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03.24.16 • BACKSTAGE.COM
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CONTENTS
vol. 57, no. 12 | 03.24.16
NEWS
4 The best advice out of this year’s SXSW
6 This week’s roundup of who’s casting
what starring whom
7The “Tuck Everlasting” composers and their
journey to Broadway
ADVICE
9 THE WORKING ACTOR Live, learn, and list
9 #IGOTCAST Alison Nicole Martin
10 SECRET AGENT MAN The power of sitzfleisch
11 #IGOTCAST Shezi Sardar
FEATURES
3 BACKSTAGE 8 WITH... Jere Burns
8 MEET THE MAKER Nia Vardalos, “My Big Fat Greek Wedding 2”
10 SPOTLIGHT ON... Alex Wolff
11 INSIDE JOB Dan Wells, celebrity fitness trainer
16 TÚ TAMBIÉN You could be part of one of the fastest-growing
media companies for Latinos!
17 MEISNER IN THE EYES L.A. acting coach Alex Taylor on how onstage
training improves on-camera performance
18 SELF-TAPED SIMPLICITY A play-by-play to perfecting actors’ makeup
and wardrobe in self-taped auditions
32 BACKSTAGE LIFE “The Path”
COVER STORY
page 12
ARE YOU
LISTENING YET?
CHAD GRIFFITH
Jerrod Carmichael returns to NBC prime time with
“The Carmichael Show” Season 2, and he has a lot to say
BACKSTAGE.COM
CASTING
19 New York Tristate
25 California
27 National/Regional
Jerrod Carmichael photographed by Chad Griffith in NYC
on March 9. Grooming by Janice Kinjo. Cover designed by
Jessica Balaschak.
03.24.16 backstage
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BACKSTAGE.COM
BAC KS TAG E 8 W ITH . . .
jere burns
By Mark Peikert
Tell us about your role on ‘Angie Tribeca.’ I play Pritikin “Chet”
Atkins, whose name is based on two diets from the 1980s, Pritikin and
Atkins, in keeping with the lunacy of our show. Pritikin is by-the-book
and Type A, with no gray areas. Loves his detectives, but has a very
hard time expressing emotion. Raised by two lesbians in a commune,
Atkins joined the police force at a young age seeking structure he never
had as a child.
What do you wish you’d known before you started acting? To value
every moment along the way. There were times in my career where I
could have enjoyed the moment more, but I was too focused on what I
hoped would come next. I wish I smelled the roses a little more early on.
What was your most memorable survival job? Driving for Checker Cab
in Boston. Our slogan was, “Don’t take a chance, take a Checker.”
How do you typically prepare for an audition? I think about what
the character wants and then I break down the text into beats and
transitions. I am all about the text. The words. I’m kind of a Maimon guy
that way.
JOEL KIMMEL
Television stalwart Jere Burns
has appeared on everything
from “Bates Motel” to “The King
of Queens.” Now he’s starring
opposite Rashida Jones on TBS’
cop comedy “Angie Tribeca,”
created by Steve Carell and Nancy
Walls Carell. He talks to Backstage
about his Type A character and
why you should never, ever bring
a squirt gun to an audition.
What’s your go-to audition song? I’m not really what you would call
a singer, but about 12 years ago I saw “Urinetown” on Broadway and it
looked like so much fun that I decided then and there I wanted to do a
play on Broadway. I had not really sung since “Guys and Dolls” in high
school, but I worked up a song to sing at auditions. I ended up doing
“Hairspray” on Broadway four months later. I love nothing more than
eight shows a week. I cannot wait to do another musical.
What is your worst audition story? When I first got to L.A. from New
York, I auditioned for a lot of bad guys and bad television shows. I was so
tired of using my index finger as a gun that I decided to bring a squirt gun
in to heighten the realism, I guess. It was a total disaster. I had to stop
midway through. I did not get that job. As I think of it now, all the bad guys
I played seemed to be named Eddie. Funny.
In the alternate universe in which you aren’t an actor, what would you
be doing? I would be a doctor. I am obsessed with medicine.
How did you get your SAG-AFTRA card? I’m pretty sure it was in an
afterschool special cast in New York and called “Moms on Strike.” I wish I
could remember more details. •
“THERE WERE TIMES IN MY CAREER WHERE I COULD HAVE ENJOYED THE MOMENT
MORE, BUT I WAS TOO FOCUSED ON WHAT I HOPED WOULD COME NEXT.”
BACKSTAGE.COM
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NEWS
UPDATE |
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NYC’S Theater Subdistrict Council has announced a diversity grant program aimed at developing nonperformance talent among
underrepresented members of the theater community to the tune of $2 million. Visit backstage.com/topics/tsc for more information.
while acting. “It’s hard to be unselfconscious
and in the moment if you’re worried about how
you look or how you sound or how you come
off.” Later, Hoffmann added, “I want to keep
being involved in a conversation with myself in
a sort of investigation about what it means to
be human. That’s exciting to me. And it doesn’t
necessarily have to be naked and loud and wild.”
“People say to me, ‘Your
character in “Nightcrawler” is so
unhinged.’ I’m, like, ‘That’s the
closest to me you’re gonna get.’ ”
Don Cheadle in “Miles Ahead”
TEXAS FILM
Texas Hold ’Em
SXSW CONVERSATION SLATES KEPT STARS
AND AUDIENCES ALIKE INTRIGUED
T
BY TYLER O’NEILL
he 2016 SXSW Film Festival set up—
and exceeded—some sky-high stakes
with a programming slate as dense
and thoughtful as one is likely to
find anywhere. Ascendent stars orbited among
the A-listers, established artists debuted bold
career turns, and industry insiders got candid
about crafting a life on the screen. Here are
some standout moments from the slew of actor
panels hosted at this year’s fest.
Jake Gyllenhaal, in town for the premiere
of Jean-Marc Vallée’s “Demolition,” is
renowned for his startling immersion into
4 backstage 03.24.16
dark, challenging roles. He spoke alongside
David Gordon Green (who directs Gyllenhaal
in the upcoming “Stronger,” based on the 2013
Boston Marathon bombings) about how he
grapples with such characters.
“We all have everything in all of us,”
Gyllenhaal said. “I believe I can understand why
people do what they do, even when it’s unfathomable. Or even when it’s the deepest type of
loving…. People say to me, ‘Your character in
“Nightcrawler” is so unhinged.’ I’m, like, ‘That’s
the closest to me you’re gonna get.’ ”
In a conversation with director Kat Candler,
presented by the SAG-AFTRA Foundation, Gaby
Hoffmann explained her perspective on vanity
New York Magazine critic David Edelstein
moderated a conversation with Don Cheadle,
who made his live-wire directorial debut
with “Miles Ahead.” Speaking to the difficulties of directing oneself alongside co-stars,
Cheadle admitted, “It’s clichéd to say you’re
your own worst critic, but I absolutely am.
There’s no one to blame if your vision doesn’t
work because it’s your vision. It’s necessary to
be brave and keep pushing for the thing you
believe in.” Joel Edgerton offered a contrasting example in his Q&A, regarding his double
duty on “The Gift.” “There were a couple of
things here and there that I held my tongue
on because I felt like it wasn’t my place, being
inside the scene and telling [Jason Bateman
and Rebecca Hall] what to do.”
Meanwhile, the winners of the Grand Jury
and Audience Awards generated as much
conversation as any celebrity panel. The
Grand Jury prize for narrative feature went to
writer-director Adam Pinney’s “The Arbalest.”
The meticulously strange tale of obsession
proved deeply divisive among festivalgoers,
who took a different route and collectively
handed the Narrative Feature Audience Award
to “Transpecos,” a taut U.S.-Mexico border
patrol thriller from debut director Greg Kwedar.
Acting awards went to Andre Royo for Josh
Locy’s “Hunter Gatherer” and Lily Rabe for
Julia Hart’s “Miss Stevens.” The full list of
Grand Jury and Audience Award winners can
be found at sxsw.com. •
BACKSTAGE.COM
P I G GY B A N K : Y S A M I / S H U T T E R S T O C K . C O M ; “ M I L E S A H E A D ”: B R I A N D O U G L A S
—JAKE GYLLENHAAL
66
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news Check the Casting section for full details on top theater roles, or visit casting.backstage.com
INDUSTRY NEWS
AFTER OSCAR GLOW
BRIE LARSON TAKES ON HER NEXT FILM PROJECT
WITH ACADEMY VALIDATION
L .A. THEATER
Broadway Dreamer
THE WALLIS ANNENBERG CENTER FOR THE
Performing Arts in Beverly Hills, California,
is setting the stage for its annual summer
intensive alongside the Broadway Dreams Foundation for musical theater hopefuls in the Los
6 backstage 03.24.16
Brie Larson
his world as a traveling comic
and boyfriend. With successful
runs for George Lopez and Tim
Allen, Iglesias is in good company with his venture into prime
time. The pilot, which in addition to Iglesias, features Richard
Grant, Paul Walter Hauser, Gloria
Garayua, and Tommy Savas, goes
into production in Los Angeles at
the end of March under Romano/
Benner Casting.
The current election season is
nothing compared to the governing staff on ABC’s new pilot “Hail
Mary.” A young mayor in a small
Angeles area. The intensive offers performers
the opportunity to learn from industry professionals including actors, casting directors, and
choreographers, who provide Broadway-caliber
training. “We relish the opportunity to celebrate
the musical theater art form,” said Mark Slavkin,
director of education at the Wallis, in a statement. “This partnership with Broadway Dreams
town finds herself in over her head
when she tries to manage her dysfunctional family, a dying father,
a town on the edge of bankruptcy,
and some seriously suspicious
mob ties. The pilot, which features Casey Wilson, Retta, Gareth
Reynolds, and Sarah Baker, starts
shooting at the end of March in
Los Angeles with Dorian & Sibby
Casting in tow.
For the latest news, check out
backstage.com/resources to find
thousands of production listings,
casting directors, acting classes,
agents, and more! •
will help cultivate the next generation of musical
theater talent. Our focus will be on outreach
to underserved communities, where talented
youth may not have had access to this level
of training.” The weeklong session runs from
June 19–26, and registration is now open. Visit
mybroadwaydreams.com/register for more
information. —MATT BUSEKROOS
BACKSTAGE.COM
H A L I A L S PAC H
B
The pilot, which lucked out with
location shooting, will start production in April in the perfectly
set streets of Madrid. Linda Lowy
Casting has already racked up
an impressive set of actors with
Wade Briggs, Lashana Lynch,
Torrance Coombs, Ebonee Noel,
Medalion Rahimi, and Zuleikha
Robinson. Should a series pickup
be announced, all bets are on a
Thursday night placement.
From dumpster diving to driving a fashion empire, Netflix is
taking Sophia Amoruso’s story and
turning it into a series. “Girlboss”
will follow the mogul’s inspiring
journey as she goes from an eBay
seller to owning her own fashion
company at age 27. The project
will split production between San
Francisco and Los Angeles, where
Amoruso’s Nasty Gal Vintage
headquarters is located. Barden/
Schnee Casting will fill the currently blank cast list. Shooting for
the series will start this June.
Gabriel Iglesias is taking the
path many comedians before him
have tread: the network sitcom.
“The Fluffy Shop,” picked up as
a pilot by ABC, will show the life
of a busy stepdad as he balances
HELGA ESTEB/SHUT TERSTOCK .COM
BY REBECCA WELCH
rie Larson won’t be throwing any stones when she
moves into her new project,
“The Glass Castle.” The
actor, who recently nabbed an
Academy Award for best actress
for her performance in “Room,”
isn’t showing any signs of slowing
down. The new Lionsgate feature
that also stars Woody Harrelson
is based off former gossip columnist Jeannette Walls’ memoir of
the same title. The film, which
previously had Jennifer Lawrence
attached (now credited as a producer), is about the dysfunctional
and impoverished upbringing
of three siblings as they work
together to escape their toxic environment. The project, currently
being cast by Ronna Kress, will go
into production in Montreal at the
beginning of June.
