruesome it was, the more excited I was,” she says.) But her unforgettable portrayal and screen presence put her on the map in a big way. “Quentin saw something [in me] and really uplifted me. Everyone on that film was in love with what they were doing, and it’s nice to be surrounded by that. It reinvigorated my love for filmmaking and set the precedent for how [I wanted] to feel moving forward.”
Her next major role came in 2022’s “Scream” as the villainous Amber Freeman. “I always loved horror and I had seen the original ‘Scream,’ but I was quite naive to the scope of its fanbase,” Madison reflects. Thanks to Matt BettinelliOlpin and Tyler Gillett’s film, she not only became a significant part of an iconic franchise (“It was such a blessing to cut my teeth on something with a bunch of people my age,” she says); she also left a lasting impression on Baker and his producing partner and spouse Samantha Quan. After seeing her performance in “Scream,” the couple essentially created the part of Ani with Madison in mind.
To wholly embody the role, Madison dove deeper into character preparation than she ever had before: She learned Russian, studied dance, and perfected that spot-on Brighton Beach accent. “I worked with a dialect coach. Then I lived in Brighton Beach for about a
month and immersed myself in that community. I [wanted to] get the accent to a place where it felt natural.”
Eventually, she felt comfortable enough to take it out for a test drive. “I was ordering coffee in the accent to see if anyone raised an eyebrow, and nobody did. It [became] second nature.”
All that intense training transformed Madison both physically and emotionally. “It gave me a strength that I didn’t have before. I’m more in touch with my body—my sexuality and sensuality,” she says. “When I put on Ani’s heels and tight dresses, and I have my hair and makeup done, I walk differently. Ani’s long nails make me move my hands in a different way. I have all this attitude on the tips of my fingers.”
The authenticity of her portrayal owes much to the generous collaboration of consultants from the sex-work community. “I was trained by a dancer,” Madison explains. “I went to clubs and shadowed several
women. They graciously shared their life with me in intimate ways.”
The actor’s work with the film’s chief consultant, Andrea Werhun—whose memoir “Modern Whore” became essential reading— was especially vital to ensuring that Ani’s life rang true. Madison’s training ranged from learning tricks of the trade, like blow-drying the plastic on her pleasers, to knowing what items Anora would carry with her during a shift (“hand sanitizer, gum, lotion”).
Her costar Luna Sofía Miranda, who drew on her own experience as a sex worker to play Ani’s fellow stripper Lulu, created a document of industry-specific language to incorporate into the film. “I’m really grateful to that community, which is a wonderful one,” Madison says.
Careful preparation also went into the film’s most intimate scenes. Madison and Eydelshteyn’s mutual trust—and their trust in Baker—allowed them to bring a lightness to these moments. “All of those physical
scenes were a very positive experience for us. They are filled with innocence, in a sense, with laughter, an unserious quality, a goofiness,” the actor explains. “Mark was very thoughtful towards me, and I towards him.” Their easy rapport formed the story’s emotional core, especially as Eydelshteyn prepared to return home to Russia after filming. “Maybe not seeing him ever again felt real—that heartbreak. It was easy to understand the parallels between that and what Ani is going through.”
Similarly, Madison’s evolving off-camera friendship with Borisov enriched their characters’ relationship. “When we were shooting that last very vulnerable scene, Yura was there with that trust and love. He is such a soulful person. And he was there to hug me afterwards.”
That same trust proved essential to the film’s most physical scenes, particularly its centerpiece: a real-time sequence in which the three henchmen arrive at Ivan’s mansion to force the couple to annul their marriage, only to find Ani alone. The scuffle that follows, which plays out like a hilarious home invasion, was carefully choreographed— though some room was left for improv. Madison performed her own stunts as Ani kicked, screamed at, and fought her captors.
“At first she thinks she’s going to die; then she realizes that they won’t kill her,” the actor explains. “She’s fighting to save her marriage and the life she’s earned. I never wanted her to stop talking. I wanted her to keep fighting, to get under their skin.” The exhilarating, exhausting shoot left Madison with real bruises. “My legs were black and blue. I had to get to set early to cover them. But it was my choice to go that hard. Bruises are temporary, but Ani’s fight in the film is going to live on forever.”
Despite her deep immersion in the role, Madison insists that she isn’t a Method actor. “I’ve never studied Stanislavsky; I know nothing about it. I would sometimes keep the accent between takes just to keep it more seamless. But I’m not someone who goes through life as her character. I think there’s a lot of misconceptions about what Method acting is; I just bought a book and am interested to read [more] about it.”
Looking ahead, Madison is excited to continue pursuing her career ambitions. She has a clear vision of the directors she wants to work with next, including Alice Rohrwacher. “She has a beautiful perspective on the world. I love Coralie Fargeat, too. And Luca Guadagnino, obviously.”
Above all, the actor just wants to make movies until she’s 100 years old. “I want to [be in] films that make a difference and work with different kinds of creatives from every single country in the world. Acting is where I feel the most passion. But one day, I would love to direct, write, and produce. I am enthralled by the entire process of being on set. I have no idea what the future looks like, but I have lots of dreams.”
Tom Hiddleston
Saoirse Ronan
Kathryn Hahn
Maya Rudolph
Cynthia Erivo
Daniel Craig
Bloody
The ultimate guide to BAFTA’s Outstanding British Film category
By Emma Fraser
● FROM INTIMATE INDIES TO BLOCKBUSTERS,
BAFTA’s Outstanding British Film category has a rich history of celebrating the best movies made in the United Kingdom. While the organization champions international lmmaking, as well, this prestigious award spotlights distinctly British stories featuring both emerging and established talent. In response to concerns about Hollywood’s growing in uence on the category, BAFTA has re ned its criteria, reinforcing its commitment to lmmakers and talent from the U.K. The 2025 ceremony will be held on Feb. 16. Viewers in the U.K. can watch live on BBC One, and those stateside can stream the event on BritBox.
What qualifies as a British film?
● Per BAFTA’s rules, eligible titles must have a British writing and directing team.
● In 2021, the category expanded to include 10 nominees instead of six. According to a review BAFTA conducted in 2020, the change was designed to prevent big-budget productions from dominating the eld and to “ensure a stronger focus on British lm within the Film Awards and the ceremony itself.”
● Movies that don’t have any British candidates are only eligible in exceptional circumstances. Key rule changes in 2025
● The organization has introduced a pointsbased system to determine eligibility for the category—and to clarify its criteria regarding what quali es as a British lm. Points are allocated based on the nationality of the candidates, including writers, directors, and producers; key department heads; and principal cast members; as well as setting, source material, and postproduction locations. The movie must also meet the criteria of the British Film Institute’s cultural test.
● BAFTA Film voters determine the long list for the category, which comprises 15 titles. The top ve movies from this round will be nominated automatically.
● The nominating jury selects the remaining ve lms. Finally, all eligible members submit their pick for the winner.
● First awarded: Carol Reed’s “Odd Man Out” at the 1949 BAFTA ceremony
2025 Contenders
“ Bird”
Writer-director: Andrea Arnold
Producers: Juliette Howell, Lee Groombridge, Tessa Ross
“ Blitz”
Writer-director: Steve McQueen
Producers: McQueen, Tim Bevan, Eric Fellner, Anita Overland
“ Conclave”
Director: Edward Berger
Producers: Juliette Howell, Michael Jackman, Tessa Ross, Peter Straughan
“ Gladiator II”
Director: Ridley Scott
Writers: Peter Craig, David Scarpa
Producers: Scott, Lucy Fisher, Michael Pruss, Douglas Wick
“ Hard Truths”
Writer-director: Mike Leigh
Producer: Georgina Lowe
“ Kneecap”
Co-writer–director: Rich Peppiatt
Producers: Trevor Birney, Naoise Ó Cairealláin, JJ Ó Dochartaigh, Liam Óg Ó Hannaidh, Jack Tarling
“ Lee”
Director: Ellen Kuras
Writers: John Collee, Lem Dobbs, Liz Hannah, Marion Hume
Producers: Kate Solomon, Kate Winslet
“ Love Lies Bleeding”
Director: Rose Glass
Writers: Glass, Weronika Tofilska
Producers: Andrea Cornwell, Oliver Kassman
“ Love Lies Bleeding”
Director: Nora Fingscheidt
Story by: Amy Liptrot
Producers: Sarah Brocklehurst, Jack Lowden, Dominic Norris, Saoirse Ronan
“ Wallace & Gromit: Vengeance Most Fowl”
Directors: Merlin Crossingham and Nick Park
Writers: Park, Mark Burton
Producers: Park, Burton, Richard Beek
● Oscar bound: Five Outstanding British Film winners went on to nab best picture at the Academy Awards: “The Bridge on the River Kwai” (1957), “Lawrence of Arabia” (1962), “Tom Jones” (1963), “A Man for All Seasons” (1966), and “The King’s Speech” (2010).
● Most-awarded directors: David Lean (4), Martin McDonagh (2), James Marsh (2), and Sam Mendes (2)
● First (and only) James Bond victory: “Skyfall” (2012)
● First animated winner: “Wallace & Gromit: The Curse of the Were-Rabbit” (2005)
Casting
Submit a Notice |
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.
New York Tristate Play
‘Polishing Shakespeare’
•Casting Equity actors for the role of Janet in “Polishing Shakespeare.”
•Company: Bridge Street Theatre. Staff: Brian Dykstra, playwright; John Sowle, dir.
•Rehearsals begin April 1 at the theatre in the Catskills; runs April 17-27 (Thursdays-Saturdays at 7:30 p.m., Sundays at 2 p.m.) in Catskill, NY.
• Seeking—Janet: 20-39, AsianAmerican or POC, female; 20s-30s; a whip-smart, brilliantly talented emerging playwright; progressive, educated woman struggling under a massive load of student debt; facility with rapid-fire, Shakespearean-style language.
• Seeking submissions from NY.
•Possible auditions early February. For consideration, submit your headshot and resume to casting@bridgest.org.
Submissions deadline is Feb. 6
•For more info, visit https://bridgest. org. On-site housing is provided to artists from outside a 50-mile radius of the theater.
•Professional Pay. Pays $340/wk. Equity Special Appearance Level 1 Agreement.
‘The Inheritance Part I and II’
• Seeking submissions from Equity actors for roles in “The Inheritance Part I and II.”
• Company: Round House Theatre. Staff: Ryan Rilette, artistic dir.; Tom Story, dir.; Matthew López, playwright; Sarah Cooney, casting dir.-assoc. prod.
•Rehearsals begin June 17; part I previews begin Aug. 27; part II previews begin Sept. 10; runs Sept. 20-Nov. 9 (both parts) at the Round House Theatre, in Bethesda, MD.
• Seeking— Morgan/Walter Poole: 18-99. Adam Mcdowell/Leo/Young Man 1: 18+. Eric Glass/Young Man 9: 18-99. Toby Darling/Young Man 10: 18-99.
• Seeking submissions from NY.