Romeo and Juliet may have seen
every incarnation imaginable, but
ABC is looking to tell the story of
their aftermath with a Shondaland
twist. “Still Star-Crossed” will tell
the story of the Montagues and
the Capulets, post-Shakespeare,
as their feud continues to fuel
treachery and ill-fated romances.
actor 101
For more advice from industry professionals, visit backstage.com/advice-for-actors
[ The Working Actor ]
Live, Learn, and List
I L L U S T R AT I O N : H A N N A B A R C Z Y K ; M A R T I N : E R I K A L U D W I G
UNIVERSAL PICTURES
BY CASEY WILSON
TAKE DE LONGPRE AVENUE.
When asked what advice she would
offer young actors, Bette Davis
famously said, “Take Fountain.” My
updated twist (though I am no Bette
Davis) is take De Longpre. It’s a hidden Eastside gem. Enjoy!
Get in therapy. This is a brutal
business, but taking the time,
spending the money, and putting
in the hard work of self-care is the
single best thing you can do to help
ride the waves.
Get the fuck out! I once asked a
respected casting director the one
piece of advice she would give all
BACKSTAGE.COM
actors. She said, without hesitating, “Get the fuck out!” After you
audition, leave! Don’t hang around
and make small talk. Do your thing
and exit gracefully. I say gracefully
because after I heard that, I would
bolt before my last line and practically yell it from the parking lot.
You are the CEO of your own business. You are your business and
you run your business and make no
mistake: This is a business! While
studying acting at Tisch at NYU I got
very caught up in the special, wonderful, creative side of acting. And
that was where I should have been
in college. But the minute I got out I
was altogether unprepared for what
moves to make regarding the business of show. Once I viewed it more
through that lens, I realized I was
my own boss. The more you put into
your business the more you will get
out of it. Crazy example alert! I hired
an assistant while I was an assistant. Getting my own life organized
helped me tremendously.
Invest in the nicest car you can
afford. I once called my friend,
comedian Whitney Cummings, and
asked her if she thought I should
spring for a very used Lexus. I will
never forget her saying, “That’s
your problem, right there.” I was
stunned. What did she mean? She
said the fact that I thought I was
worth only a very used version of my
dream car set the tone for my sense
of self. She advised me to spring for
the upgrade and lease a nice Lexus.
Every time I get in it to this day, I
feel two things: happy to have given
myself a nicer car, since we spend
99.9 percent of our day in it in L.A.,
and driven (pun intended) to work
my ass off to pay for it!
Keep studying. Acting is not like
learning to ride a bike. I have taken
many classes with the great Nike
Doukas and Richard Greene at the
Stella Adler Studio and with the
amazing Lesly Kahn.
Take improv! Anyone, even if they
aren’t in comedy, can benefit from
improv classes at the Upright Citizens Brigade—the best of the best
in my humble opinion. Yes, and...?
Yes, please! (That’s just some of the
comedy I learned from them.)
Handwrite thank-you notes!
Sleep with your boss. J/K but not.
I did and I married him and now have
a baby so sometimes it works out?
Try to be normal (and nice). They
both go a long way.
Wilson (“Happy Endings,” “The
Hotwives of Las Vegas”) can currently be heard analyzing “The Real
Housewives of Beverly Hills” on the
podcast “Bitch Sesh.”
#IGOTCAST.
Alison Nicole Martin
By Rachel Weiss
Christmas came early for ALISON
NICOLE MARTIN, who was cast in
the Dynamite app Christmas character videos through Backstage!
Martin explains that the app uses
virtual masks, so she was able to
play characters ranging from Buddy
the Elf to Mariah Carey.
“I’ve never had a use for hitting
[Carey’s] high notes until now,”
Martin jokes. She says this was the
most hands-on project she’s ever
worked on.
“I have experience writing,
directing, and producing, and I was
able to do all of that plus act out my
own material,” Martin says. “It also
put the pressure on me because
each of the videos could only be
42 seconds or less. I rewrote the
scripts so many times, trying to get
all of the comedy I could into less
than a minute.”
Although this was a difficult
task, Martin rose to the occasion.
“I love challenging myself in that
way, and competing with what I’ve
already done,” she says. “I decided
at one point to play five different
characters while playing the piano
and singing at the same time!”
TO SEE YOUR SUCCESS
story in print, tweet @Backstage
using the hashtag #IGotCast.
03.24.16 backstage
9
ACTOR 101
For more Actor 101 stories, visit backstage.com/actor101
“The most extraordinarily challenging thing was balancing three
generations in one screenplay,”
says Vardalos of the sequel, which
follows Toula (Vardalos) and Ian
(John Corbett) as they struggle
to see their daughter Paris (Kampouris) off to college. Meanwhile,
Toula’s parents (Lainie Kazan and
Michael Constantine) discover
they’ve never been legally married
and throw—you guessed it—an
elaborate wedding ceremony with
the whole Portokalos family.
Nia Vardalos,
“My Big Fat Greek Wedding 2”
BY JACK SMART
BEFORE “MY BIG FAT GREEK
Wedding” became the highestgrossing romantic comedy of all
time, Nia Vardalos was like any
struggling actor-writer: sick of waiting for opportunities to come her
way. “When I got to Los Angeles,”
she says, “my phone didn’t ring. So I
called myself.”
Although it’s been reported that
Vardalos turned her autobiographical
solo show into a screenplay, the truth
is closer to the other way around.
“What actually happened is I wrote
the screenplay first and couldn’t
get it read because I didn’t have
an agent,” she says. “So I jumped
onstage to do a solo show. Rita Wilson came to the show, said, ‘This
should be a movie,’ and I handed her
the screenplay that night.”
After meeting her “fairy godmother” Wilson, who co-produced
the film with husband Tom Hanks and
8 backstage 03.24.16
Gary Goetzman, Vardalos introduced
the world to a mostly fictional version
of her Greek family, becoming the
star of one of Hollywood’s biggest
sleeper indie hits and an Academy
Award nominee for best original
screenplay. It was a Cinderella story
for the Second City–trained comedian, who notes she picked up all her
writing skills onstage.
“I started in Shakespeare. I’m
classically trained, which, how
hilarious is that?” says Vardalos
wryly. “Then one night I saw Second
City and thought, Wow, that’s what
I want to do. But I never thought
it would morph into screenplay
writing.” All of her classic and
comedic training is apparent in her
creative process; Vardalos fiddles
with her screenplays up until the
last possible moment because at
Second City, as she says, “we’d be
constantly changing the material
onstage—we never put pen to
paper, we wrote on our feet.”
But you can also see that
foundation in her characters’ convincingly natural dialogue. “When
you make actors feel comfortable
[on set], it will seem like their lines
are improvised,” she explains. “If
you create a fun environment,
people will take liberties and grow
and expand. And then you’ll get
your final screenplay in my favorite
style, which is ‘tossed away’—as if
the actor just thought of it.”
Although the press asked often
about a potential sequel, Vardalos
says no one nagged her more than
her family of co-stars, who have
remained close friends since 2002.
Every actor in the original ensemble
signed on to “My Big Fat Greek Wedding 2” (in theaters March 25), plus
Wilson, John Stamos, Alex Wolff,
and Elena Kampouris.
Vardalos worked in secret on the
screenplay after a pair of impulses
sparked her imagination. The first
occurred at her daughter’s first day
of kindergarten, she says. “I was
crying big, ethnic, heaving sobs over
leaving my daughter at school. And
another mom, I think in an effort
to comfort me, said, ‘Oh, come on!
In 13 years they’re going to go off
to college and leave us.’ And I was
struck by such panic that my throat
closed and that’s when I realized I
had morphed into my own suffocating Greek parents.”
The second epiphany arrived
during a visit from those parents;
Vardalos marveled at how “they
would argue about whether this
peach was ripe or not—for 20 minutes. I was watching that dynamic
and thought, What if they weren’t
married to each other? Would they
choose each other as a life partner
now?” With that second “ding!,”
she began the yearslong process of
reshaping both ideas into a sequel
that captures the charming peculiarity and humor of the original.
Corbett, adds Vardalos, was the
first actor she called upon completing the script. “It was his birthday,”
she says with a laugh. “I said, ‘Hey,
do you feel like kissing me again?’
He went, ‘Always, baby.’ ” •
BACKSTAGE.COM
I L L U S T R AT I O N : H A N N A B A R C Z Y K ; M A R T I N : E R I K A L U D W I G
[Meet the Maker]
UNIVERSAL PICTURES
Nia Vardalos in “My Big Fat Greek Wedding 2”
“If you create a fun
environment, people
will take liberties and
grow and expand.”
actor 101
For more advice from industry professionals, visit backstage.com/advice-for-actors
[ The Working Actor ]
Live, Learn, and List
I L L U S T R AT I O N : H A N N A B A R C Z Y K ; M A R T I N : E R I K A L U D W I G
UNIVERSAL PICTURES
BY CASEY WILSON
TAKE DE LONGPRE AVENUE.
When asked what advice she would
offer young actors, Bette Davis
famously said, “Take Fountain.” My
updated twist (though I am no Bette
Davis) is take De Longpre. It’s a hidden Eastside gem. Enjoy!
Get in therapy. This is a brutal
business, but taking the time,
spending the money, and putting
in the hard work of self-care is the
single best thing you can do to help
ride the waves.
Get the fuck out! I once asked a
respected casting director the one
piece of advice she would give all
BACKSTAGE.COM
actors. She said, without hesitating, “Get the fuck out!” After you
audition, leave! Don’t hang around
and make small talk. Do your thing
and exit gracefully. I say gracefully
because after I heard that, I would
bolt before my last line and practically yell it from the parking lot.
You are the CEO of your own business. You are your business and
you run your business and make no
mistake: This is a business! While
studying acting at Tisch at NYU I got
very caught up in the special, wonderful, creative side of acting. And
that was where I should have been
in college. But the minute I got out I
was altogether unprepared for what
moves to make regarding the business of show. Once I viewed it more
through that lens, I realized I was
my own boss. The more you put into
your business the more you will get
out of it. Crazy example alert! I hired
an assistant while I was an assistant. Getting my own life organized
helped me tremendously.
Invest in the nicest car you can
afford. I once called my friend,
comedian Whitney Cummings, and
asked her if she thought I should
spring for a very used Lexus. I will
never forget her saying, “That’s
your problem, right there.” I was
stunned. What did she mean? She
said the fact that I thought I was
worth only a very used version of my
dream car set the tone for my sense
of self. She advised me to spring for
the upgrade and lease a nice Lexus.
Every time I get in it to this day, I
feel two things: happy to have given
myself a nicer car, since we spend
99.9 percent of our day in it in L.A.,
and driven (pun intended) to work
my ass off to pay for it!
Keep studying. Acting is not like
learning to ride a bike. I have taken
many classes with the great Nike
Doukas and Richard Greene at the
Stella Adler Studio and with the
amazing Lesly Kahn.
Take improv! Anyone, even if they
aren’t in comedy, can benefit from
improv classes at the Upright Citizens Brigade—the best of the best
in my humble opinion. Yes, and...?
Yes, please! (That’s just some of the
comedy I learned from them.)
Handwrite thank-you notes!
Sleep with your boss. J/K but not.