• For an audition appointment, submit your headshot and resume to casting@ roundhousetheatre.org with the subject line “AEA Self-Submission/The Inheritance”. Queer-identifying per-
formers are encouraged to audition. All roles will be understudied. If selected to audition, initial auditions will be requested via self-tape. In-person callbacks will take place in NYC on Feb. 24-25.
•For more information, visit www.roundhousetheatre.org
•Professional Pay. Pays $839/wk. Equity LORT Non-Rep LORT D Contract.
‘O.K.!’
•Casting Equity actors for roles in the world premiere of “O.K.!” Content Warning: Topics like abortion, sexual assault, and rape are spoken about in this story— in detail.
•Rehearsals begin week of Apr. 7; runs May 10-June 8 in NYC.
• Seeking— Melinda: all genders, 18-99, all ethnicities. Alex: all genders, 18-99, all ethnicities. Jolie: all genders, 18-99, all ethnicities. Elena: all genders, 18-99, Latino / Hispanic.
• Seeking submissions from NY.
• For consideration for an in person audition, fill out the form at the following link https://airtable.com/app9fi71R7BbZZZ3p/shrls9Zl9EwHgbeKF. The Bass/ Valle Casting team will review all selfsubmissions. Local NYC actors are encouraged to submit. Submission deadline Jan. 30. Initial auditions Feb. 3-4 by appointment only. Callbacks Feb. 5.
•Professional Pay. Pays $744/wk. Equity LOA-NYC Contract plus health & pension.
Musical
‘Joseph and the Amazing Technicolor Dreamcoat’
•Casting Equity actors for roles in “Joseph and the Amazing Technicolor Dreamcoat.”.
• Company: Ivoryton Playhouse Foundation, Inc. Staff: Jacqueline Hubbard, exec. dir.; Ben Hope, exec. prod.; Krista May, managing dir.; Todd L. Underwood, dir.-choreo.
• Rehearsals begin June 10; runs June 26-July 27 (runs Weds. at 2 p.m., Thurs. at 2 and 7:30 p.m., Fri. at 7:30 p.m., Sat.
Casting picks of the week
BY LISA HAMIL
musical
‘The Wizard of Oz’ There’s no place like home in Austin, TX
film
’33 Days’ Hope for the future in LA and San Francisco, CA
musical
‘Stompin’ at The Savoy’ Kick up your heels in Wilmington, DE
stage
‘Polishing Shakespeare’ Brush up your Shakespeare in the Catskills, NY
scripted series
‘Her Alpha King’ Join Dramabox’s new Los Angeles vertical series
at 2 and 7:30 p.m., and Sun. at 2 p.m.) in Ivoryton, CT.
• Seeking— Equity Actors: all genders, 10+, all ethnicities.
•Equity Principal Auditions will be held Feb. 5 from 9 a.m.-5 p.m. (lunch, noon-1 p.m. Holding room – Studio 412) at Pearl Studios (500), 500 8th Ave, New York City, NY 10018-6504.
•EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
•Prepare a short cut of a pop/rock and/ or musical theatre piece. An accompanist will be provided. Also, bring the talent’s picture and resume stapled together. Note: Callbacks same day (6-8 p.m.). For additional information, email Ben at ben@ivorytonplayhouse.org .
Seeking a diverse cast of talented and committed performers ages 10 and older. All roles are available to actors of any age and ethnicity.
•Ivoryton Playhouse is an Equal Opportunity Employer. The Ivoryton Playhouse aims to ensure that our productions and production teams reflect a multi-racial society that includes actors and stage managers with disabilities. Our casting process includes a flexible and imaginative casting policy to increase employment for actors and stage managers of color, women, seniors, and actors and stage managers with disabilities. We encourage actors of all races, ethnicities, gender identities, and abilities to audition. Ivoryton Playhouse is committed to diversity and encourages actors from underrepresented communities to audition.
•Professional Pay. Pays $761/wk. Equity SPT 8 Contract.
‘My Fair Lady’
•Casting Equity actors for roles in “My Fair Lady.”
• Company: Ivoryton Playhouse Foundation, Inc. Staff: Jacqueline Hubbard, exec. dir.; Ben Hope, exec. prod.; Krista May, managing dir.; Brian Feehan, dir.-choreo.
•Rehearsals begin July 22; runs Aug. 7-Sept. 7 (performs Weds. at 2 p.m., Thurs. at 2 and 7:30 p.m., Fri. at 7:30 p.m., Sat. at 2 and 7:30 p.m., and Sun. 2 p.m.); in Ivoryton, CT.
• Seeking— Equity Actors: all genders, 18-99.
•Equity Principal Auditions will be held Feb. 4 from 9 a.m.-5 p.m. (lunch, noon-1 p.m. Holding room - Studio 412) at Pearl Studios (500), 500 8th Ave, New York City, NY 10018-6504.
•EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
•Prepare a short cut of a song in the style of the show. An accompanist will be provided. Also, bring the talent’s picture and resume stapled together.
Note: Callbacks: Same day, 6-8 p.m.
•For additional information, email Ben at ben@ivorytonplayhouse.org.
•Ivoryton Playhouse is an Equal Opportunity Employer. The Ivoryton Playhouse aims to ensure that our productions and production teams reflect a multi-racial society that includes actors and stage managers with disabilities. Our casting process includes a flexible and imaginative casting policy to increase employment for actors and stage managers of color, women,
seniors, and actors and stage managers with disabilities. We encourage actors of all races, ethnicities, gender identities, and abilities to audition. Ivoryton Playhouse is committed to diversity and encourages actors from underrepresented communities to audition •Professional Pay. Pays $761/wk. Equity SPT 8 Contract.
Ogunquit Playhouse Season
•Casting Equity actors, chorus dancers, and chorus singers for roles in the Ogunquit Playhouse’s 2025 Season. Season includes: “Come from Away” (Irene Sankoff and David Hein, bookmusic-lyrics; Richard Hinds, dir.choreo.; Sam Groisser, music dir. Rehearsals begin April 29 in Maine; runs May 15-June 14), “Guys and Dolls” (Abe Burrows and Jo Swerling, book; Frank Loesser, music-lyrics; Damon Runyon, source material “The Idyll of Sarah Brown and characters”; Al Blackstone, dir.-choreo.; Rehearsals begin June 2 in NYC; runs June 19-July 19), “High Society” (Cole Porter, music-lyrics; Arthur Kopit, book; Susan Birkenhead, additional lyrics; Philip Barry, source material the play “The Philadelphia Story” and Turner Entertainment Co. motion picture’s “High Society.”
Rehearsal begins July 7 in NYC; runs July 24-Aug. 23), “When Elvis Met the Beatles” (Colin Carberry and Glenn Patterson, book; Various, music-lyrics; Hunter Foster, dir.; Ali Solomon, choreo. Rehearsals begin Aug. 11 in NYC; runs Aug. 28-Sept. 27), “Titanic” (Peter Stone, story-book; Maury Yeston, music-lyrics; Shaun Kerrison, dir. Rehearsals begin Sept. 15 in NYC; runs Oct. 2-Nov. 2), and “White Christmas” (Irving Berlin, music-lyrics; Paul Blake and David Ives, book. Rehearsals begin Nov. 18 in Maine; runs Dec. 3-21).
• Company: Ogunquit Playhouse. Staff: Bradford T. Kenney, exec. artistic dir.; Amber Wallace, artistic and new works assoc.; Brian J. Swasey, producing dir.; Joel DeCandio, season music advisor; Mark Brandon (CSA), Jarrett Reiche, Kendra Lucas, and Patrick Maravilla, casting dirs.
•Runs in Ogunquit, ME.
• Seeking— Equity Dancers and Singers: all genders, 18+, all ethnicities.
•ECC Procedures are in effect for this audition. An Equity Monitor will be provided.
• Equity Chorus Calls will be held Jan. 30 at 10 a.m. (dancers; holding room Studio C; lunch, 1:30-2:30 p.m.) and at 2:30 p.m. (dancers; holding room Studio C) and Jan. 31 at 10 a.m. (singers; holding room Studio D; lunch 1:30-2:30 p.m.) and at 2:30 p.m. (singers; holding room Studio D) at Pearl Studios (519), 519 8th Ave, 12th Fl, New York City, NY 10018.
•Dancers: Arrive warmed up and ready to dance. Dancers should wear either a jazz heel or jazz shoe/sneaker/boot. Bring your headshot and resume stapled together.
•Singers: Prepare a brief song. Bring sheet music in the correct key and your stapled headshot and resume. An accompanist will be provided.
•For more info, visit http://www.ogunquitplayhouse.org/.
•Professional Pay. Equity $961/wk. Plus travel and housing. Equity COST Special Contract.
Olney Theatre Center, Dancers
•Casting Equity chorus dancers for Olney Theatre Center’s 2025-2026
Season. Season includes: “Hello Dolly” (Jerry Herman, music and lyrics by; Michael Stewart, book by; Kevin S. McAllister, dir.; Christopher Youstra, music dir. Rehearsals begin Oct. 7; runs Nov. 6, 2025-Jan. 4, 2026, at Roberts Mainstage, Olney, MD); “Little Miss Perfect” (Joriah Kwamé, book, music, and lyrics by; Zhailon Levingston, dir.; TBD, choreo.; Patrick Phillips, music dir. Rehearsals begin Jan. 6, 2026; runs Feb. 12-Mar. 15 with potential extension through Mar. 22, 2026 at Roberts Mainstage, Olney, MD); and “A Gentleman’s Guide to Love and Murder” (Steven Lutvak, music by; Steven Lutvak and Robert L. Freeman, lyrics by; Robert L. Freeman, book by; Eleanor Holdridge, dir.; Ashleigh King, choreo.; Christopher Youstra, music dir. Rehearsals begin June 2, 2026; runs July 2-Aug. 23 with possible extension through Aug. 30, 2026 at Roberts Mainstage, Olney, MD).
• Company: Olney Theatre Corporation. Staff: Jason Loewith, artistic dir.; Hallie Gordon, senior assoc. artistic dir.; Christopher Youstra, assoc. artistic dir.dir. of music theatre; Kevin McAllister, dir. of curated programming; Jolie Ouyang , casting and dramaturgy apprentice; Irene Martinko, assoc. artistic dir.-casting dir.; Oshie Mellon, choreo.
•Rehearses and performs in Olney, MD.
• Seeking— Equity Actors: all genders, 18+, all ethnicities.
•Equity Chorus Calls will be held Jan. 31 at 9:30 a.m. (dancers; early morning; All genders) and at 11:30 a.m. (dancers, late morning, all genders) at Actors’ Equity
New York Audition Center, 165 W 46th St, 16th Fl, New York City, NY 10036.
•ECC Procedures are in effect for this audition. An Equity Monitor will be provided.
•Come ready to dance (character shoes please). Also, bring headshot and resume stapled together.
•Olney Theatre Center is committed to hiring actors who reflect the diversity of our world; we are actively seeking actors of all backgrounds, races, ethnicities, genders, and abilities.
•Casting Equity actors for the touring production of “The Outsiders.” Based on S.E. Hinton’s novel and Francis Ford Coppola’s film.
•Staff: Adam Rapp with Justin Levine, book; Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music-lyrics; Danya Taymor, dir.; Matt Hinkley, music dir.; Rick Kuperman and Jeff Kuperman, choreo.; Justin Levine, music supervisor-arranger-orchestrator; Tara Rubin Casting/Xavier Rubiano, CSA, casting; Louis DiPaolo, casting assoc.; The Araca Group, American
Zoetrope, and Olympus Theatricals, prods.; 321 Theatrical Management, gen. mgr.
•Rehearsals begin on or about Aug. 4; 1st performance runs on or about Sept. 19 in Buffalo, NY; opens on or about Sept. 30 in Tulsa, OK.
• Seeking— Equity Actors: all genders, 15-99, all ethnicities.
•Equity Principal Auditions will be held Feb. 3 from 10 a.m.-6 p.m. (break, 1:302:30 p.m.) at Pearl Studios (500), 500 8th Ave, Studio 412 (Holding room); Studio 408 (Audition), New York City, NY 10018-6504. And Feb. 4 from 10 a.m.-6 p.m. (break, 1:30-2:30 p.m.) at Pearl Studios (519), 519 8th Ave, 12th Fl, Audition: Studio F; Holding Room: Studio D, New York City, NY 10018.
•EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
•Prepare a brief country, soul, rock, or folk song that shows range. Bring a headshot and resume stapled together. An accompanist will be provided. Bring a headshot and resume stapled together.
•Music Note: The sound of “The Outsiders” is a blend of folk, soul, southern rock, blues, with some elements of early country, hints of bluegrass and church revival. This is not a twangy score, no strong accents needed, not a hoedown or a hootenanny, but more of a celebration of Americana, traditions around acoustically driven, sincere, soulful, visceral human expression. Authenticity is key, as this should not feel like something put on, but the truest expression of these characters’ emotional lives. For these reasons, we are interested in unique and eclectic voices to comprise our company. For some stylistic references, here is a playlist featuring artists such as Bonnie Raitt, The Band, Bill Withers, and more. Here is a link to a playlist for musical references: https:// tinyurl.com/OutsidersPlaylist
•The employer will accept 126 video submissions from Equity members. Members will sign up online for one of the 126 slots. Only members who get one of the 126 slots will receive a confirmation e-mail with the preparation and submission information. After members’ submissions have been viewed, the employer will notify each member who viewed their audition. For video submissions, prepare a video with material from the link below of a brief country, soul, rock, or folk song that shows range. Materials may be downloaded from the following link: https:// tinyurl.com/OutsidersAEAMaterial.
•Professional Pay. Pays $1077/wk. Equity Touring Agreement (Level 5) Contract.
Theatre Aspen 2025 Season
•Casting Equity actors for Theatre Aspen’s 2025 Season. Season includes: “Driving Miss Daisy” (Hunter Foster, dir. Rehearsals begin May 26 in NYC; travel to Aspen June 7; runs June 12-28), “Mamma Mia!” (Michael Bello, dir.; Eric Alsford, music dir. Rehearsals begin June 16 in Aspen; runs July 5-Aug. 2), and “Million Dollar Quartet” (Rachel Sabo-Hedges, dir. Rehearsals begin July 28 in Aspen; runs Aug. 8-23.).
• Company: Theatre Aspen. Staff: Jed Bernstein, prod. dir.; Britt Marden, dir. of artistic planning; Michael Rader, exec. prod.; Katie An Siegel, general management assoc.; Holly Buczek, casting dir.; Cassandra Maguire, casting assoc.
•Season runs in Aspen, CO.
• Seeking— Equity Actors: 18-99.
• Eq uity Principal Auditions will be held Feb. 4 from 9:30 a.m.-5:30 p.m. (break, 1-2 p.m.) at Actors’ Equity New York Audition Center, 165 W 46th St, 16th Fl, New York City, NY 10036.
•EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
• Prepare a song of choice in style of the show(s). Have your book of other materials if asked. An accompanist will be provided. For the play prepare a style appropriate monologue. If you wish to be considered for an instrumentalist track in MDQ, bring your guitar or upright bass and accompany yourself for your song. Bring your headshot and resume stapled together.
•For more info, visit theatreaspen.org.
•Professional Pay. Pays $945/wk. Equity SPT 10 Agreement.
Timber Lake Playhouse Season
• Casting Equity actors for Timber Lake Playhouse 2025 Season. Season includes “Saturday Night Fever the Musical” (Nik Cohn, story; Robert Stigwood, Nik Cohn, stage adaptation; David Abbinanti, arrangementsorchestrations. Rehearsals begin May 13; runs May 30-June 15), “Rock of Ages” (Chris D’Arienzo, book; Ethan Popp, arrangements-orchestrations. Rehearsals begin June 3; runs June 20-July 6), “Waitress” (Jessie Nelson, book; Sara Bareilles, music-lyrics; Adrienne Shelly, motion picture writer. Rehearsals begin June 24; runs July 11-27), Disney’s “Frozen” (Kristen Anderson-Lopez, Robert Lopez, music-lyrics; Jennifer Lee, book. Rehearsals begin July 15; runs Aug. 1-17), “Friendship Landing” (Nathan Fosbinder, book-music-lyrics. Rehearsals begin Aug. 5; runs Aug. 22-31), and “The Bridges of Madison County” (Jason Robert Brown, musiclyrics; Marsha Norman, book. Rehearsals begin Aug. 26; runs Sept. 12-21).
• Company: Timber Lake Playhouse. Staff: Tommy Ranieri, artistic dir. •Rehearses and runs in Mount Carroll, IL.
• Seeking— Equity Actors: 18+.
• Eq uity Principal Auditions will be held Feb. 20 from 9:30 a.m.-5:30 p.m. (lunch, 1:30-2:30 p.m.) at Actors’ Equity New York Audition Center, 165 W 46th St, 16th Fl, New York City, NY 10036.
•EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
•Prepare a short song that both reflects the season’s programming and brings you joy. Also, bring your headshot and resume stapled together.
•Professional Pay. Pays $761/wk. Equity SPT 8 Contract.
casting California
Timber Lake Playhouse Season, Singers & Dancers
•Casting Equity dancers and singers for Timber Lake Playhouse 2025 Season. See show breakdown in the EPA listing.
• Company: Timber Lake Playhouse. Staff: Tommy Ranieri, artistic dir.
• Rehearses and runs in Mount Carroll, IL.
• Seeking— Equity Dancers and Singers: 18+.
•Equity Chorus Calls will be held Feb. 21 at 9:30 a.m. (dancers), at 11:30 a.m. (dancers), at 2:30 p.m. (singers) and at 4 p.m. (singers) at Actors’ Equity New York Audition Center, 165 W 46th St, 16th Fl, New York City, NY 10036.
•ECC Procedures are in effect for this audition. An Equity Monitor will be provided.
•Singers: Prepare 16 bars that both reflects the season’s programming and brings you joy.
•Dancers: Come prepared to dance. If asked to stay and sing, have prepared 16 bars that both reflects the season’s programming and brings you joy. Bring your headshot and resume stapled together.
•Professional Pay. Pays $761/wk. Equity SPT 8 Contract.
Totem Pole Playhouse 2025 Season
•Seeking Equity actors for roles in Totem Pole Playhouse’s 2025 Season. Season includes “The Marvelous Wonderettes” (Ryan B. Gibbs, dir.; Jennifer Reed, choreo. Rehearsals begin on or around May 13; runs May 30-June 8); “9 to 5: The Musical” (Ryan B. Gibbs, dir.; Darren Server, musical dir. Rehearsals begin on or around June 3; runs June 20-July 6); “The 39 Steps” (Clayton Phillips, dir. Rehearsals begin on or around July 7; runs July 17-27); “Beautiful: The Carole King Musical” (Christine O’Grady, dir.-choreo.; Darren Server, musical dir. Rehearsals begin on or around July 22; runs Aug. 8-24); and “Million Dollar Quartet Christmas” (Ryan B Gibbs, dir.; Brady Wease, musical dir. Rehearsals begin on or around Nov. 20; runs Dec. 3-14).
• Company: Totem Pole Playhouse. Staff: Ryan Gibbs, prod.-dir.; Christine O’Grady, dir.-choreo.; Marcus Jordan, assoc. dir.-music dir.
•Rehearses and runs in Fayetteville, PA.
• Seeking— Equity Actors: all genders, 18+, all ethnicities.
•Equity Principal Auditions will be held Feb. 2 from 10 a.m.-6 p.m. (lunch, noon-1 p.m.) at Open Jar Studios, 1601 Broadway, 11th Fl., Manhattan, NY 10019.
•Holding room, Studio 11M. EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
•Those auditioning for a musical must prepare a short song in a style appropriate to the season’s shows. Be prepared to sing an additional contrasting selection if requested. Also, have a short monologue (45 seconds) prepared that is appropriate to the style of the season prepared, in case requested. Bring sheet music and repertoire book; an accompanist will be provided.
•If auditioning for a non-singing role in a musical or roles in the plays, prepare a short monologue (1 minute) that is
appropriate to the style of the season. All should bring their headshots and resumes stapled together.
•Actors of all ethnicities, backgrounds, gender identities, body types, and abilities for all available roles are encouraged to audition.
•The Caledonia Theatre Company at Totem Pole Playhouse is an equalopportunity employer. We are committed to creating an inclusive environment for all employees and applicants for employment and to providing equal opportunity without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, genetic information, marital status, veteran status, or any other status protected under federal, state, or local laws. We celebrate diversity and are committed to fostering a workplace where all individuals are treated with respect and dignity. If you require reasonable accommodations to apply for a position or participate in the hiring process, contact Ryan B. Gibbs casting@totempoleplayhouse.org.
•Professional Pay. Pays $811/wk. Equity LOA Ref. to COST.
Totem Pole Playhouse 2025 Season, Chorus
•Seeking Equity actors for chorus parts on Totem Pole Playhouse’s 2025 Season. See EPA for show breakdown.
• Company: Totem Pole Playhouse. Staff: Ryan Gibbs, prod.-dir.; Christine O’Grady, dir.-choreo.; Marcus Jordan, assoc. dir.-music dir.
•Rehearses and runs in Fayetteville, PA.
• Seeking— Equity Actors: all genders, 18+, all ethnicities.
•Equity Chorus Calls will be held Feb. 1 at 9:30 a.m. (dancers), at 11:30 a.m. (singers; lunch, 1:30-2:30 p.m.), at 2:30 p.m. (singers) and at 4:30 p.m. (dancers) at Open Jar Studios, 1601 Broadway, 11th Fl., New York City, NY 10019.
•Holding room - Studio 12N. ECC
Procedures are in effect for this audition. An Equity Monitor will be provided.
•Singers: Prepare a short song (max. 32 bars) in a style appropriate to the season’s shows. Be prepared to sing an additional contrasting selection if requested. Bring sheet music and your repertoire book; an accompanist will be provided. Also, bring a headshot and resume stapled together.