I did and I married him and now have
a baby so sometimes it works out?
Try to be normal (and nice). They
both go a long way.
Wilson (“Happy Endings,” “The
Hotwives of Las Vegas”) can currently be heard analyzing “The Real
Housewives of Beverly Hills” on the
podcast “Bitch Sesh.”
#IGOTCAST.
Alison Nicole Martin
By Rachel Weiss
Christmas came early for ALISON
NICOLE MARTIN, who was cast in
the Dynamite app Christmas character videos through Backstage!
Martin explains that the app uses
virtual masks, so she was able to
play characters ranging from Buddy
the Elf to Mariah Carey.
“I’ve never had a use for hitting
[Carey’s] high notes until now,”
Martin jokes. She says this was the
most hands-on project she’s ever
worked on.
“I have experience writing,
directing, and producing, and I was
able to do all of that plus act out my
own material,” Martin says. “It also
put the pressure on me because
each of the videos could only be
42 seconds or less. I rewrote the
scripts so many times, trying to get
all of the comedy I could into less
than a minute.”
Although this was a difficult
task, Martin rose to the occasion.
“I love challenging myself in that
way, and competing with what I’ve
already done,” she says. “I decided
at one point to play five different
characters while playing the piano
and singing at the same time!”
TO SEE YOUR SUCCESS
story in print, tweet @Backstage
using the hashtag #IGotCast.
03.24.16 backstage
9
actor 101 Find representation at backstage.com/callsheet
It’s about clearing
every single hurdle
on that obstacle
course knowing
full well that when
you’re done, another
obstacle course will be
waiting for you right
around the corner.
[ Secret Agent Man ]
The Power
of Sitzfleisch
P
ursuing a career as an
actor is like running
an obstacle course
that never ends. The
moment you clear the first
hurdle, another one pops up
right in front of you. And as you
approach that hurdle, you notice
a few more in the distance. That’s
the life you have chosen. That’s
the life of an actor.
Yay!
And the sad truth is those
damn hurdles never end. When
you’re starting out, you have to
get the perfect headshot, you
have to find the right teacher,
you have to join the union, you
have to sign with an agent, you
have to sign with a better agent,
you have to make casting fans,
you have to book your first job,
you have to book more jobs, you
have to book better jobs—and I’m
just getting started. I could go on
and on for the rest of this column
but I would still need more space.
So how do you get ahead? How
10 backstage 03.24.16
can you accomplish your goals?
Well, the key is understanding
the difference between persistence and perseverance.
Look at it this way. If persistence is focusing on one specific
project with single-minded determination, perseverance is about
the long game. It’s about clearing every single hurdle on that
obstacle course knowing full well
that when you’re done, another
obstacle course will be waiting
for you right around the corner.
The Germans have a word for
it: sitzfleisch. Staying power.
Or as Rocky put it, going the
distance.
Over the years, I’ve seen a lot
of talented actors throw in the
towel. The reasons they walked
away were rarely about an external event like illness or economic
hardship. The truth was, they
just couldn’t go on. Their will to
succeed gave out.
And hey, there’s nothing wrong
with that. I will never look down
But for those of you planning
to stick it out for the long haul,
know full well that you’re going
to have some dark moments, the
kind that keep you up all night.
This is not something you can
control. But you know what you
can control? Your response to
those moments.
People who have a strong
streak of perseverance running
through their bodies know that
hardship will pass. So they face
each problem to the best of their
ability and then they move on to
the next one. They understand
those hurdles aren’t stumbling
blocks. They’re just steppingstones to their dreams.
Remember: The real threat you
have to face is yourself, not what
happens to you.
But hey, you know what?
There’s another way of looking
at this. The lack of perseverance
that’s common among your fellow thespians can also be a good
thing. Why? Because it thins the
herd, giving actors like you a
chance to rise and be noticed.
Welcome to Hollywood
Darwinism 101.
(Secret Agent Man would like to
acknowledge Ryan Holiday’s book
“The Obstacle Is the Way” as the
inspiration for this column.) •
SPOTLIGHT ON…
ALEX WOLFF
By Benjamin Lindsay
From “The Naked
Brothers Band” to
going tête-à-tête with
Chris Cooper, multihyphenate entertainer
ALEX WOLFF has
accomplished a lot for
age 18. The “My Big
Fat Greek Wedding 2”
star told Backstage about being raised by
actor-musicians and competing with his
brother, Nat.
On ‘My Big Fat Greek Wedding 2.’
“I’m really proud to be a part of it. I love
the first one so much, and I think I may like
the second one better. It’s just really cool
and deep and hilarious—I was laughing
through the whole thing.”
On growing up in an artistic family.
“Part of the reason I related to the movie
so much is I grew up in an artistic family
where anything goes. Everyone is very
free and says what they want. Everyone is
open—we’re all very emotionally open and
say whatever comes to mind, and that’s
very much in the movie, too. It’s harder
for me to relate to people who don’t have
families that are loud and crazy.”
On working and making music with Nat.
“When we’re doing music together, we
have competitions in the way that we
push each other to our limits. We’ll push
each other to do better. We know what
each other are capable of. We don’t
really get involved in each other’s acting.
All we are is just extremely supportive.
I think Nat’s an amazing actor…. He
understands things about acting that
most people don’t.”
FOR THE FULL Q&A,
visit backstage.com.
BACKSTAGE.COM
W E L L S : C H R I S H A S T O N / N B C ; S A R DA R : B A S S P H O T O G R A P H Y
on a performer who walks away
from the hardest grind on earth.
It’s a choice. And I know quite a
few actors who changed direction
and became successful in other
parts of the industry. One of them
is now the showrunner on a successful network show.
I L L U S T R AT I O N : S P E N C E R A L E X A N D E R ; W O L F F: OV I D I U H R U B A R U/ S H U T T E R S T O C K . C O M
actor 101
Find answers to your industry questions at backstage.com/resources
be inspired. Someone can accomplish the most amazing things in
the world, but if they’re doing it in
a forest in the middle of Canada,
they can’t inspire anyone else.
You’re all about inspiration.
You want to know your time on
Earth was for a good reason. My
dad died of a heart attack at age
52—smoked, drank, didn’t eat
well, didn’t exercise. That was a
major turning point in my life.
There’s a part of me that feels like
me being inspired and passing on
that information almost makes
his life more valuable.
“My method doesn’t focus on aesthetics.
story in print, tweet @Backstage
Dan Wells
W E L L S : C H R I S H A S T O N / N B C ; S A R DA R : B A S S P H O T O G R A P H Y
CELEBRITY FITNESS TRAINER
I L L U S T R AT I O N : S P E N C E R A L E X A N D E R ; W O L F F: OV I D I U H R U B A R U/ S H U T T E R S T O C K . C O M
By Rachel Weiss
Why did you decide to go on
“Strong”? I have two great gyms
and three great kids that take up
my time, but it was everything I’m
good at—plus, it was fun. Obstacles
are right up my alley, and it’ll be
great for my kids to see. As an actor,
when you go into an audition, you
see 75 of you in the room. You have
to come at the entertainment industry from all angles. I spent a lifetime
gathering my skill sets on camera,
but I also have an MBA, so there’s a
lot of cross-branding opportunity.
It’s absolutely important to diversify. Casting departments don’t
want an actor who can play the guy.
They want the guy. •
[Inside Job ]
BY MOLLY EICHEL
DAN WELLS HAS SPENT HIS CAREER MAKING ACTORS LOOK GOOD—
literally. The personal trainer, who owns L.A.’s CrossFit Horsepower
gyms, is getting in front of the camera for NBC’s “Strong,” a reality show
produced by Sylvester Stallone where trainers team up with contestants
to transform their bodies. It premieres April 13. Wells isn’t the only
onscreen personality in the family. His son, Jadon, played Dexter’s son
on the popular Showtime series “Dexter.”
From there, I realized how I could
profoundly change people’s lives.
How did you start training actors
and public figures? They’re no
different from anyone else—I
just happen to be in the right
neighborhood. But through their
transformations, more people can
What you see in the mirror is the byproduct.”
BACKSTAGE.COM
Shezi Sardar
SHEZI SARDAR was cast in “The
Checkout Line,” a dark, postapocalyptic short film, after browsing the
audition listings of Backstage. The
drama, which has already screened
at two film festivals, tells of a dystopian landscape so physically and
economically ruined that people can
check into centers for governmentsanctioned suicide. While playing
his character, Dave, Sardar explored
deep, intense emotions.
“Playing Dave really enabled me
to delve into the sense of hopelessness and despair he was feeling
about his chances of surviving very
bleak circumstances, often relying
on his good friend for emotional
support,” he says.
Sardar has been using Backstage
for three years now, and makes sure
to check audition listings every day.
“Every single project I’ve worked
on through Backstage has been an
extraordinary experience,” he says.
“Each film set is different, and as
very much a director’s actor, I’m
committed to fulfilling a director’s
vision by bringing to life the full colors of the script and my character.”
Dan Wells
How did you become a personal
trainer? I always liked sports and
fitness as a kid. What drew me to
it was I could take my destiny into
my own hands. There was an easy
through line of hard work where I
could improve me and my game.
I could control everything, from
how I looked to my confidence.
How is your method different from
other trainers’? I want to change a
person into their greatest physical
being and bring out their inner
athlete. I do that by using precise
technique to teach them functional
movements, stuff our ancestors
have been doing for tens of thousands of years. Not only does it have
an impact physically, but you can
see the difference in the way folks
carry themselves; there’s a sense
of confidence. The actor has to be
comfortable in his or her own skin.
They have to start with a blank
slate, unburdened by insecurities.
#IGOTCAST.
TO SEE YOUR SUCCESS
using the hashtag #IGotCast.
03.24.16 backstage
11
12 backstage 03.24.16
BACKSTAGE.COM
Are You
Listening
Yet?
Jerrod Carmichael returns to NBC prime time
with “The Carmichael Show” Season 2,
and he has a lot to say
By Benjamin Lindsay | Photographed by Chad Griffith
BACKSTAGE.COM
03.24.16 backstage
13
“I LIKE ART THAT’S PERCEIVED TO REQUIRE THOUGHT,”
14 backstage 03.24.16
With Lil Rel Howery, David Alan Grier, Loretta Devine,
and Amber Stevens West on “The Carmichael Show”
“While I knew [my work] could obviously prove profitable, it was really
important for me to view it as art. I try to hold onto that as much as
I can, even while navigating the business.”
—JERROD CARMICHAEL
gentrification, and most notably, Bill Cosby’s
tarnished legacy. After the premiere of the
Cosby episode, titled “Fallen Heroes,” Salon
went so far as to crown Carmichael “the most
important comedian in America.”
“People are much smarter [and] the audience
wants more than I think a lot of people behind
the camera give them credit for,” says cocreator and Carmichael’s “Neighbors” director
Nicholas Stoller of the series’ appeal. “People
want to hear the conversations they’re having
in their living rooms.”
That’s just where the bulk of “The
Carmichael Show” takes place: Carmichael’s
childhood living room. Largely inspired by
the dynamics of his own family growing up in
North Carolina, Carmichael plays Jerrod and
is joined by all of the genre’s necessary players: a schlubby, down-and-out brother (Lil Rel
Howery); a loud, opinionated father (David
Alan Grier); a jovial and equally opinionated
mother (Loretta Devine); and Carmichael’s
black sheep—and, as the series points out,
half-black—girlfriend, Maxine (Amber
Stevens West).