•Dancers: Arrive warmed up and ready to dance. Female-identifying performers should wear heels. All the others can wear flats. Also, bring your headshot and resume stapled together.
•Actors of all ethnicities, backgrounds, gender identities, body types, and abilities for all available roles are encouraged to audition.
•The Caledonia Theatre Company at Totem Pole Playhouse is an equal opportunity employer. We are committed to creating an inclusive environment for all employees and applicants for employment and to providing equal opportunity without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, genetic information, marital status, veteran status, or any other status protected under federal, state, or local laws.
•We celebrate diversity and are committed to fostering a workplace where all individuals are treated with respect and dignity. If you require reasonable accommodations to apply for a position or participate in the hiring process, please contact Ryan B. Gibbs casting@ totempoleplayhouse.org.
•Professional Pay. Pays $811/wk. Equity LOA Ref. to COST.
General Staff & Crew
‘Last Call,’ Stage Manager
• Seeking an Equity assistant stage manager for the World Premiere of “Last Call.”
•Company: Perry Street Theatricals Inc. Staff: Gil Mehmert, dir.; Vera Bolten, AD; Peter Danish, playwright; Perry Street Theatricals, GM; John Lant, production mgr.; Kyra Bowle, production stage mgr.; Chris Barreca, scenic design; Benny Pitt, assoc. scenic design; Rene Neumann, costume design; Michael Grundner, lighting design; Austin Switser, video and/or projection design; Lindsay Jones, sound design; Martin Platt, exec. prod.
•Pre pro 1/2 week prior to rehearsal; rehearsal & tech begins March 7; runs March 12 (eight shows/week; Mon., 7 p.m., Tue., off, Wed., 2 and 7 p.m., Thu., 7 p.m., Fri., 8 p.m., Sat, 2 and 8 p.m., Sun., 3 p.m.)-May 4 in NYC.
• Seeking— Equity Assistant Stage Manager: all genders, 18-99.
• Seeking submissions from NY.
• For consideration, submit a cover letter, resume, and list of references by email at kyrabowie@gmail.com. Submission deadline Jan. 30. Note: Interviews will take place the week of Feb. 3.
•Professional Pay. Pays $1000/wk. Equity Off Broadway (Cat. A) Contract.
‘The Outsiders,’ Tour, Stage Manager
•Seeking Equity Stage Managers for the Touring production of “The Outsiders.”
Based on S.E. Hinton’s Novel and Francis Ford Coppola’s Film.
•Staff: Adam Rapp with Justin Levine, book; Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music-lyrics; Danya Taymor, dir.; Matt Hinkley, music dir.; Rick Kuperman and Jeff Kuperman, choreo.; Justin Levine, music supervisor-arranger-orchestrator; Tara Rubin Casting/Xavier Rubiano, CSA, casting; Louis DiPaolo, casting assoc.; The Araca Group, American Zoetrope, and Olympus Theatricals, prods.; 321 Theatrical Management, gen. mgr.
•Rehearsals begin on or about Aug. 4; 1st performance runs on or about Sept. 19 in Buffalo, NY; opens on or about Sept. 30 in Tulsa, OK.
• Seeking— Equity Stage Manager: all genders, 18+, all ethnicities.
• Seeking submissions from NY.
• For consideration, submit your resume, and cover letter to Resumes@321mgt. com. Submission deadline is Feb. 4.
•Professional Pay. Pays $1770/wk. (Stage Manager) and $1400/wk. (Assistant Stage Manager). Equity Touring Agreement (Level 5) Contract.
Southern California Feature Film
‘33 Days’
•Casting “33 Days,” a dramatic feature film based on a true story of one man’s struggle to help the impoverished people of one of San Francisco’s most dangerous neighborhoods. The film is a gritty drama independently produced by a team of veteran filmmakers.
• Company: Duality Filmworks. Staff: David Holechek, Executive Producer.
• Rehearsals and production begin in late March in Los Angeles, and San Francisco, CA.
• Seeking— Roger: male, 25-40, Asian, A young Taiwanese immigrant who is trying to find himself and his purpose in the strange, new land of San Francisco. Emerging from an abusive past, he seeks redemption in helping others while also finding love and purpose in the most unexpected places. He is eager, resourceful and a bit playful, always desperate to prove himself and show that he belongs. Past trauma and guilt comes to the surface in triggering moments but he tries his best to appear upbeat and positive in his daily interactions. Maite: female, 22-40, White / European Descent, A FrenchAmerican 20-something who has already been through a lot in her life. In a period of transition and going through a divorce, she tries her best to provide for her two young children while also staying hopeful for the future. While she is in a period of uncertainty, she approaches the world with an open mind and heart. At her core she is adventurous, sincere and carries a sharp wit. Above all else she wants to protect her children and find a new path forward in her life. Joe: male, 35-60, Black / African Descent, A man who has seen it all on the streets of the Tenderloin District in San Francisco. A bit world-weary and very street-smart, Joe just tries to make it through each day. Deep down, he has a big heart who wants the best for his friends and his neighborhood, but the years of trauma has taken its toll. Kim: female, 13-19, Asian, Ethnically Ambiguous / Multiracial, South Asian / Indian, Southeast Asian / Pacific Islander, A pre-to-early teenage girl living in poverty who has been forced to grow up too quickly. Her mother comes in and out of her life, forcing her to be a caretaker for her younger siblings. The streets of the Tenderloin have been hard on her and she has evolved into a cold and street-smart young woman who is wise well beyond her years. Still, she yearns to find hope and safety for
herself and her siblings and is willing to do anything to obtain it. Marie France: female, 6-11, White / European Descent, A feisty young girl, Marie France isn’t afraid to say what she thinks. She is genuine but sweet and seeks the adventure in everyday life. She is fiercely protective of her mother and little brother. Her parent’s divorce has been hard on her but she tries not to let it show. Steps: male, 24-45, Asian, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, A hardened and cold survivor in the streets of the Tenderloin. He deals to whoever will buy and is only focused on survival - even at the expense of others. He has seen his share of tragedy and loss but forges ahead to carve a place for himself in this cruel landscape. Mr. Sun: male, 60-85, Asian, Southeast Asian / Pacific Islander, A man who has accumulated great wealth over the decades and now wants to benevolently give back to a worthy cause. Mr. Sun is wise in his years and has seen it all. In his twilight days, he is inspired by the notion of giving back. Mrs. Sun: female, 60-85, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, A woman who has seen the world and all it has to offer, nothing surprises her. She has spent her latter years supporting her husband in his philanthropic causes. Janet Ellington: female, 18+, Indigenous Peoples, Latino / Hispanic, White / European Descent, A headstrong news reporter who is always on the lookout for inspiring stories around the city. Values truth above all else.
• Seeking submissions from CA.
• Send submissions to david@ dualityfilmworks.com.
• For consideration, submit a headshot, resume, and acting reel if available.
• Minors: Production requires parent or guardian attendance and hours would be limited.
•Professional Pay. Estimated Payment: $250.00-$600.00 per day (Estimated Duration: 7 Days)
•Additional: Day rates will be paid plus any travel and meals are provided. Production is in the process of registering with SAG in their ultra low budget category. Initial signatory paperwork has been filed.
Scripted Show
‘Her Alpha King’
•Casting “Her Alpha King,” a vertical drama for Dramabox, the leading vertical platform.
• Seeking—Manager: male, 35-50, White / European Descent, a store manager who strives to maintain order and efficiency in the workplace. Though wellintentioned, his excessive focus on hierarchy and status often leads him to
prioritize appearances over practical solutions. His rigid mindset can create tension with those around him, but his dedication to his role remains unquestioned.Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Clerk or Shopping Guide: female, 20-35, White / European Descent, has a dismissive and arrogant attitude toward customers. Quick to jump to conclusions, she is judgmental, particularly toward customers like Leah, whom she perceives in a negative light. Her hasty assumptions and condescending demeanor make her a challenging figure, often creating tension in the store.Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Hooligan: male, 18-30, all ethnicities, aggressive and predatory in nature, attempting to harass Leah in a public setting. With a rough and intimidating demeanor, he exudes a sense of menace. However, his advances are swiftly halted by Lucas, who intervenes to protect Leah from his threatening behavior. Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Female Assassin: female, 18-30, all ethnicities, a skilled and calculating figure with a cold, focused demeanor. Driven by a personal vendetta, she targets both Lucas and Leah, harboring deep resentment toward them. Her stealth and precision make her a dangerous adversary, as she silently plots to carry out her mission with ruthless efficiency. Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Photographer: all genders, 25-45, all ethnicities, a professional responsible for capturing key moments during formal events or gatherings. With a keen eye for detail and timing, they ensure that every important moment is preserved through their lens. Their presence is unobtrusive yet vital, skillfully documenting the atmosphere and interactions without disrupting the flow of the event.Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Examining Physician: all genders, 30-50, all ethnicities, a professional but cold figure, performing routine checks for surrogacy candidates. With a clinical approach, they focus on the medical requirements without offering much personal warmth, maintaining an efficient and businesslike demeanor throughout the examination process. Their role is essential yet emotionally detached, ensuring all candidates meet the necessary health standards. Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Guest: all genders, 18-50, all ethnicities, a background character attending a formal event. Typically silent or contributing minimally to the scene, their presence adds to the atmosphere of the gathering without drawing attention. They help fill the space, adding realism to the event’s setting while remaining in the background, unobtrusive and passive.Rate $100/day. All rates are inclusive. Physician: all genders, 30-50, all ethnicities, a professional but cold figure who performs routine checks for surrogacy candidates. With a clinical and detached approach, they ensure the candidates meet the necessary health standards, maintaining a strictly businesslike demeanor throughout the examination process. Their role is to
assess and evaluate without offering personal warmth or emotional engagement.Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Nursing Assistant: all genders, 18-35, all ethnicities, diligent and dutiful, providing essential support to the physician during medical procedures. With a keen attention to detail, they assist with preparing and handling medical equipment, ensuring the smooth and efficient operation of the examination process. Their calm and focused presence is crucial in maintaining a professional and organized environment.Rate $125/6 hr. or $175/10 hr. All rates are inclusive. Elder: all genders, 45-70, all ethnicities, a senior member of the wolf pack, embodying traditional values and a strong commitment to preserving the pack’s hierarchy and customs. With years of experience and wisdom, they insist on maintaining the established order, often offering guidance to younger members while ensuring that the customs and traditions of the pack are upheld. Their presence adds a sense of authority and history within the pack.Rate $100/day. All rates are inclusive. Assistant: all genders, 18-35, all ethnicities, a background character dressed in uniform. They assist in the background of various scenes, performing tasks as needed to maintain the flow of the environment. Whether it’s organizing or supporting other characters, their presence is unobtrusive, contributing to the atmosphere without drawing attention.Rate $100/day. All rates are inclusive.
• Seeking submissions from CA.
• Apply on Backstage.com.