Politics of the religious right and bleeding
heart left come under one roof while certain
events offscreen (a Black Lives Matter protest,
for instance) stoke a conversation that is both
nuanced and hilarious. More surprisingly,
there’s no agenda at play. Audiences can trust
that, for better or worse, they will hear all
opinions on a matter between the cast’s varied
personalities. And while it doesn’t shy away
from bits of sobriety, “Carmichael” just as
quickly lightens the mood with a laugh-outloud (if not entirely politically correct) quip.
“The laugh that happens after the serious
moment [is] just huge because the audience is
so relieved,” Stoller says. Look no further than
Grier’s take on one character struggling to come
out as transgender: “Don’t worry, the woman
trapped inside of him will tell the man what to
do.” Cue the studio laughter.
“The main thing, I think, that was really
important to me and also to Jerrod as we
made the show, is that no one’s right and no
one’s wrong,” Stoller continues. “I think [that]
makes much more interesting conversation
and television.”
Carmichael says that much of the series’
content is his perspective as he’s debated
with himself and others on these topics. “It’s
a completed argument for me,” he summates.
“A lot of [Jerrod] is my perspective. Some
other characters are my perspective, even
the polar opposites. It’s an argument that
I’ve had with myself [that’s] harder to do in
standup, but with the show, I can fulfill the
argument immediately.”
BACKSTAGE.COM
VIVIAN ZINK /NBC
says comedian and actor Jerrod Carmichael
over lunch in lower Manhattan. That much
is clear even in his small talk. While walking
to Felice 15 Gold Street after a photo shoot,
he riffs on everything from Kanye West’s
“The Life of Pablo” to John Oliver. (While
he cites West as a musical revolutionary, he
thinks the “Last Week Tonight” host can do
better than #MakeDonaldDrumpfAgain.) Now
splitting a cheese plate and bruschetta, he
hones in on someone else’s thought-provoking
art: his own.
“I’m curious about how things affect the
world more than just personal exploration,”
Carmichael says, turning a grape over in his
hand. “When I hear of situations, my mind goes
to—in the healthiest sense of the word—the
‘broader’ sense of [how] this is affecting everybody around us.”
Such thought processes are apparent in his
socially conscious standup and sitcom. His
Spike Lee–directed HBO special premiered in
2014, and more recently, his eponymous NBC
series, “The Carmichael Show,” premiered its
second season on March 13 after a brief six episodes last August.
“My lawyers are the only reason I say ‘Season
2,’ ” he jokes of the new 13-episode arc. “It’s a
deeper version of the same thing.”
For fans of the series, that’s good news. At
the tail end of summer 2015, “The Carmichael
Show” beat the odds and nabbed an audience
over the course of three weeks and six episodes. Its deft blend of familial slapstick and
of-the-moment politics ensured Carmichael
was a voice worth listening to. He got viewers thinking. In standout episodes like
“Protest” and “Gender,” Carmichael brought
hot-button issues like the Black Lives Matter
movement and heightened visibility of the
transgender community to the least likely of
stages: the multicam sitcom, live audience
and all.
“I actually originally envisioned it as singlecam and they changed it,” Carmichael now
admits. “Then I realized that multi was more
of a challenge. The narrative of the realm of
multicameras is that it’s dying, it’s dead, there’s
no true art in it. And what’s more fun than that
challenge? [There is] also a connection with the
stage performance of it—being a standup comic
and knowing that at its best, multicam [gets]
that reaction. It elicits this response.”
Luckily, it wasn’t just the studio audience
that responded. “The Carmichael Show”
Season 1 pulled in NBC’s best ratings for
its late summer time slot in over a decade
and was promptly scooped up for another
round. The series also got a stamp of critical approval. Season 2 has already rolled out
buzzed-about half-hours on class and infidelity,
VIVIAN ZINK /NBC
KEEP STANDING UP
Even at the height of his success at NBC,
Carmichael continues to do standup
whenever he can. When he was in New York
City earlier this month, he made it a point
to do a quick set at the historic Comedy
Cellar. “Sometimes when I’m writing the
script [for ‘The Carmichael Show’], I’ll go
onstage and talk about what we’re talking
about in the episode to really explore how I
feel about it,” he says. Contrary to popular
belief, though, Carmichael says standup isn’t
all about the laughs. “I’m looking for feeling,
I’m looking for connection, I’m looking for
a reaction…. When I think comedian, I think
[of] the satire of Mark Twain as much as
the jokes of Chris Rock. Obviously, laughs
are an important thing and you want to be
funny and you want to give [audiences] that
experience, but you also want them to feel
some type of connection to what you’re
saying. I treat my audience like adults.”
BACKSTAGE.COM
Today, Carmichael credits his analytical
humor to his days living in the very home he’s
now depicting on prime time. While he’s always
rejected the notion of being “just a comedian,”
saying it seemed “kind of arrogant” to assume
he can make people laugh, that’s exactly what
he’s been doing since his days in middle school
making comedic topical shorts instead of writing essays. “I have teachers that, years later,
tell me they still show some of the videos. My
version of ‘The Old Man and the Sea’ is amazing,” he insists. But even before dreams of
becoming a comic, Carmichael recalls wanting
a series on NBC.
“This is going to sound like I made it up,
but my brother likes to remind me of it: When
I was 13 years old, I said, ‘I want a show on
Thursday night on NBC,’ ” he says with a sheepish grin. “I wanted a sitcom. That was all I
ever really wanted.”
So in 2008, he left to chase the dream and
moved to Los Angeles. As any working actor
will know, a career’s early years are often the
most trying, but Carmichael remembers them
with clarity and fondness. He didn’t take for
granted that L.A. is a mecca of creativity and
Hollywood history. He’d often spend afternoons at the Paley Center watching old TV
shows and evenings at open mics.
“Me and a lot of the closest friends I have
now even still just wanted to impress each
other. We wanted to try new things constantly.
We weren’t afraid to fail,” he says.
“Don’t think about it. You just do the work,
do the art. At some point in the process,
you should do it purely for the love of it,” he
advises. “A lot of people jump in and sort of
make it a business first, and while I knew [my
work] could obviously prove profitable, it was
really important for me to view it as art. I try
to hold onto that as much as I can, even while
navigating the business aspect.”
Surviving the industry’s business aspects,
however, can be just as daunting, and having an understanding of Hollywood’s effect
on art and vice versa is key to striking gold.
Carmichael says success also requires a thick
skin and an ability to compromise and collaborate without selling out.
“You have to be stronger than everyone’s collective caution and everyone’s collective fear,”
he says. “A show is still a business. There’s a lot
of money at stake… [but] audiences recognize
when a machine created something and when
something is personal and true and close.
When it comes to creation, playing ‘the game’
doesn’t apply. When you make something, it
needs to be as pure as it can be.”
Time and again, Carmichael proves a voice
worth listening to. Are you listening yet? •
03.24.16 backstage
15
Tú También
You could be part of one of the fastest-growing media companies for Latinos!
By Briana Rodriguez
16 backstage 03.24.16
Latino influencers and actors on the set of one Mitú’s premium productions
first and foremost targets Hispanic youth but
maintains a universal appeal, according to
Greiff. The formula has garnered attention
to the tune of $27 million in funding from
Verizon, advertising and public relationships
company WPP Digital, and AwesomenessTV,
which is owned in majority by DreamWorks
Animation. “Everyone in the content-buying
space is realizing that it’s their responsibility
to find a way to target Hispanics,” he says. But
the platform is looking to expand beyond big
business partnerships as well.
“Mitú works with about 7,000 Latino
influencers from YouTube to Facebook, Viners,
and Instagrammers, and we’re also developing
projects with people not in our immediate
network,” says Greiff. “What’s been cool to
see is that Latinos just want opportunity,
and we provide the most opportunities for
personalities and creative talent—whether
they’re actors or stars or writers or producers.”
Ending the lack of mobility for Latino
actors and storytellers in Hollywood is the
third prong to the Mitú mission. It comes at
an opportune time, when discussions about
diversity—whether it’s the outrage over the allwhite 2016 Oscar nominees list or Aziz Ansari’s
talk about auditioning as an Indian actor on
“Master of None”—are being had.
To keep the momentum of the conversation
going, Mitú is looking to 2016 and beyond
with the launch of its content website,
wearemitu.com, which, in addition to original
scripted content, includes lifestyle, health,
cooking, and interior decorating tips. Future
projects include a comedy series about two
Mexican brothers who decide to start their own
food truck business, a sketch comedy show
starring Houston-based rapper-actor-comedian
Chingo Bling, and a reality docudrama series
about culture mashups—think: tacos with
Korean ingredients and mixing traditional
Mexican Norteño music with punk rock.
“Latinos in cultural hubs are taking things
that are very precious to them and their culture
and morphing them and merging them into
other interests or passions,” says Grieff. “These
things are happening organically across our
country, and we think people should bring it
to light.” •
BACKSTAGE.COM
G I N E S VA L E R A M A R I N / S H U T T E R S T O C K . C O M ; TAY L O R : H A R M O N Y J OY P H O T O G R A P H Y
“We often describe what Mitú is by saying what we’re not:
This isn’t Cinco de Mayo or Hispanic Heritage Month.
We’re not the obvious.” —DOUG GREIFF, MITÚ CHIEF CREATIVE OFFICER
ANDRÉS JIMÉNEZ
MITÚ IS MAKING A BUSINESS OF BEING
unapologetically Latino. Backed by the voice of
a generation, the tech-media brand is bringing
both scripted and unscripted content to the
online sphere by targeting one of the country’s
largest and most influential demographics:
millennial Hispanics and Latinos.
“We often describe what Mitú is by saying
what we’re not: This isn’t Cinco de Mayo
or Hispanic Heritage Month. We’re not the
obvious,” says Chief Creative Officer Doug
Greiff. “There are no traditional shows about
quinceañeras or mariachis [on Mitú]; they’re
part of our culture, but [those stories] have
been told before in a straight way. We try to
put a spin on it and have a sense of humor
and attitude.”
Using a mix of user-generated social
media feedback through likes, shares, and
comments, and narrative savvy to determine
the most impactful models and topics, the
company creates comedic content that, in
part, both highlights and subverts common
demographic stereotypes. Take, for example,
the office-based skit “How to Piss Off Your
Latino Co-worker,” in which chips and salsa,
traditional Mexican dress, and Enrique
Iglesias’ song “Bailamos” demonstrate how to
successfully generalize your Latino colleague.
Mitú is also spearheading cultural
commentary with shows that discuss films
and music, such as “Pocho Joe & Silverstein”
and “Racial Ref,” in which fictional referees
determine whether certain words or actions are
indeed racist.
While geared toward entertainment, Mitú is
also making it a point to harness the political
power of millennial Latinos, who make up
25 percent of the demographic and account
for nearly half of eligible Latino voters in the
United States. Its PSA video “#weareAmerica:
Our Voice Matters” features prominent Latino
actors Nicholas González (“Jane The Virgin”),
Vannessa Vasquez (“East Los High”), Michael
Treviño (“Vampire Diaries”), Diego Boneta
(“Scream Queens”), Cristela Alonzo (“Cristela”),
and others, discussing American identity while
addressing racist comments about immigrants
and Latino Americans.
The company’s linchpin is its smart mix of
Spanish- and English-language content that
Meisner in the Eyes
L.A. acting coach Alex Taylor on how onstage training improves on-camera performance
G I N E S VA L E R A M A R I N / S H U T T E R S T O C K . C O M ; TAY L O R : H A R M O N Y J OY P H O T O G R A P H Y
ANDRÉS JIMÉNEZ
By Jack Smart
IF YOU’VE EVER WONDERED WHETHER YOU
should study onstage acting to improve oncamera technique, the short answer is simple:
Of course you should.
“Truth is truth,” says Alex Taylor, “on a
stage or in front of a camera.” As a coach with
decades of teaching experience, he knows
how to identify that truth; the Taylor School
of Acting, one of Los Angeles’ top training
destinations and his namesake, is the only
studio that works directly with the estate of
legendary teacher Sanford Meisner. (Taylor was
also named best L.A. acting coach in the 2015
Backstage Readers’ Choice Awards.)
“My belief is we fill the space we’re in with
truth,” he continues. “Of course on-camera
work is much more subtle, it’s much more in
the eyes, magnified; just as the camera can capture truth very simply, it can also show when
people are full of shit.” A performance rooted
in emotional honesty, he says, is about being
present, either in a room with a live audience or
a close-up lens.
“If you’re always listening, if you’re present,
then you’re also giving an editor or director
someone to cut to who is present, instead of a
clock or an ashtray or something,” he says.
Listening is one of Meisner’s most important
fundamentals. His influential technique, which
Taylor calls “a series of exercises to help the
actor be a complete actor,” has led to countless
impressive film careers, including such Oscar winners as Diane
Keaton and Kathy Bates. The
element that makes these actors’
performances so convincing,
Taylor says, is their ability to
react to a scene partner or external circumstances. “By learning
to really focus on someone else,
you’re going to be alive and you
won’t be thinking about you.
“The first big problem is that
human beings don’t listen—not
just actors, human beings,” says
Taylor. “If they’re not listening, they can’t do
anything truthful. Especially nowadays, it
feels like we’re in an ADD society where people
don’t have a whole lot of focus; cuts in projects
are quick, everyone’s in a hurry.... But it’s basic
neuroscience. I can’t focus on someone else and
[worry] about myself.”
One of the ways the Meisner technique
teaches that focus is through the renowned repetition exercise: Two actors react to each other
by speaking the same words again and again
until they lose meaning, facilitating organic
responses to a scene partner’s shifts in tone or
behavior. Taylor says practicing this exercise
can enhance on-camera abilities. “It helps actors let the walls
come down and really be affected
again, like a child.”
However, Taylor warns, repetition is just a first step, one of
many tools in the film actor’s
toolkit. The Taylor School of
Acting’s certification program
starts there and spans two years,
covering Meisner’s every cornerstone: the reality of doing,
emotional preparation and
A l ex Ta y l o r
imagination, establishing clear
relationships, and more.
And actors won’t know which technique
fits their sensibilities—whether it’s Meisner,
Strasberg, Adler, or any other—until they try it.
Chances are if you do find a method that helps
you thrive on a stage, it will help you thrive
in front of a camera. “Whatever works for the
actor is what works,” says Taylor. “That’s what
Meisner felt as well. It’s just truth, and however
you get to it, good for you. Eat the fish, spit out
the bones.” •
“If you’re always listening, if you’re present, then you’re also giving an editor or director someone to
cut to who is present, instead of a clock or an ashtray or something.” —ALEX TAYLOR, ACTING COACH
BACKSTAGE.COM
03.24.16 backstage
17
Self-Taped Simplicity
A play-by-play to perfecting actors’ makeup and wardrobe in self-taped auditions
“WHEN YOU HAVE STYLE, YOU HAVE CONFIdence. When you’ve got confidence, you’ve got
style,” says LaurieBStyle owner Laurie Brucker,
one of Los Angeles’ leading certified image consultants and personal stylists. Coincidentally,
for the auditioning actor, confidence is key!
“I believe that style can make or break an
audition,” Brucker says. “Of the actors I work
with, when they’re [auditioning], it’s really
about nailing that look before they even open
their mouths.”
Often the most successful audition look
boils down to chic simplicity. While it’s wise to
adjust your hair or makeup style to better fit a
project’s tone or character’s personality, your
performance should be what sets you apart,
rather than any loud fashion choices. That
means wearing a fuss-free, comfortable outfit
and playing with slight adjustments along
the way.
“Simple is always better, but it’s good to have
a little bit of theme and messaging in what
you’re doing,” Brucker says.
That may mean a spark of character by way
of jewelry for guys and girls—though Brucker
warns against dangly bracelets and earrings: “It’s going to be distracting.” Wearing
your hair a certain way can also bring out
a character’s personality.
“If you want to be fun, bubbly, and approachable, you might wear your hair down with a
little wave in it for a girl,” Brucker says. “If a
guy is going for a bad-boy look, he might want
18 backstage 03.24.16
to do just a classic T-shirt and jeans but do
some type of slicked-back hairstyle. For girls,
if they’re looking to do something a little bit
more edgy or have a serious tone, straight hair
would be great—or even a center part with
it pulled back.”
“I believe that style can make or break
an audition. Of the actors I work with,
when they’re [auditioning],
it’s really about nailing that look
before they even open their mouths.”
—LAURIE BRUCKER, OWNER OF LAURIEBSTYLE
It’s also important to remember what
looks good on camera when self-taping. “You
definitely want to avoid very strong patterns
and stripes,” Brucker advises. “Typically,
jewel tones—teal, eggplant, turquoise—are
a great color range to stay in, in terms of
showing color. White never looks good on
camera.” If you do wear white for a self-taped
audition, throw in something like a lightly patterned scarf for a pop of color to frame the face.
“The idea is that you want your face to glow,
to shine.”
No face is complete without the right
makeup! Just like one’s wardrobe, New York–
based makeup stylist Jill Harth of Jill Harth
Beauty says makeup is about looking the part.
“When an actor is auditioning for a specific
role, having the right makeup design and great
application technique can visually create the
look,” Harth says. “It will help an actor’s performance and help the director and casting people
see the actor in the part.”
While it’s wise to play makeup to varying
roles—a biker chick isn’t going to have the same
eyeliner as a girl-next-door type, for instance—
an actor’s safest bet is keeping a natural, clean,
and fresh look. Keeping it natural means
“blending the makeup so it leaves no harsh
lines,” employing a conservative amount of
makeup, and maintaining your skin’s overall
health. “Make sure you wash your face every
night with a gentle but effective cleanser before
you go to sleep,” Harth says. Auditioning on-tape brings up additional
beauty traps to avoid. “In a self-taped audition,
the major concern for any actor is to look shinefree,” Harth continues. “Make sure a blotting
powder is used to kill excess shine, which looks
dirty and distracting on video. If using a powdered foundation, the biggest concern should
be color-matching to the skin.”
To that end, the best bet for finding
your perfect personalized foundation and
concealer tone is speaking to a makeup professional. “The worst thing is to use a too-light
or too-dark color on the skin,” Harth says.
“You want to enhance, not detract from,
your appearance.” •
BACKSTAGE.COM
E V E R E T T C O L L EC T I O N / S H U T T E R S T O C K . C O M
By Benjamin Lindsay
PLAYS
MUSICALS
FILM
TV & VIDEO
COMMERCIAL
MODELING
VARIETY
VOICEOVER
GIGS
EVENTS
NEW YORK
TRISTATE
PLAYS
‘A Midsummer Night’s Dream’
•• Casting Shakespeare’s “A Midsummer
Night’s Dream,” a play. Casting Director
states: “It is imperative that we assemble an ethnically diverse cast. Actors of
all ethnicities are strongly encouraged
to attend the audition.”
•• Company: New York Classical Theatre.
Staff: Stephen Burdman, artistic dir.;
Sean Hagerty, dir.; Stephanie Klapper
Casting, casting.
•• Rehearses May 9-2 (with additional
selected put-in rehearsals after opening); runs May 31-July 17 at Central
Park, Prospect Park, Rockefeller Park,
and Carl Schurz Park, NYC.
•• Seeking—Theseus/Oberon: male,
30-49, all ethnicities. Hippolyta/
Titania: female, 27-39, all ethnicities.
Egeus/Quince/Fairy: male, 50-69, all
ethnicities. Lysander: male, 20-29, all
ethnicities. Demetrius: male, 20-29, all
ethnicities. Hermia: female, 20-29, all
ethnicities. Helena: female, 20-29, all
ethnicities. Bottom: male, 30-49, all
ethnicities. Snug/Fairy: male, 20-49, all
ethnicities. Snout/Fairy: male, 20-49,
all ethnicities. Flute/Fairy: male, 18-24,
all ethnicities. Puck: males & females,
20-39, all ethnicities.
•• Equity Principal Auditions will be held
March 28 from 9:30 a.m.-5:30 p.m.
(lunch 1-2 p.m.) at Actors’ Equity
Association, NYC Audition Center, 165
W. 46th St., 16th fl., NYC, 10036. EPA
rules are in effect. A monitor will be
provided.
•• Prepare a classical monologue (in
verse) not to exceed two minutes. Bring
pix & resume, stapled together.
•• Pays: $225/wk. Equity Transition
Contract.
‘Universal Robots’
•• Seeking Equity actors to play multiple
roles in addition to one or two primary
roles in “Universal Robots,” by Mac
Rogers.
BACKSTAGE.COM
MUSICALS
SUBMIT A NOTICE |
PLAYS
CASTING
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.
•• Company: Gideon Productions. Staff:
Jordana Williams, dir.
•• Rehearsals begin May 1; runs June 2-26
in Astoria, Queens, NY.
•• Seeking—Jo Capek: female, 25-49, all
ethnicities. Karel Capek: male, 25-49,
all ethnicities. Rossum: female, 40-69,
all ethnicities. Helena: female, 20-29,
all ethnicities. Peroutka: 20-49, all ethnicities. Salda/Baruch: 30-59, all ethnicities. Masaryk: 40-79, all ethnicities.
Vaclavek: 20-49, all ethnicities. One/
Sulla: female, 20-69, all ethnicities.
•• Equity Principal Auditions will be held
March 25 from 9:30 a.m.-5:30 p.m.
(lunch 1-2 p.m.) and March 31 from 9:30
a.m.-5:30 p.m. (lunch 1-2 p.m.) at
Actors’ Equity Association NYC
Audition Center, 165 W. 46th St., 16th
Fl., NYC, 10036. EPA Rules are in effect.
A monitor will be provided.
•• Actors will read from sides, provided
at the auditions. Bring pix & resumes,
stapled together. For more info, visit
www.gideonth.com.
•• Pays: $910.50 total compensation.
Equity Seasonal Showcase Code.
MUSICALS
‘Cherchez La Femme the
Musical’
•• Casting “Cherchez La Femme,” a new
musical written by August Darnell and
Vivien Goldman featuring the music of
Grammy-nominated songwriters Stony
Browder Jr. and August Darnell.
Synopsis: Set in Manhattan and Haiti,
the play explores heavy themes and
lightweight dreams. It’s reckless, it’s
rhythmic, it’s romantic.
•• Company: Browder & Darnell
Productions, LTD. Staff: August
Darnell, composer; Eva Tudor-Jones,
prod.
•• Rehearses Apr. 11-May 11 at 47 Great
Jones St, NYC; runs May 19-June 12 at
Ellen Stewart Theatre, 66 E. 4th St.,
NYC.