• For consideration, submit your contact information in your cover letter for easy follow-up. Note: All roles are LA local hire only.
•Professional Pay. Estimated Payment: $100.00-$175.00 per day (Estimated Duration: 2 Days)
•Additional: Pay varies by role, check the specific role descriptions for rate details.
Vertical Series
• Casting minor supporting roles (background and day players) for a vertical series.
• Company: Bad Larry Productions. Staff: Eris Zhao, prod.; Craig Lief, prod.; Leaphea Sambath, prod.; Lance B. Witmer, casting dir.
•Shoots Jan. 27-Feb. 4 in Los Angeles area. Exact shoot dates vary by role.
•Submit headshots and samples of past work and note if you have worked on any other Vertical Mini Series, and if so what kinda of roles (eg lead, supporting, BG). Also note availability / conflicts in the shooting window of Jan. 1 - Apr. 2.
•Professional Pay. All roles are paid $150 flat rate.
Online Commercial / Video Ad
Hotel Chain App Commercial
•Casting a short 30s commercial for a hotel chain app. Synopsis: A family of three, a traditional dad, a laid-back son, and their amused mum, embark on a getaway. The dad’s old-school methods clash with the son’s tech-savvy ease, leading to humorous moments as the son effortlessly handles last-minute challenges. Their playful generational rivalry unfolds, with the son taking charge of the trip, leaving the dad both perplexed and amused, while mum quietly enjoys the show.
• Company: Lemonade Creatives. Staff: Sehran Khan, Producer.
• Shoots in Los Angeles.
• Seeking—Dad: male, 40-50, White / European Descent, A traditional, slightly uptight man who values planning and structure. He struggles to adapt to modern conveniences and technology but has a humorous, begrudging charm. Son: male, 18-25, White / European Descent, Easy-going, techsavvy, and confident in his ability to handle things last-minute. He enjoys playfully challenging his dad’s oldschool ways. Mom: female, 40-50, White / European Descent, Calm, observant, and good-humored. She serves as a silent mediator and often finds humor in the playful rivalry between her husband and son.
• Seeking submissions from CA.
• Send submissions to sehrankhanfilms@ gmail.com.
•If you have any comedy experience, share with the production team.
•Seeking talent for a workplace safetythemed photo and video shoot.
• Company: Motorola Solutions, Inc.
Staff: Hunter Thomas, Casting Coordinator.
•Shoots Feb. 6-7, north of L.A. Note: Role may include shooting both indoors and outdoors.
• Seeking— General Industrial Worker: all genders, 18+, all ethnicities, To play various, interchangeable roles in photo and video production. This production showcases the way safety and security technology is used to make workers safer on the job. Specific wardrobe will be provided including for industrial worker and security guard roles, as to be determined on set; talent may be asked to bring general clothing options.
• Seeking submissions from CA.
• Send submissions to hunter.thomas@ motorolasolutions.com.
•For consideration, provide your clothing size. Note: Must be local, as no additional compensation is provided for travel.
•Professional Pay. Pays $200/8 hrs. (plus 1 hr. break for lunch). Lunch provided.
Live Performing Arts
Kingdom Day Parade 2025, Dancers and Performers
•Seeking talented dancers and performers to bring the energy, rhythm, and creativity to this year’s celebration. Whether you’re a seasoned performer or just love to move, the company wants you.
•Company: International Eye LA. Staff: Marie Kellier, Owner-President-CEO.
•The Parade will take place on Feb. 17, 2025 in L.A., CA. Note: Rehearsals and costume-making sessions will be scheduled in collaboration with participants to ensure convenience for all.
• Seeking— Performer: all genders, 18+, all ethnicities, Looking for passionate individuals and groups to bring their energy, rhythm, and creativity to one of LA’s most vibrant celebrations. Looking for:Dance troupesSolo performersCultural ensembles. Production Assistant: 18+, Looking for production assistants to help make this year’s celebration an unforgettable experience. If you’re organized, energetic, and passionate about live events, the company wants you on the team.Your Role:Assist with event setup and teardown.Support costume, props, and float coordination.Help manage performer schedules and staging. Coordinate logistics with the production team.
• Seeking submissions from CA.
•Send submissions to InternationalEyeLA@gmail.com.
•No Pay.
General Staff & Crew
Space Pirates Theatre Collective, Director
•Seeking a director for the 2025-2026 season’s third production, an immersively staged reimagining of a to-beannounced play (rights pending).
•Company: Space Pirates Theatre Collective. Staff: Ben Zingos, ProducerDesigner; Molly Anders, Stage Manager.
•Rehearsals begin Friday, Jan. 9, 2026; tech begins Feb. 2; runs Feb. 6-March 6 in L.A., CA.
• Seeking— Director: 18+.
• Seeking submissions from CA.
• Send submissions to benzingos@gmail. com.
•SPTC is looking for an LA-based director to take on an immersive reimagining
of an outstanding American playwright’s modern classic (rights pending). We are specifically looking for a director who has ties to a historically underserved part of the LA community as far as theatre is concerned, as we are a nonprofit with a focus on accessibility. We provide professional, unionlevel work for our community at an affordable price (all tickets are just $10; seating is first come, first serve like old movie theaters). If you are a director and would like to bring this kind of theatre to your part of our community, apply.
• Auditions will be held in the fall of 2025. •Professional Pay. Estimated Payment: $240.00-$400.00 per day (Estimated Duration: 25 Days)
Northern California Play
Lorraine Hansberry Theatre
•Casting Equity actors for roles in Lorraine Hansberry Theatre 2025 Season. Season includes: “STEW” (Lisa B. Thompson, creator; one week workshop, and staged reading TBDMay); and “SUNSET BABY” (Dominique Morriseau, creator; rehearsals begin August; performs Sept. 18-Oct. 12).
•Company: Francisco, CA EPA. Staff: Margo Hall, artistic dir.; Julius Rea, production dir.
•Rehearses and performs at Lorraine Hansberry Theatre in San Francisco, CA.
• Seeking— Equity Actors: 18+.
•Equity Principal Auditions will be held Feb. 3 from 10 a.m.-3 p.m. (lunch, noon-1 p.m.) at Magic Theatre, Fort Mason Center, 2 Marina Blvd, Bldg D, 3rd fl., San Francisco, CA 94123.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment email Julius@lhtsf.org. Production will respond with a timeslot within 48 hours.
• Prepare two contrasting monologues that you feel represent you as an artist. Production wants to get to know you. This can come in any form you choose whether they are contemporary or comedic monologues. Note that a classical monologue is not required.
Audition slots will be 4 minutes each.
•LHT encourages actors of all races, ethnicities, genders, ages, body types, and physical abilities to audition. Everyone is encouraged to submit but we are centering BIPOC artists in our upcoming season. Local Bay Area actors are encouraged to audition.
•Professional Pay. Pays $500/wk. Equity Bay Area Theatre Tier 2 Contract.
Magic Theatre 2025 Season
•Casting Equity actors for roles in Magic Theatre 2025 Season. Season includes “The Boiling” (Sunhui Chang, creator;
Ellen Sebastian Chang, dir.; performs April 4-20); “Aztlan” (Luis Alfaro, creator; Kinan Valdeaz, dir.; Doctora Karina Gutierrez, dramaturgy; performs June 15-July 13); and “Jerry Garcia in The Lower Mission” (Richard Montoya, creator; Rotimi Agbabiaka, dir.; Edris Anifowoshe-Cooper, dramaturgy; performs Oct. 29-Nov. 16).
•Company: MAGIC Theatre. Staff: Liam Vincent, assoc. lead dir.-casting lead; Danny Duque-Estrada, producing dir.; Stephanie Holmes, dir. of communications.
•Rehearses and performs at MAGIC Theatre in San Francisco, CA.
• Seeking— Equity Actor: 18+.
•Equity Principal Auditions will be held Feb. 5 from 10 a.m.-4 p.m. at Magic Theatre, Fort Mason Center, 2 Marina Blvd, Bldg D, 3rd fl., San Francisco, CA 94123.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
• For an audition appointment email auditions@magictheatre.org. Production will respond with a time slot within 48 hours. Audition slots will be 4 minutes each.
• Prepare two contrasting monologues that you feel represent you as an artist. Production wants to get to know you. This can come in any form you choose whether they are contemporary or classical monologues.
• Actors of all races, ethnicities, genders, ages, body types, and physical abilities are encouraged to audition. Local actors are encouraged to audition. Everyone is encouraged to audition but production are rightfully centering BIPOC artists in their upcoming season, and also reflecting the worlds, backgrounds, cultures represented and written about in the three plays.
•Professional Pay. Pays $730/wk. Equity Bay Area Theatre Tier 4 Contract.
San Francisco Bay Area Theatre Company Season Generals
•Casting Equity actors for roles in San Francisco Bay Area Theatre Company 2025 Season. Season includes “Every Saturday Night” (Danny Duncan, creator; Rodney Jackson, dir. Runs July 7-12); “The Day The Sky Turned Orange” (Julius Rea, Olivia Kuper Harris and David Michael Ott, creators; Rodney Earl Jackson Jr., dir.; Vince Chan, choreography. Rehearsals begin July 28; runs from Fall-Oct. 12.).
•Company: San Francisco Bay Area Theatre Company. Staff: Rodney Earl Jackson, Jr., artistic dir.; Phaedra TilleryBoughton, casting mgr.
•Season rehearses and performs in San Francisco, CA.
• Seeking— Equity Actors: all genders, 18+, all ethnicities.
•Auditions will be held by appt. Feb. 4 from 10 a.m.-3 p.m. (lunch, noon-1 p.m.) at Magic Theatre, 3rd Fl., Fort Mason Center, 2 Marina Blvd, Bldg D, San Francisco, CA 94123.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment email phaedra@sfbatco.org.
• Prepare two contrasting monologues that you feel represent you as an artist. Production wants to get to know you. This can come in any form you choose whether they are contemporary or comedic monologues. Note that a classical monologue is not required.
Audition slots will be 4 minutes each.
•“Every Saturday Night” callbacks March 10 in person and those called will need to prepare to sing. “The Day The Sky Turned Orange” callbacks March 3 and 4 in-person and those called will need to prepare to sing and dance.
•For more info visit SFBATCO.org
•Professional Pay. Pays $500/wk. Equity Tier 2 Contract.
General Staff & Crew
Law Firm Two-Day Video and Photography Production
•Seeking crew for a law firm’s two day shoot. Note: This project involves producing a brand video for a legal firm, highlighting their commitment to justice, advocacy, and making a difference in their clients’ lives. The production will include a scripted brand video, FAQ videos, and client testimonials, filmed over two days. Also seeking a skilled photographer to capture professional headshots and lifestyle images on set to complement the video deliverables.
•Company: Your Story Agency. Staff: Colin Marshall, Co Founder-Creative Director.
•Shoots in Berkeley, CA. Location and shoot date TBD.