•• Seeking—Actor: male, 27-39, African
American, Hispanic, Ethnically
Ambiguous / Mixed Race, lead guy; an
arrogant, good-looking womanizer
with a heart of gold; sings and dances
for a living; he loves clothes; a true New
Yorker. Actor: male, 29-41, African
American, Hispanic, Ethnically
Ambiguous / Mixed Race, co-star who
wants to be the star; a foul-mouthed
misogynist with a love of weed; a bit
CASTING PICKS
OF THE WEEK
BY M I C H A E L C O U G H L I N
musicals
‘Frozen’
Telsey + Company is casting a
developmental lab of the megahit animated Disney feature;
audition advice?...let it go
tv
‘Dirty Dancing’
ABC is casting a resort band
to “finger sync” for the TV
movie version of the late
80s danceical love story
musicals
‘My Fair Lady’
It would be loverly to be cast in
the Bay Street Theatre production
running this summer in Sag Harbor
festivals & events
Hollywood Fringe Festival 2016
Seeking companies, producers,
and artists to gather for the vital
& communal theatrical event
musicals
‘A Chorus Line’
Anaheim’s Chance Theater wants
you to be one singular sensation to
hope you get it so that you won’t
regret what you did for love
overweight; has a heart of gold but
doesn’t like to admit it. Actress: female,
28-38, Caucasian, African American,
Hispanic, Asian, Ethnically Ambiguous
/ Mixed Race, the femme fatale who is
fed up with her lying, cheating boyfriend; returns to Haiti to get away from
this guy; very attractive; feisty; sings
but only in the shower; too sexy for her
own good; speaks Creole. Actress:
female, 16-20, Caucasian, African
American, Hispanic, Ethnically
Ambiguous / Mixed Race, a teenager
obsessed with finding her absentee
father; innocent but deadly; determined; strong-willed to a fault; enigmatic. Actor: male, 32-51, Caucasian,
Hispanic, the jealous doorman at an
exclusive apartment building in
Manhattan; always complaining; full of
hidden agendas; conniving, but
extremely funny. Actress: female,
28-38, Hispanic, the pretty personal
assistant of a pop star; dedicated but
feisty; opinionated; hot hot hot
blooded; a Latin from Manhattan.
Actress: female, 28-37, Caucasian, three
singers who constitute the back-up trio
for a pop star; they dance and sing for a
living; one is very conceited; one is very
naive; one is a fashionista; all are
pretty; all are blonde; all are trouble.
Actress: female, 32-45, Caucasian, the
Scandinavian mother of a troubled
teenager; speaks Norwegian; loves
yoga; a modern day hippie. Dancers:
males & females, 21-38, all ethnicities,
must be able to dance well.
•• Auditions will be held by appt. March
24 from 2-5 p.m. (actors), March 25 from
4-7 p.m. (actors), March 28 from 4-8 p.m.
(actors & singers), March 29 from 4-8
p.m. (actors & singers), March 30 from
4-8 p.m. (dancers) and March 31 from
4-8 p.m. (dancers) at La Mama Rehearsal
Space, 47 Great Jones St., NYC, 10003.
•• Apply on Backstage.com.
•• Note your availability in your cover
letter and include a headshot with your
submission. If you have singing skills,
submit a demo link or download info.
•• Compensation TBD.
Depot Theatre, 2016 Season
•• Seeking Equity actors and actor/singers for various roles in Depot Theatre’s
upcoming 2016 season. Season
includes: “Shout! The Mod Musical”
(Phillip George and David Lowenstein,
co-creators. Rehearsals begin June 20;
runs July 1-17); “Outside Mullingar”
(John Patrick Shanley, writer; Kevin
Cochran, dir. Rehearsals begin July 11;
runs July 22-Aug. 7); and “Murder for
Two” (Joe Kinosian, book-music; Kellen
Blair, book-lyrics. Rehearsals begin
Aug. 1; runs Aug. 12-28).
•• Company: Depot Theatre. Staff: Diana
McGuigan, casting coord.; Erin
Harrington, business mgr.
•• Season rehearses and runs in
Westport, NY.
•• Seeking—Equity Actors: 18+, all ethnicities. Equity Actor/Singers: 18+, all
ethnicities.
03.24.16 backstage
19
casting NEW YORK TRISTATE
PLAYS
MUSICALS
•• Equity Principal Auditions will be held
March 26 from 9:30 a.m.-4:30 p.m. (by
appointment; auditions are in five-minute time slots) at Janet Kinghorn
Bernhard Theatre (JKB), Skidmore
College, 815 N. Broadway, Rehearsal
Studio, Saratoga Springs, NY, 12866. A
monitor will not be provided. The producer will run all aspects of this
audition.
•• For an audition appointment, Equity
members email Erin Harrington at eh@
depottheatre.org or call (518) 962-8680.
Equity members without appointments
seen as time permits. Prepare either
two musically-appropriate songs (32
bars or less) or a monologue and a song
(32 bars or less). Bring sheet music;
accompanist provided. Bring pix &
resumes, stapled together.
•• Contract tier approval pending. Equity
SPT Contract.
‘Frozen’
•• Seeking Equity actors for the roles of
Elsa and Anna for a developmental lab
of “Frozen.” From the producers of
“The Lion King,” “Mary Poppins,” and
“Aladdin” comes the beloved tale of
two sisters torn apart and their journey
to find themselves and their way back
to each other.
•• Company: Disney Theatrical
Productions. Staff: Alex Timbers, dir.;
Kristen Anderson-Lopez & Robert
Lopez, music & lyrics; Jennifer Lee,
book; Peter Darling, choreo.; Telsey +
Company, casting.
•• Rehearses Apr. 30-May 13 in NYC.
•• Seeking—Elsa: female, 20-33, all ethnicities. Anna: female, 18-29, all
ethnicities.
•• Equity Principal Auditions will be held
March 31 from 10 a.m.-6 p.m. (lunch,
1:30-2:30 p.m.) at Ripley-Grier 520, 520
8th Ave., 16th fl., NYC, 10018. EPA Rules
are in effect. A monitor will be
provided.
•• Prepare a short, contemporary musical
theater song. Bring sheet music; accompanist provided. Bring pix and resume,
stapled together.
•• Note: There will be future opportunities to audition for “Frozen” during the
casting process for the Denver/
Broadway production that has been
announced. That process will commence in the summer of 2016.
•• Pays: $1,000/wk. Equity
Developmental Lab Agreement.
‘Man Of La Mancha’
•• Casting Equity actor/singers for “Man
Of La Mancha.”
•• Company: Ivoryton Playhouse. Staff:
David Edwards, dir.; Todd Underwood,
choreo.; Jacqueline Hubbard, exec.
artistic dir.
•• Rehearsals begin Aug. 23; runs Sept.
7-Oct. 2 in Ivoryton, CT.
•• Seeking—Cervantes/Don Quixote:
male, 18+, all ethnicities. Manservant/
Sancho: male, 30-59, all ethnicities.
The Governor/Innkeeper: male, 40-69,
all ethnicities. The Duke/Dr. Carrasco:
male, 30-59, all ethnicities. The Padre:
male, 30-9, all ethnicities. Ensemble:
male, 20-49, all ethnicities. Aldonza:
female, 25-45, all ethnicities.
Housekeeper/Innkeeper’s Wife:
female, 30-59, all ethnicities. Antonia/
20 backstage 03.24.16
AUDITION
HIGHLIGHT S
N E W YO R K T R IS TAT E
Fri. Mar. 25
‘Life Of The Party’
‘Universal Robots’
‘Joseph...,’ Nat’l Tour, Dancers
‘The King & I,’ Tour (also 3/28-29)
Dallas Theater Center Season
Sat. Mar. 26
‘Me & My Moms’
‘Shoot the One’
Mon. Mar. 28
‘A Midsummer Night’s Dream’
‘Thoroughly Modern Millie’
‘Charlie And The Chocolate Factory’
Connecticut Repertory Theatre
‘Sousatzka’
‘Finding Neverland’ (also 3/29-30)
‘Cheers’ (also 3/29 & 3/30)
Disney Cruise Line, Dancers
‘Jelly’s Last Jam,’ Singers & Dancers
‘The Last Five Years’ (also 3/30)
Tues. Mar. 29
‘On Your Feet,’ B’way
‘An American in Paris,’ Dancers
Weds. Mar. 30
‘You’re a Good Man, Charlie Brown’
Theatre Horizon, 2016-17 Season
‘My Fair Lady,’ Dancers
For the full auditions calendar,
visit backstage.com/auditions
Moorish Dancer: 20-39, all ethnicities.
•• Equity Principal Auditions will be held
April 2 from 11 a.m.-7 p.m. (lunch, 2-3
p.m.) at Ivoryton Playhouse Rehearsal
Studio, 22 Main St., Studio B,
Centerbrook, CT. A monitor will not be
provided. The producer will run all
aspects of this audition.
•• Prepare a song from or in the style of
the show. Bring sheet music; accompanist provided. Bring picture and
resume. Actors who cannot travel to
Ivoryton for auditions, send submissions to casting@ivorytonplayhouse.
org. New York auditions will be scheduled from submissions. For an audition
appointment, Equity members may call
(860) 767-9520 ext. 207. AEA members
without appointments will be seen as
time permits. All roles require strong
actor/singers.
•• Pays $500/wk. Equity SPT Agreement.
‘Pippin,’ 2017 Nat’l/
International Tours
•• Casting Prather Touring’s 2017
national/international tour of “Pippin.”
•• Company: Prather Touring. Staff:
Brian Enzman, casting dir.-artistic
prod.; Lauren Sobon, artistic prod.;
William Prather, exec. prod.
•• Rehearsals start Dec. 1, 2016; national
tour begins Jan. 16-May 28; China international tour runs June- Aug. 2017;
national USA tour continues Aug.
18-Dec. 17, 2017.
•• Seeking—Leading, Supporting, and
Ensemble Roles: males & females,
18-70, all ethnicities.
•• Auditions will be held April 11 from
10 a.m.-6 p.m. (vocal auditions), April
12 from 10 a.m.-6 p.m. (vocal auditions), April 13 from 10 a.m.-4 p.m.
(dance auditions; must attend the
vocal calls in order to be called back
to dance; women 10 a.m.-1 p.m.; men
2-4 p.m.) and April 14 from 10 a.m.-6
p.m. (role callbacks for Pippin) (by
appt.) at Pearl Studios, 500 8th Ave.,
NYC, 10018.
•• Open call auditions. No appointments.
Bring two stapled headshots and
resumes. Prepare 16 bars in the musical
style of the two tours. You may sing
from the shows. Only submit online if
unable to make the auditions. Note:
The “Bridges of Madison County” tour
auditions have been canceled for
Prather Touring. Prather will only be
auditioning for the “Pippin” national/
international tour, and dates have been
updated.
•• “Pippin” tour contracts include housing, per diem, round-trip transportation, and professional weekly salary.
“Pippin” in-house contracts at the
Dutch Apple (PA) and Broadway Palm
(FL) include housing, meals on performance days, round-trip transportation,
health club membership, direct
deposit, and professional weekly
salary.
‘The Wizard of Oz’
•• Casting “The Wizard of Oz.”
•• Company: LaComedia Dinner Theatre.
Staff: Joe Adkins, prod.; Chris Beiser,
dir.-choreo.
•• Rehearsals begin June 17; runs July
7-Aug. 28 in Springboro, OH.
•• Seeking—All Roles Open: males &
females, 18+, all ethnicities.
•• Auditions will be held April 7 from 10
a.m.-3 p.m. and April 8 (callbacks) (by
appt.) at Nola Studios, 250 W. 54th St.,
NYC.
•• Bring pix & resumes, stapled together.
Sing 16 bars from a standard Broadway
musical. Be prepared to possibly dance
in the afternoon. With questions, call
Joe at (937) 746-4537. For more info,
visit www.lacomedia.com.
•• Pays: $2,750 total for the entire run,
including rehearsals ($300/wk. average). Housing, transportation, meal
each performance, health club membership, and workman’s comp
provided.
‘West Side Story’
•• Seeking Equity actor/singers and
dancers for “West Side Story.”