• Seeking— Cinematographer/Director of Photography: 18+, an experienced and creative Director of Photography for a two-day shoot in San Francisco. The project involves: Day 1: Filming a brand video with interview-style dialogue, FAQs, and cinematic b-roll. Day 2: Capturing client testimonials and additional b-roll footage. The ideal candidate should have a cinematic yet authentic storytelling approach, experience with interview setups, and a collaborative attitude. We are also open to a DP who can recommend a photographer or assistant to join the team. This is an exciting opportunity to build a long-term working relationship for future projects. On-Set Photographer: 18+, a skilled photographer to join a video shoot in San Francisco. Responsibilities include: Capturing behind-the-scenes moments of the production process. Taking high-quality headshots and lifestyle images of the team and participants. Providing on-brand imagery for use across marketing materials and the website. The ideal candidate should have a strong portfolio showcasing portrait and lifestyle photography, experience working on video production sets, and a collaborative attitude. This project is part of a larger series of opportunities, and we’re looking to establish a longterm partnership.
• Seeking submissions from CA.
• Send submissions to Colin@your-story. agency.
•Professional Pay.
San Francisco Bay Area
Theatre Company Season
• Seeking submissions from Equity stage managers for San Francisco Bay Area Theatre Company 2025 Season. Season includes “Every Saturday Night” (Runs July 7-12); “The Day The Sky Turned Orange” (Rehearsals begin July 28; runs from Fall-Oct. 12.).
•Company: San Francisco Bay Area Theatre Company. Staff: Rodney Earl Jackson, Jr., artistic dir.; Phaedra TilleryBoughton, casting mgr.
•Season rehearses and performs in San Francisco, CA.
• Seeking— Equity Stage Managers: all genders, 18+, all ethnicities.
• Seeking submissions from CA.
• For consideration, submit your resume for consideration at: https://airtable. com/appSpuxBtwT4XlJxR/shrbbqfDNH5GfWrER. Submissions deadline is Feb. 4.
•For more info visit SFBATCO.org.
•Professional Pay. Pays $600/wk. Equity Tier 2 Contract stage manager. Pays $549/wk. Equity Tier 2 Contract assistant stage manager.
National/ Regional Musical
Pittsburgh Civic Light Opera SMTA 2025 Season, Singers
•Casting Equity singers for roles in Pittsburgh Civic Light Opera’s SMTA 2025 season. Season includes: “Madame Cliqout” (Rehearsals begin May 12; tech May 27; runs May 30-June 8; Lisette Glodowski and Richard C. Walter, writers; Laurie Glodowski, and M.D. Kenneth Gartman, dirs.-choreos);
“Lerner and Loewe’s Camelot” (Rehearsals begin June 9; tech June 16; runs June 17-22; Mark Fleischer, dir.; Mara Newbery Greer, and M.D. Robert Neumeyer, choreos.); and “Disney’s Frozen” (Rehearsals begin July 10; tech July 17; runs July 18-27; KC Starlight, Kansas City dates: Runs Aug. 3-10; Michael Heitzman, dir.; Robbie Roby, and M.D. Catie Brown, choreos.).
•Company: Pittsburgh Civic Light Opera.
Staff: Mark Fleischer, exec. prod.; Billy Mason, assoc. prod.; Anna Hanson, prod. assist.; Robert Neumeyer and Catie Brown, music supervisors.
•Rehearses and runs at Pittsburgh Civic Light Opera in Pittsburgh, PA.
• Seeking—Equity Singers: all genders, 18+.
•Auditions will be held Feb. 7 from 11 a.m.-9 p.m. (break, 4:30-5:30 p.m.) at Pittsburgh CLO Academy, 130 CLO Academy Way, 8th Floor, Pittsburgh, PA 15221. And Feb. 8 from 9 a.m.-9 p.m. (break, 4:00-6:00 p.m.) at Heinz Hall for the Performing, 600 Penn Ave., Pittsburgh, PA 15221.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment, visit https://docs.google.com/ forms/d/e/1FAIpQLScVF7LpAk0XWB12L DCLvEQRXymUZvUwpwu8Yjkm_ jh6NR6yNw/viewform. This audition is by appointment only, walk-ins will not be accommodated.
•Prepare a 32-bar musical theatre song and be ready to perform a contrasting cut if requested. You may be asked to return in the evening for a dance call. For more audition information, visit https://www.pittsburghclo.org/about/ clo-auditions. Callbacks to be held Feb. 9.
•Professional Pay. Pays $962/wk. Equity
RMTA SMTA Second Space Byham Agreement; $1346/wk. Equity RMTA SMTA Contract.
Pittsburgh Civic Light Opera
SMTA 2025 Season, Dancers
•Casting Equity dancers for roles in Pittsburgh Civic Light Opera’s SMTA 2025 season. See singers call for season breakdown.
•Company: Pittsburgh Civic Light Opera. Staff: Mark Fleischer, exec. prod.; Billy Mason, assoc. prod.; Anna Hanson, prod. assist.; Robert Neumeyer and Catie Brown, music
• supervisors.
•Rehearses and runs at Pittsburgh Civic Light Opera in Pittsburgh, PA.
• Seeking— Equity Dancers: all genders, 18+.
• Auditions will be held Feb. 7 from 11 a.m.-9 p.m. (break, 4:00-5:30 p.m.) at Benedum Center Rehearsal Studios, 719 Liberty Avenue, Pittsburgh, PA 15221. And Feb. 8 from 9 a.m.-9 p.m. (break, 1:30-2:00 p.m.; dinner: 4:30 p.m.) at Benedum Center Rehearsal Studios, 719 Liberty Avenue, Pittsburgh, PA 15221.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment, visit https://docs.google.com/ forms/d/e/1FAIpQLScVF7LpAk0XWB12L DCLvEQRXymUZvUwpwu8Yjkm_ jh6NR6yNw/viewform. This audition is by appointment only, walk-ins will not be accommodated.
•Be ready to learn and perform a dance combination taught on the day of your audition. You may be asked to come back and sing later in the day. Have a 32-bar musical theatre song and a contrasting cut prepared. Visit https:// www.pittsburghclo.org/about/clo-auditions for audition information. Callbacks to be held Feb. 9.
•Professional Pay. Pays $962/wk. Equity RMTA SMTA Second Space Byham Agreement; $1346/wk. Equity RMTA SMTA Contract.
Rocky Mountain Repertory Theatre 2025 Season
•Casting Equity actors for roles in Rocky Mountain Repertory Theatre’s 2025 Summer/Fall Season. Season includes “Summer Repertory” (rehearsals begin May 26; contract ends Aug. 30, this is a 14-week contract); “Nunsense” (rehearsals begin Aug. 25; contract ends Oct. 4).
•Equity Principal Auditions will be held Jan. 30 from 11 a.m.-8 p.m. (break: 4-5 p.m.) and Jan. 31 from 10 a.m.-6 p.m. (break, 1-2 p.m.) at Denver Performing Arts Complex’s Denver, Center for Performing Arts, 1101 13th St, Denver, CO 80204-5319.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment, email DenverAuditions@rockymountainrep. com with times on audition days that you are available.
•Prepare two brief cuts of music that are appropriate for our season slate of shows. Bring music in your key and readable for pianist. Bring picture and resume stapled together as well.
•For more information, visit www.rockymountainrep.com.
• Rocky Mountain Rep. encourages actors of all ethnicities, nationalities and gender identities to audition for their productions. A professional repertory company of singer/actor/dancer/ mover artists of all types to perform in all of our 3-summer repertory shows: “Frozen,” “Guys & Dolls,” & “Footloose.”
All cast actors participate in all three shows with an onstage part or as an understudy. This is a 14-week contract. Also seeking singer or actors of all types for the 6 week fall show contract; “Nunsense.” This is a separate contract from the summer repertory shows.
•Professional Pay. Pays $605/wk. Equity SPT 6 Contract, Repertory Season; pays $435/wk. Equity SPT 3 Contract, Nunsense.
‘Stompin’ at The Savoy’
• Seeking submissions from Equity actors for understudy roles in “Stompin’ at The Savoy.”
• Company: Delaware Theatre Company. Staff: Matt Silva, exe. and artistic dir.; Mimi Warnick, assoc. artistic dir.; James B. Saracina, prod. gen. mgr.; Tamara Tunie, dir.; Edgar Godineaux, choreo.; Zane Mark, music supervisor; AbdulHamid Robinson Royal, music dir.; Phaedra Michelle Scott and Alan Govenar, book; Norma Miller, book adaptation; Candlewick Press, book publisher.
•Rehearsals begin April 9; runs April 16-May 4 in Wilmington, DE.
• Seeking— Equity Actors: 18-99.
• Seeking submissions from DE.
•For an audition appointment, email your headshot and resume along with which roles in which you are interested to casting@delawaretheatre.org. In the Subject Line put: SATS’ UnderstudiesLast Name. Local actors are encouraged to submit.
•Dance call will be held in February.
• Delaware Theatre Company is passionate about fostering an inclusive space that values diverse backgrounds, experiences, identities, and cultures. Organizations that are diverse in age,
gender identity, race, sexual orientation, physical or mental ability, ethnicity, and perspective are proven to be better companies. More importantly, creating an environment where everyone, from any background, can do their best work is the right thing to do. As such, we encourage performers of all ethnicities, gender identities, body types, and ages, as well as performers with disabilities, to submit.
•Professional Pay. Pays $807/wk. Equity LORT Non-Rep LORT D Contract.
Theatre Aspen 2025 Season
•Casting Equity actors for Theatre Aspen’s 2025 Season. Season includes: “Driving Miss Daisy” (Hunter Foster, dir. Rehearsals begin May 26 in NYC; travel to Aspen June 7; runs June 12-28), “Mamma Mia!” (Michael Bello, dir.; Eric Alsford, music dir. Rehearsals begin June 16 in Aspen; runs July 5-Aug. 2), and “Million Dollar Quartet” (Rachel Sabo-Hedges, dir. Rehearsals begin July 28 in Aspen; runs Aug. 8-23.).
•Company: Theatre Aspen. Staff: Jed Bernstein, producing dir.; Britt Marden, dir. of artistic planning; Michael Rader, exec. prod.; Katie An Siegel, general management assoc.; Holly Buczek, casting dir.; Cassandra Maguire, casting assoc.
•Season runs in Aspen, CO.
• Seeking— Equity Actors: 18-99.
•Equity Principal Auditions will be held Jan. 30 from 12:30-8:30 p.m. (by appointment; break, 4:30-5:30 p.m.) at Denver Performing Arts Complex’s Denver Center for Performing Arts, 1101 13th St., 3rd Floor Studios 9 & 10, Denver, CO 80204-5319.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•Prepare a song of choice in style of the show(s). Have your book of other materials if asked. An accompanist will be provided. For the play-a style appropriate monologue. If you wish to be considered for an instrumentalist track in MDQ, bring your guitar or upright bass and accompany yourself for your song. Bring your headshot and resume stapled together.
•For an audition appointment, visit https://www.signupgenius.com/ go/60B0B49A4AD2BA7FF254314596-theatre.