•• Company: Summer Theatre of New
Canaan. Staff: Arthur Laurents, book;
Leonard Bernstein, music; Stephen
Sondheim, lyrics; Melody Meitrott
Libonati, dir.; David Hancock Turner,
musical dir.; Doug Shankman, choreo.
•• Rehearsals begin June 14, 2016
(rehearsal times approximate and subject to change) in New Canaan, CT; runs
July 6-31 (four performances per week)
in New Canaan, CT.
•• Seeking—Tony: male, 25-30, all ethnicities. Maria: female, 18-21, all ethnicities. Riff: male, 25-30, all ethnicities.
Bernardo: male, 25-30, all ethnicities.
Anita: female, 25-30, all ethnicities.
Chino: male, 20-25, all ethnicities.
Anybodys: female, 15-25, all ethnicities.
Doc: male, 60-75, all ethnicities. Lt.
Schrank/Gladhand: male, 40-55, all
ethnicities. Krupke: male, 40-60, all
ethnicities. Jets: 18-30, all ethnicities.
Sharks: 18-30, all ethnicities. Jet Girls:
female, 18-30, all ethnicities. Shark
Girls: female, 18-30, all ethnicities.
•• Auditions will be held by appt. April 11
from 10 a.m.-12 p.m. (non-singing roles)
and from 12-6 p.m. (singers), April 12
from 10 a.m.-1 p.m. (female singers/
male dancers), from 1-3:30 p.m. (male
singers/female dancers) and from 4-6
p.m. (male/female singers/non-singing
roles), April 13 from 10 a.m.-1 p.m. (male
singers/female dancers) and from 2-6
p.m. (female singers/male dancers),
April 14 from 10 a.m.-12 p.m. (female
singers/male dancers) and from 3-6
p.m. (female/male singers/non-singing
roles) and April 15 (callbacks) in NYC.
•• For consideration, email picture and
resume to [email protected]. Prepare
two contrasting 16-bar selections from
or in the style of the show. Bring sheet
music in the correct key; accompanist
provided. All Jets/Sharks (who dance)
come prepared to dance and may be
asked to wait or return to sing and read
sides. Bring pix & resumes, stapled
together. Note: Housing not available
(except during tech as needed). Actors
must reside within 50 miles of theater;
transportation stipends provided. For
more info, visit stonc.org.
•• Pending; last year’s salary: $360.
Equity LOA ref. to LORT Contract.
‘West Side Story,’ CT
•• Seeking Equity actor/singers and
dancers for “West Side Story.”
•• Company: Summer Theatre of New
Canaan. Staff: Arthur Laurents, book;
Leonard Bernstein, music; Stephen
Sondheim, lyrics; Melody Meitrott
Libonati, dir.; David Hancock Turner,
musical dir.; Doug Shankman, choreo.
•• Rehearsals begin June 14, 2016
(rehearsal times approximate and subject to change) in New Canaan, CT; runs
July 6-31 (four performances per week)
in New Canaan, CT.
•• Seeking—Tony: male, 25-30, all ethnicities. Maria: female, 18-21, all ethnicities. Riff: male, 25-30, all ethnicities.
Bernardo: male, 25-30, all ethnicities.
Anita: female, 25-30, all ethnicities.
Chino: male, 20-25, all ethnicities.
Anybodys: female, 15-25, all ethnicities.
Doc: male, 60-75, all ethnicities. Lt.
Schrank/Gladhand: male, 40-55, all
ethnicities. Krupke: male, 40-60, all
ethnicities. Jets: 18-30, all ethnicities.
Sharks: 18-30, all ethnicities. Jet Girls:
female, 18-30, all ethnicities. Shark
Girls: female, 18-30, all ethnicities.
•• Equity Principal Auditions will be held
April 9 from 10 a.m.-6 p.m. and April 10
from 11 a.m.-5 p.m. at Summer Theatre
BACKSTAGE.COM
NEW YORK TRISTATE casting
CHORUS CALLS
‘Charlie And The Chocolate
Factory’
•• Casting Equity singers for the
ensemble of “Charlie And The
Chocolate Factory.”
•• Company: Warner Bros. Theatrical
Ventures, Neal Street Productions,
Kevin McCormick. Staff: Jack
O’Brien, dir.; Marc Shaiman, music
and lyrics; Scott Wittman, lyrics;
David Greig, book; Joshua
Bergasse, choreo.; Rachel Hoffman/
Telsey + Company, casting; Mark
Shacket and Aaron Lustbader, general mngrs. Foresight Theatrical.
•• Lab dates run June 6-18; Broadway
rehearsals begin December; run
begins February 2017.
•• Seeking—Male Ensemble: male,
20-59, all ethnicities. Female
Ensemble: female, 20-59, all
ethnicities.
•• Equity Chorus Calls will be held
March 28 at 10 a.m. (male singers
who dance) and at 2 p.m. (female
singers who dance) at Ripley-Grier
520, 520 8th Ave., NYC, 10018.
•• Prepare 16-bars of a contemporary
musical theatre song that shows
personality. Bring sheet music;
accompanist provided. Bring picture and resume. Note: This production will begin as a
Developmental Lab (June 6-18) and
then transfer to a Broadway production in late 2016/early 2017.
Actors will be considered for both.
•• Pays $1000/wk. (Developmental
Lab) and $1917/wk. (Broadway
Production.) Equity Production
(League) and Developmental Lab
Agreements.
‘Jelly’s Last Jam,’ Singers &
Dancers
•• Seeking Equity male singers and
male dancers for the ensemble in
“Jelly’s Last Jam.”
BACKSTAGE.COM
•• Company: Signature Theatre.
Staff: George C. Wolfe, book; Susan
Birkenhead, lyrics; Jelly Roll
Morton, music; Luther Henderson,
additional music-musical adaptation; Matthew Gardiner, dir.; Jared
Grimes, choreo.; Matthew
Gardiner, assoc. artistic dir.; Walter
Ware III, resident casting dir.
•• Rehearsals begin July 5, 2016; runs
Aug. 2-Sept. 11 on the MAX Stage,
Arlington, VA.
•• Seeking—Equity Male Singers &
Male Dancers: male, 18+, all
ethnicities.
•• Equity Chorus Calls will be held
March 28 at 11 a.m. (male dancers)
and at 2 p.m. (male singers) at
Ripley-Grier 520, 520 8th Ave., NYC,
10018. Chorus rules are in effect. A
monitor will be provided.
•• Dancers: Bring tap and jazz/character shoes. Must have strong technique and be proficient in tap &
jazz. Singers: Prepare 16 bars in the
style of the show. Bring sheet
music. Accompanist provided.
Bring one copy of your headshot
and resume.
•• Pays: $799/wk. Equity LORT C
Non-Rep Contract.
NOW
NOWINTERVIEWING
INTERVIEWING
6-WEEK
SUMMER
INTENSIVE
FOR 6-WEEK
SUMMER
INTENSIVE
MUSICALS
of New Canaan, 70 Pine St., New
Canaan, CT, 06840. This is an EPA/
ECC. A monitor will not be provided. The producer will run all
aspects of this audition.
•• For an audition appointment,
Equity members email casting@
stonc.org or for info only, call (203)
966-4634 (11 a.m.-3 p.m.). Prepare
two contrasting 16-bar selections
from or in the style of the show.
Bring sheet music in correct key;
accompanist provided. May be
asked to wait or return to demonstrate dancing skills, read sides; be
prepared to move as part of your
audition. Bring pix & resumes, stapled together. Offices/studios
located one block from train station. Note: Housing not available
(except during tech as needed).
Actors must reside within 50 miles
of theater; transportation stipends
provided. For more information,
visit stonc.org.
•• Pending; last year’s salary: $360.
Equity LOA ref. to LORT Contract.
CALL
NOW
| 212.904.1350
CALL
NOW
| 212.904.1350
WWW.ESPERSTUDIO.COM
WWW.ESPERSTUDIO.COM
“THE 25 BEST DRAMA SCHOOLS IN THE WORLD”
- THE HOLLYWOOD REPORTER SURVEY
RANKED IN 2013 | 2014 | 2015
‘Kinky Boot,’ B’way, Singers
•• Casting singers for possible future
replacements in “Kinky Boots”
with book by Harvey Fierstein, and
music & lyrics by Cyndi Lauper.
•• Company: Daryl Roth and Hal
Luftig. Staff: Jerry Mitchell, dir.choreo.; Stephen Oremus, musical
supervisor; Brian Usifer, music dir.;
Aaron Lustbader (Foresight
Theatrical), general mgr.; Justin
Huff (Telsey + Company), casting.
•• Currently running on Broadway.
•• Seeking—Angels: male, 20-39, all
ethnicities. Pat: female, 40-49, all
ethnicities. Trish: female, 40-49,
all ethnicities. Mister Price: male,
50-59, Caucasian. Simon Jr.: male,
50-59, African American. Harry:
male, 20-39, all ethnicities. Richard
Bailey: male, 40-49, all ethnicities.
Male Ensemble/Swings: male,
20-49, all ethnicities. Female
Ensemble/Swings: female, 20-49,
all ethnicities.
•• Equity Chorus Calls will be held
April 6 at 10:30 a.m. (female singers) and at 12:30 p.m. (male singers)
at Telsey + Company, 311 West 43rd
St., 10th fl., NYC, 10036. Chorus
rules are in effect. A monitor will
be provided.
•• Prepare a brief pop or rock song
(up-tempo or ballad). Do not sing
something from a musical. A piano
accompanist will be provided.
Bring a picture and resume, stapled
together.
•• Pays $1917/wk. Equity Production
(League) Contract.
WILLIAM
ESPER
WILLIAM
ESPER
STUDIO
WILLIAM STUDIO
ESPER
THE WORLD’S FOREMOST ACTING STUDIO
DEDICATED TO MEISNER - BASED TRAINING
THE WORLD’S FOREMOST ACTING STUDIO
DEDICATED TO MEISNER - BASED TRAINING
THE WORLD’S FOREMOST ACTING STUDIO
DEDICATED TO MEISNER - BASED TRAINING
FORMER STUDENTS INCLUDE
AMY SCHUMER - SAM ROCKWELL - REGINA HALL - LARRY DAVID
ARIJA BAREIKIS - KATHY BATES - CHRISTINE LAHTI - DAVID MORSE
‘Kinky Boots,’ B’way,
Dancers
AARON ECKHART - TIMOTHY OLYPHANT - GRETCHEN MOL
•• Casting dancers for Angels and
Ensemble/Swings for possible
future replacements in “Kinky
Boots” with book by Harvey
Fierstein, and music & lyrics by
Cyndi Lauper.
03.24.16 backstage
STUDIO
MARY MCCORMACK - PETER GALLAGHER - RICHARD SCHIFF
JENNIFER BEALS - PATRICIA WETTIG - PAUL SORVINO - DULÉ HILL
ROBERT KNEPPER - MATTHEW SETTLE - JEFF GOLDBLUM
HARROLD PERRINEAU, JR. - PATRICIA HEATON - AND MANY MORE
21
casting NEW YORK TRISTATE
MUSICALS
•• Company: Daryl Roth and Hal Luftig.
Staff: Jerry Mitchell, dir.-choreo.;
Stephen Oremus, musical supervisor;
Brian Usifer, music dir.; Aaron
Lustbader (Foresight Theatrical), general mgr.; Justin Huff (Telsey +
Company), casting.
•• Currently running on Broadway.
•• Seeking—Angels: male, 20-39, all ethnicities. Male Ensemble/Swings: male,
20-49, all ethnicities. Female
Ensemble/Swings: female, 20-49, all
ethnicities.