•For more info visit theatreaspen.org. •Professional Pay. Pays $945/wk. Equity SPT 10 Agreement.
‘The Wizard of Oz’
•Casting Equity actors for roles in “The Wizard of Oz.”
•Company: Zachary Scott Theatre Center. Staff: Jim Eiler, book and lyrics; Jeanne Bargy and Jim Eiler, music by; L. frank Baum, adapted from the book by; Dave Steakley, directed by; Allen Robertson, music direction by; Josh Assor, choreographed by; Cassie Abate, assoc. artistic dir.; Dave Steakley, producing artistic dir.; Allen Robertson, music dir.; Jenny Lavery, casting assoc. •Rehearsals begin July 18; runs Aug. 13-Sept. 21 (planned six to seven shows per week: Tuesdays through Sundays at 7:30 p.m. and some Thursdays, Saturdays, and Sundays at 2:30 p.m.)
casting National/Regional
with a possible extension through Sept. 28 in Austin, TX.
• Seeking— Equity Actors: all genders, 18+, all ethnicities.
•Equity Principal Auditions will be held Feb. 3 from 3-11 p.m. (break, 6:45-7:15 p.m.) at ZACH Theatre - Rehearsal Studios, 1426 Toomey Rd, Austin, TX 78704.
•An Equity Monitor will not be provided. The producer will run all aspects of this audition.
•For an audition appointment visit https://www.signupgenius.com/ go/10C084EA4AA28A1FAC5250440189-wizard/#/ or email auditions@zachtheatre.org.
•Prepare a brief cut of a song from the show or in the style of the show that showcases the talent’s vocal range. Also, bring the talent’s headshot and resume stapled together.
•If the talent is unable to attend in person, video submissions will be accepted through Feb. 3 (see breakdown for details). For video submissions, film the talent’s audition in front of a clean background, with no backlighting. As much as possible, limit ambient noise including air conditioners and other electronics. Submit the talent’s video, headshot, and resume via this link: https://airtable.com/appalq5gFY64QjhrD/shrli3aU59JVDiXav.
Submission deadline is Feb. 3 (11:59 p.m./CT). Actors of all genders, abilities, ethnicities, and ages are encouraged to audition. Note: In person callbacks will be held in Austin on Feb. 11. NYC callbacks will be held on Feb. 18.
• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
•Professional Pay. Pays $816/wk. Equity LOA ref. LORT Contract.
Short Film
‘C.R.E.A.M.’
•Casting “C.R.E.A.M.,” a modern day adaptation of Shakespeare’s “Romeo and Juliet” with a unique twist.
• Company: Indecline. Staff: Indecline Art Collective.
• Shoots in October or November 2025 in Las Vegas, NV.
• Seeking— Romeo: male, 18-35, Black / African Descent, Black Male; Lead protagonist who pursues Juliet and defends the honor of his crew; Romeo’s character will be a mixture of love and rage, slowly simmering to a desperate boil as the story line develops.
Mercutio: male, 21-45, Black / African Descent, Black Male; supporting protagonist and spokesperson of Romeo’s crew; constantly hustling and running his mouth both in support of his crew and their business and in opposition to Tybalt and his violent threats; he too will need to be able to
portray a wide range of temperaments. Kiana: female, 20-35, Black / African Descent, (Juliet); Black Female; supporting protagonist and Romeo’s love interest; cautious at first because of the war between her crew and Romeo’s, she ultimately succumbs and falls deeply in love with Romeo; when things turn tragic, Juliet will need to shake the earth with her rage and commitment to Romeo’s love and honor. Ty: male, 18-45, Black / African Descent, (Tybalt); Black Male; lead antagonist who runs a business that is in direct competition with Romeo; power hungry, psychotic, and willing to go to great lengths to seize power, even if it requires violence; quick witted, with a sharp tongue. Verbally aggressive / abusive; keeps a tight grip on his crew and distrusts Juliet. Benny: male, 18-40, Latino / Hispanic, White / European Descent, (Benvolio); White Male; Romeo’s friend and ally. Works with him and Mercutio; flirtatious towards women, but loyal; the comedian in the crew. Sofia: female, 18-35, Latino / Hispanic, Latina; works with Romeo and his crew; cautious, attentive, and not to be fucked with; looks out for Romeo and cautions him against being reckless in his quest for Juliet. Chef: male, 21-45, Latino / Hispanic, White / European Descent, White or Latino Male; Ty’s henchman; blind loyalty; willing to do whatever it takes to stir things up. Derek: male, 18-40, Black / African Descent, Black Male; another one of Ty’s henchmen.
• Seeking submissions nationwide.
• Apply on Backstage.com.
•For male submissions include a reading of one or both of the following clips: Tupac Shakur “Juice” - 1:29 – 2:12 (https://www.youtube.com/ watch?v=CoXniP8kldY) and/or Denzel Washington “Training Day” - 0:00 - 0:51 (https://www.youtube.com/ watch?v=Lj4adAAHa68)
• For female submissions include a reading of one or both of the following clips: Taraji P. Henson “Hidden Figures” (https://www.youtube.com/ watch?v=9j6p7ajuh-E ) 0:30 – 1:35 and/or Emma Stone “Birdman” (https://youtu. be/tn48hUyFrKQ?feature=shared ).
•Professional Pay. Estimated Payment: $350.00-$750.00 per day (Estimated Duration: 4 Days). Travel and accommodations to Las Vegas included in rate.
Reality TV
‘Wives Of The Web’
• Seeking participants for a reality television series. Production states:
“Looking for wives around the country who are dynamic, fearless, and transforming their online persona into a money-making empire! Are you a web-streaming model or are you creating adult content for a fan subscription platform, while also maintaining a traditional home life?
•If you and your inner circle are ready to potentially star in a bold, empowering possible new series. Apply now!”
•Note: Must be 18+. Must be a legal US Resident. Qualified applicants with criminal histories will be considered in a manner consistent with the requirements of law, including the Los Angeles Fair Chance Initiative for Hiring or the San Francisco Fair Chance Ordinance, where applicable.
•Company: MysticArt Pictures. Staff: Jack Marash, Casting Producer.
• Auditions will be via Zoom.
• Seeking—Wives of the Web: female, 18-30, all ethnicities.
• Seeking submissions nationwide.
•Send submissions to Jack@ mysticartpictures.net.
•Professional Pay.
Online Commercial / Video Ad
Budgeting App Online Ad
•Seeking either friends who have UGC experience (remote, anywhere in the US) or an individual with UGC/acting experience but lives in Los Angeles who has a quirky personality for an online ad for a budgeting app. Script and direction will be given.
•Company: High Scale. Staff: Casting High Scale, Casting Director.
•Shoots Jan. 17 at the Arts District in Los Angeles, CA, or remotely.
• Seeking— Friend Duo - Remote: 18+. Individual - Reside in L.A.: 18+. Friends Duo - Reside in L.A.: 18+.
• Seeking submissions nationwide.
• Apply on Backstage.com.
• For consideration, provide video examples of you and your friend or video examples of you alone if you’re applying individually.
• Seeking— Dog Moms!: female, 20-60, all ethnicities, with dogs weighing less than 65 lbs for YumWoof UGC! This is a fully remote shoot that will be filmed on your smartphone. Rate: $350.
• Seeking submissions nationwide.
• Send submissions to production@ rickhousemedia.com.
• For consideration, submit a self-taped audition along with photos of your dog! Audition Instructions: 1. Answer the following questions: What is your dog’s personality like?; Does your dog struggle with any specific issues that
a change in diet might help? 2. Recite the audition script below: “YumWoof uses natural, high-quality ingredients to support better digestion and overall health for dogs. It’s air-dried to lock in nutrients and flavor, making it both healthy and delicious. Feeding your dog YumWoof means providing them with the nutrition they truly need.”
• Important Notes: Film in the best natural lighting. Clear the camera lens before recording. Speak clearly throughout your video. Avoid filming against a green or plain background. When you submit your video, include your email address, telephone number, Instagram handle, and TikTok username.
• Seeking male or female creators who have or are experiencing eczema (especially on the face) for a content shoot.This product is formulated with clinically tested ingredients to reduce redness, soothe inflammation and protect irritated skin. It helps relieve itching, calms irritation, controls bacteria and deeply hydrates to promote faster healing and restore the skin’s natural barrier.
• Content will involve one scripted concept and approximately 60 seconds of B-roll (product shots, lifestyle, and beauty shots). Production will be requesting raw assets only, and will be responsible for editing.
•Company: Go Atticus. Staff: Annika Dudley, Casting-Production.
•Shoots remotely. Note: Assets due three days upon receipt of product. Production is looking for quick turnaround.
• Seeking— Person with Eczema: all genders, 20-50, all ethnicities, Looking for anyone who has been dealing with eczema.
• Seeking submissions nationwide.
• Apply on Backstage.com.
• For consideration, share any UGC sample work and let production know if you have eczema. Note: Production is looking for creators who can do a quick turnaround.
•Additional: Rate includes up to two reshoots if needed.
Sustainable Cleaning Products and Ethos Insurance
•Seeking dad in their 30s-40s to cast for sustainable cleaning products and Ethos Insurance. The production team is also interested in featuring a baby or kids in the advertisement.
•Shoots during January or February in San Carlos, CA.
• Seeking—Dads for sustainable cleaning products: male, 30-45, all ethnicities, A dad in their 30s-40s to cast for sustainable cleaning products.
Athletics Dads: all genders, 30-45, all ethnicities, Dads in their 30s to mid 40s to cast for sustainable cleaning products.
• Seeking submissions nationwide.
• Apply on Backstage.com.
• For consideration, submit a self tape and include your email address, telephone number, Instagram handle, and TikTok username. Include photos of your kitchen, laundry area, and bathroom, as those will be potential filming locations if selected.
•Professional Pay. Estimated Payment:
$450.00 (Estimated Duration: 4 Hours)
•Additional: Pays $350 plus $100 for family b-roll.
Live Performing Arts
Six Flags Live Entertainment Audition Tour
•Seeking talent for Six Flags Live Entertainment Audition Tour. Company states: “Six Flags Live Entertainment is excited to announce a nationwide search for exceptional talent to join our Park Live Entertainment Teams. With over 42 parks and signature events such as Haunt, Fright Fest, Winterfest, Holiday in the Park, Heroes and Villains Fest, Mardi Gras, and more, we are hiring the largest number of performers in Six Flags history for the 2025 season! Six Flags Live Entertainment is committed to delivering fun, excitement, and memories that last a lifetime at over 42 parks, including some of the most beloved amusement parks and water parks in the United States, Canada, and Mexico.”
•Company: Six Flags Live Entertainment. Staff: Six Flags Live Entertainment, coord.
•Works at one of Six Flag’s 42 parks. Location varies.
• Seeking— Performer: 18+.
•Auditions will be held Jan. 30 from 10 a.m.-6 p.m. (singers/actors) and Jan. 31 from 10 a.m.-2 p.m. (dancers) and from 3-6 p.m. (movers) at Knott’s Berry Farm, 8189 Western Ave, Buena Park, CA 90620. And Jan. 31 from 10 a.m.-6 p.m. (singers/actors) and Feb. 1 from 10 a.m.-2 p.m. (dancers) and from 3-6 p.m. (movers) at Miss Persis Studio of Dance, 222 W. Main St, Arlington, TX 76010. And Feb. 14 from 10 a.m.-6 p.m. (sing-
ers/actors) and Feb. 15 from 10 a.m.-2 p.m. (dancers) and from 3-6 p.m. (movers) at Six Flags Great America, 542 N IL Route 21, Gurnee, IL 60031. And Feb. 21 from 10 a.m.-6 p.m. (singers/actors) and Feb. 22 from 10 a.m.-2 p.m. (dancers) and from 3-6 p.m. (movers) at Pearl Studios NYC, 500 8th Ave., 3rd fl., New York City, NY 10018.
• For consideration, submit audition materials for an in-person audition or submit a virtual audition at www. SixFlagsLiveEntertainment.com.
•Professional Pay. Pay rates vary by park location and are competitive within each respective area.
General Staff + Crew
Gretna Theatre 2025 Season
•Seeking Equity stage managers for Gretna Theatre’s 2025 season. Season includes: “Complete Works of William Shakespeare Abridged” (Leah Walton, dir.; rehearses June 10-22; tech June 24-25; runs June 26-29); and “Million Dollar Quartet” (Andrew Kindig, dir.; Jon Rossi, musical dir.; rehearses June 24-July 6; tech July 8-9, runs July 10-19).
• Company: Gretna Productions Inc. Staff: Michael Philip O’Brien, prod. artistic dir.; Leah Walton, dir.; Andrew Kindig, dir.; Jon Rossi, musical dir.; Makezie Mettler, assoc. prod.; Kate Galvin, casting dir.
•Rehearses and performs in Mount Gretna, PA.
• Seeking— Equity Stage Managers: all genders, 18+.
• Seeking submissions from PA.
• For consideration, email your resume and cover letter to jobs@gretnatheatre. org. Deadline: Feb. 1.
•Gretna Theatre is located in the arts/ resort community of Mt. Gretna, PA and is one of the oldest summer theaters in the country. The season is produced at the Gretna Playhouse, a 700-seat covered amphitheater built on the same location where theater has thrived since 1927. Grenta Theatre serves a wide patron base from the Central Pennsylvania area and employs artists and technicians from all over the United States.
• Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
•Professional Pay. Pays $643/wk. (ASM); $689/wk. (SM) Equity LOA ref. COST Contract.
Olney Theatre Center 202526 Season, Stage Manager
•Seeking Equity stage managers for Olney Theatre Center’s 2025-26 Season. See EPA for season breakdown.
• Company: Olney Theatre Corporation. Staff: Jason Loewith, artistic dir.;
Hallie Gordon, senior assoc. artistic dir.; Christopher Youstra, assoc. artistic dir.-dir. of music theater; Kevin McAllister, dir. of curated programming; Jolie Ouyang, casting and dramaturgy apprentice; Irene Martinko, assoc. artistic dir.-casting dir. See breakdown for production specific personnel.
• See breakdown for production specific dates.
• Seeking— Equity Stage Manager: all genders, 26+.
• Seeking submissions from MD.
• For consideration, submit a resume by email at productionadmin@olneytheatre.org. Submission deadline Jan. 30.
• Olney Theatre Center is committed to stage managers who reflect the diversity of our world; we are actively seeking stage managers of all backgrounds, races, ethnicities, genders, and abilities.
• For more info, visit olneytheatre.org. Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
•Professional Pay. Pays $1222/wk. (Mainstage SM); Pays $1016/wk. (Mainstage ASM). Pays $1100/wk. (Lab SM); pays $914/wk. (Lab ASM). Equity COST Tier 1 Contract (Mainstage and Lab).
‘Romeo and Julian,’ Video Editor
•Seeking a Video Editor for “Romeo and Julian,” a short student film.
•Production states: “I am not an editor but I think I created a cut of the film that is easy to get the idea of how I see the movie but I want a talented editor to elevate it and give it a type of love I can’t. In working with the editor, I want them to read the script and tell if it is something they want to work on and that is how I will gauge who I choose moving forward. I believe that we should only work on things we are passionate about if you do, too, then it is Nice to meet you, and can’t wait to work with you.”
• Seeking—Video Editor: 18+, Video editor for a 17-minute student short film.
• Seeking submissions worldwide.
• For consideration, send work, resume, and if you are okay with pay and if you have sound design experience, an increase in pay if an editor can do sound design to D.bowman@lafilm.edu. If selected, a Zoom call will be had. Script will be sent after the resume is reviewed.
• Additional: Included with pay will be full credit as editor of “Romeo and Julian.” Production states: “I project winning many awards as we enter film festivals.”.
Timber Lake Playhouse 2025 Season, Stage Manager
• Seeking submissions from Equity stage managers for positions in Timber Lake Playhouse 2025 Season. Season includes “Saturday Night Fever the Musical” (Nik Cohn, story; Robert Stigwood, Nik Cohn, stage adaptation; David Abbinanti, arrangements-orchestrations. Rehearsals begin May 13; runs May 30-June 15), “Rock of Ages” (Chris D’Arienzo, book; Ethan Popp, arrangements-orchestrations. Rehearsals begin June 3; runs June 20-July 6), “Waitress” (Jessie Nelson, book; Sara Bareilles, music-lyrics; Adrienne Shelly, motion picture writer. Rehearsals begin June 24; runs July 11-27), Disney’s “Frozen” (Kristen Anderson-Lopez, Robert Lopez, music-lyrics; Jennifer Lee, book. Rehearsals begin July 15; runs Aug. 1-17), “Friendship Landing” (Nathan Fosbinder, book-music-lyrics. Rehearsals begin Aug. 5; runs Aug. 22-31), and “The Bridges of Madison County” (Jason Robert Brown, musiclyrics; Marsha Norman, book. Rehearsals begin Aug. 26; runs Sept. 12-21).
• Company: Timber Lake Playhouse. Staff: Tommy Ranieri, artistic dir. •Rehearses and runs in Mount Carroll, IL.
• Seeking— Stage Manager: 18-99.
• Seeking submissions from IL.
• For consideration, submit a resume to casting@timberlakeplayhouse.org or by mail at Timber Lake Playhouse C/O Tommy Ranieri – Artistic Director 8215 Black Oak Road Mount Carroll, IL 61053-0029. Submissions deadline is Feb. 14
• Equity’s contracts prohibit discrimination. Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.
•Professional Pay. Pays $761/wk. Equity SPT 8 Contract.
Theatre Aspen 2025 Season
•Seeking Equity Stage Managers for Theatre Aspen’s 2025 Season. Season includes: “Driving Miss Daisy” (Rehearsals begin May 26 in NYC; travel to Aspen June 7; runs June 12-28), “Mamma Mia!” (Rehearsals begin June 16 in Aspen; runs July 5-Aug. 2), and “Million Dollar Quartet” (Rehearsals begin July 28 in Aspen; runs Aug. 8-23.).
•Company: Theatre Aspen. Staff: Jed Bernstein, producing dir.; Britt Marden, dir. of artistic planning; Michael Rader, exec. prod.; Katie An Siegel, general management assoc.; Holly Buczek, casting dir.; Cassandra Maguire, casting assoc.
•Season runs in Aspen, CO.
• Seeking— Equity Stage Manager and ASM: 18-99.
• Seeking submissions from CO.
• For consideration, email your resume, and cover letter to resumes@theatreaspen.org. Submissions deadline is April 1.
•For more info, visit theatreaspen.org.
• Professional Pay. Pays $1,105/wk. Stage Manager and $980/wk. Assistant Stage Manager. Equity SPT 10 Agreement.
Ask An Expert
What are some great film monologues for male actors to study?
Daniel Day-Lewis as Daniel Plainview in “There Will Be Blood” (2007)
“I drink your milkshake! I drink it up!” In a lifetime of astounding performances, DayLewis’ turn in Paul Thomas Anderson’s earth-shaking film is one of his greatest. The three-time Oscar winner stars as unapologetic oil baron Daniel Plainview. In this speech, Daniel celebrates the triumph of capitalism over religion after he convinces moralistic preacher Eli Sunday (Paul Dano) to renounce his faith. Day-Lewis is so fervently magnetic and persuasive that it’s as if there’s nobody else in the world but the two of them.
George Clooney as Ryan Bingham in “Up in the Air” (2009)
Our Expert
Jason Clark has more than 25 years of experience in the entertainment and media industry covering film, television, and theater.
“What’s in your backpack?” Clooney’s frequent flyer extraordinaire asks in this rich character drama from Jason Reitman. Ryan is an independent consultant who travels from company to company, firing employees so their bosses don’t have to. Over three riveting minutes, he makes a case for compartmentalizing our relationships and needs into a smaller package. The sly irony of
the film is that the more literal and figurative baggage Ryan acquires, the further he deviates from this philosophy. But like the efficiency expert he portrays, Clooney sells you on these ideas like a snow cone salesman on a 110-degree day.
Michael Stuhlbarg as Mr. Perlman in “Call Me by Your Name” (2017) “If there is pain, nurse it. And if there is a flame, don’t snuff it out.” Timothée Chalamet may have been the one to nab an Oscar nod for Luca Guadagnino’s sun-kissed look at love and heartache in 1980s Italy; but it’s Stuhlbarg’s deeply felt, timestopping delivery of the final monologue that followed viewers out of the cinema. Embodying the melancholy of James Ivory’s gorgeous, Oscarwinning screenplay, Stuhlbarg conveys a lifetime of experience as Mr. Perlman reassures his son that all the heartbreak he experienced was worth it.
Corey Hawkins as Kwame Ture in “BlacKkKlansman” (2018) “I’m here tonight to tell you that it is time for you to stop running away from being Black.” So begins this rallying cry from activist Kwame Ture
in Spike Lee’s historical drama. There’s no shortage of tremendous speeches in the filmmaker’s canon, but Hawkins’ performance of this fiery sermon might be the most undersung. It’s as brash and rousing as anything in Lee’s body of work. And given the charged, tense milieu of “BlacKkKlansman,” which follows a pair of detectives infiltrating a white supremacist enclave, Ture’s plea for Black people to claim their power feels particularly urgent.
Ke Huy Quan as Waymond Wang in “Everything Everywhere All at Once” (2022) The fact that Quan delivers this monologue across two scenes—one in English and one in Mandarin—is only one of the reasons it’s so stunning. The actor gives a stirring, Oscarwinning performance in Daniel Kwan and Daniel Scheinert’s universehopping juggernaut as the gentle patriarch of a family spiraling epically out of control. Waymond is such a warm presence that he literally saves the multiverse through the power of empathy, telling his wife (Michelle Yeoh), “The only thing I do know is that we have to be kind. Please—be kind.”
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