•• Equity Chorus Calls will be held April
11 at 10 a.m. (female dancers) and at 12
p.m. (male dancers) at Pearl Studios
NYC “500”, 500 Eighth Ave., 12th fl.,
NYC, 10018. Chorus rules are in effect.
A monitor will be provided.
•• Come ready to dance with comfortable
clothing and kneepads. Bring flats and
heels. Bring a headshot and resume,
stapled together.
•• Pays $1917/wk. Equity Production
(League) Contract.
‘Man Of La Mancha’, Dancers
•• Casting male Equity dancers for “Man
Of La Mancha.”
•• Company: Ivoryton Playhouse. Staff:
David Edwards, dir.; Todd Underwood,
choreo.; Jacqueline Hubbard, exec.
artistic dir.
•• Rehearsals begin Aug. 23; runs Sept.
7-Oct. 2 in Ivoryton, CT.
•• Seeking—Equity Actors/Singers/
Dancers: male, 20-49, all ethnicities.
•• Equity Chorus Calls will be held April 4
from 10 a.m.-12 p.m. (Open Dance Call)
at Pearl Studios NYC “500”, 500 Eighth
Avenue, NYC, 10018. A monitor will not
be provided. The producer will run all
aspects of this audition.
•• Be warmed and ready to dance with
appropriate shoes and clothing. Bring a
picture and resume, stapled together.
•• Pays $500/wk. Equity SPT Agreement.
‘My Fair Lady’
VARIETY
GIGS
•• Seeking ensemble men (four) and
ensemble women (six) for “My Fair
Lady.”
•• Company: Bay Street Theatre. Staff:
Scott Schwartz, artistic dir.; Michael
Arden, dir.; Chase Brock, choreo.; Alan
Jay Lerner, book-lyrics; Frederick
Loewe, music; Benton Whitley, of
Stewart/Whitley, casting dir.
•• Runs July 5-Aug. 28, 2016, in Sag
Harbor, NY.
•• Seeking—Ensemble Dancers: 20-59, all
ethnicities, actors with great physicality and movement as well as singing
voices. All ethnicities and abilities
encouraged. Ensemble Singers: 20-59,
all ethnicities, actors with great physicality and movement as well as singing
voices. All ethnicities and abilities
encouraged.
•• Equity Chorus Calls will be held March
30 at 10 a.m. (Equity male dancers) and
at 2 p.m. (Equity female dancers) and
April 1 at 9:30 a.m. (male singers) and at
2 p.m. (female singers) at Ripley-Grier
520, 520 8th Ave., 16th Fl., NYC, 10018.
Chorus rules are in effect. A monitor
will be provided.
•• Daners: Be warmed up and ready to
dance. Some may be asked to stay and
sing after all have danced. Prepare 16
bars of a standard musical theater song.
22 backstage 03.24.16
Bring sheet music; an accompanist will
be provided. Women should bring
heels. Singers: Prepare a brief selection
of a standard, musical theater song.
Bring sheet music; an accompanist will
be provided. Bring pix & resumes, stapled together.
•• Pays: $799/wk. Equity LORT Non-Rep
Cat. C Contract.
‘The King And I’
•• Casting children for “The King And I”
SETA tour.
•• Company: Ambassador Theatre Group.
Staff: Bartlett Sher, dir.; Richard
Rodgers, music; Oscar Hammerstein II,
book/lyrics;Ted Sperling, musical dir.;
Christopher Gattelli, choreo.; Abbie
Brady –Dalton & Cesar A. Rocha, Telsey
+ Company casting.
•• Rehearsals begin Sept. 26; tour run
begins Nov. 1.
•• Seeking—Child Female Ensemble:
female, 5-11, all ethnicities. Child Male
Ensemble: male, 5-13, all ethnicities.
Prince Chulalongkorn: male, 14-16, all
ethnicities.
•• Auditions will be held April 1 from 2-5
p.m. (sign-up begins at 1:30 p.m.; do not
arrive before 1:30 p.m.) at Telsey +
Company, 311 West 43rd St., 10th fl.,
NYC, 10036. A monitor will not be provided. The producer will run all aspects
of this audition.
•• Prepare 16 bars of a classical musical
theater song showing range. Bring
sheet music for your song; a piano
accompanist will be provided. Bring a
photo and resume stapled together.
•• Pays $944/wk. Equity Short
Engagement Touring Agreement
Category 1.
DANCERS &
CHOREOGRAPHERS
Chezzam Event Group
•• Seeking event performers for
Chezzam, an event company. Casting
director states: “Chezzam is a full-out
event company. We are the originators
in the event world. All of the other companies you’ve worked for got their ideas
from us. For the past four decades
we’ve brought the best in live entertainment to corporate parties, weddings, bar and bat mitzvahs, and
special concerts. Our company provides our clients with personalized,
themed events that are over the top.
For many of our performers, this is a
breeding ground for some of the best
talent on Broadway, film, and TV. Our
dancers have been on stage with
‘Spider-Man,’ ‘Motown,’ ‘42nd Street,’
‘Saturday Night Fever,’ ‘On the Floor,’
and ‘Hamilton,’ to name a few, not to
mention dancing with the likes of
Ariana, Kanye, and many more. We are
searching for multi-talented performers ranging from Broadway dancers to
hip-hop street performers to lounge
singers, emcees, and circus acts.”
•• Company: Chez-zam Event Group.
Staff: Cheyenne Gross, casting dir.
•• Events are ongoing throughout the
season.
•• Seeking—Event Performer: 18+, all
ethnicities.
•• Auditions will be held April 14 from 10
a.m.-2 p.m. (dancers will be seen in
groups; singers/specialty acts/emcees
will be interviewed upon arrival) and
April 23 from 11 a.m.-3 p.m. (dancers
will be seen in groups; singers/specialty
acts/emcees will be interviewed upon
arrival) at Nola Studios, 250 W. 54th St.,
10th fl., NYC, 10019. Check-in at Studio
2; audition at Studio 1.
•• Dancers should come prepared to
learn a brief theatrical hip-hop/jazz
combo. Singers/specialty acts/emcees
will be seen upon arrival. If you have
questions or can’t attend the call send
pictures and resume to [email protected]. However, it is preferable if casting personnel can see you in
person.
•• Pay per job and rehearsal pay per job
provided. Travel provided. If you have a
car and are willing to drive more than
two performers, extra pay is allotted;
gas and tolls will be reimbursed.
Fair & Festival Magic Show
•• Seeking a magician’s assistant ingenue
for a self-contained, traveling magic &
illusion show appearing at fairs and festivals. This is a fast-moving, thirtyminute, family show aimed at a family
audience. The show features live
domestic animals, audience participation segments, and the presentation of
large TV-style illusions.
•• Company: Wizard’s Festival of Fun
Inc. Staff: Al Belmont, exec. prod.
•• Rehearses on dates TBD in South
Jersey, near Philadelphia, PA.
•• Seeking—Magician’s Assistant
Ingenue: female, 18-25, all ethnicities,
the role calls for a young woman in the
role of a niece performing in a family
act; applicants should be between 5’
and 5’6” tall, have a wholesome, girlnext-door appearance, some stage
experience, and training in dance, gymnastics, and/or cheer squad. Experience
performing magic is helpful but not
mandatory. Some travel required.
•• Seeking submissions from NJ.
•• Send submissions to [email protected].
•• Include photos & resume.
•• Pays per performing day.
‘Mickey’s Royal Friendship
Faire,’ NYC
•• Seeking male and female dancers for
“Mickey’s Royal Friendship Faire.”
•• Company: Walt Disney Entertainment.
Staff: Darla Hayward, casting dir.
•• Runs at Walt Disney Entertainment in
Lake Buena Vista, FL.
•• Seeking—Dancers: male, 18+, all
ethnicities.
•• Auditions will be held April 4 at 10 a.m.
(sign-in, 9-10 a.m.) at Pearl Studios NYC
“500”, 500 Eighth Ave., 4th fl., NYC,
10018. A monitor will not be provided.
The producer will run all aspects of this
audition.
•• Provide headshot/resume. All dancers
will be taught a ballet routine. Selected
dancers will move on to an advanced
jazz routine. Dancers should be
warmed up and ready to begin at the
time listed. Wear form fitting attire to
show your silhouette. Wear appropriate
ballet/jazz shoes. Note: Late arrivals
will not be accepted. Applicants must
be 18+ and authorized to work in the
US. For more info, visit www.disneyauditions.com.
•• Pays $16.53/hr. Walt Disney World
Agreement. EOE.
New York Jets Flight Crew
Cheerleaders
•• Seeking attractive, physically fit, outgoing, and talented dancers to entertain 80,000 fans at the Met Life
Stadium as New York Jets Flight Crew
Cheerleaders.
•• Company: New York Jets. Staff: Denise
Garvey, dir.
•• Works the 2016 NFL season.
•• Seeking—Cheerleaders: female, 18-40,
all ethnicities, attractive, physically fit,
outgoing, and talented dancers.
•• Seeking submissions from NY and NJ.
•• Apply on Backstage.com.
•• The 2016 audition application can be
found at newyorkjets.com along with
prep class info and registration forms.
Application fee applies. The deadline
to preregister is Mar. 28. Auditions
begin Apr. 2.
•• Candidates must be 18+, have a reliable
form of transportation, and be willing
to attend all rehearsals, games, and
promotional appearances. Travel and
TV opportunities available.
THEME PARKS
‘The Fabulous 50’s!’ & Untitled
Children’s Show
•• Seeking six performers (three males
and three females) for “The Fabulous
50’s!” and an untitled children’s show.
•• Company: JRW Productions. Staff:
James Wilkinson, pres.-exec. prod.
•• Rehearsals begin end of May; runs
June 18-Sept. 5, 2016 at Six Flags The
Great Escape in Queensbury, NY.
•• Seeking—Singers Who Dance &
Dancers Who Sing: males & females,
18-35, all ethnicities, with good harmonization; outgoing with a love of being
onstage who have a professional attitude, and a strong work ethic; three
males and three females.
•• Auditions will be held April 10 from
12-3 p.m. at Six Flags The Great Escape
Indoor Waterpark, 1172 Route 9,
Queensbury, NY, 12804.
•• Send submissions to
[email protected].
•• Prepare 16 bars of an up tempo song, as
well as 16 bars of a ballad to be sung a
cappella. You may be asked to harmonize with our director. Bring something
comfortable to change into, as you will
be taught a short dance combination by
our choreographer on site. For further
questions, call James at (212) 802-7436.
•• Negotiable.
STAGE STAFF & TECH
‘Jews On First’
•• Seeking Equity Stage Manager for one
performance of “Jews On First.”
BACKSTAGE.COM
O
Pr
SU
A
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A
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NEW YORK TRISTATE casting
•• Company: Piece of Tish Work LLC.
Staff: Larry Jay Tish, theatre contact.
•• Runs April 11 at 7 p.m. at the American
Jewish Historical Society, NYC.
•• Seeking—Stage Manager: 18+, all
ethnicities.
•• Seeking submissions from NY.
•• For consideration, email cover letter
and resume to larry@pieceoftishwork.
com or mail to Larry Jay Tish, Piece of
Tish Work LLC, Stage Manager
Submission, 33 Aberdeen Ave,
Cambridge, MA, 02138. Submissions
deadline is Mar. 31.
•• Pays $138.75 total. ($120 for show plus
$18.75 for 90 mins. before show.) Equity
LOA Agreement.
WORKSHOPS
ACTeen Summer Acting
Conservatories
•• Seeking actors for four teen summer
film-theater acting conservatories.
Director states: “ACTeen, a three-time
Backstage Reader’s Choice winner and
the nation’s first on-camera acting program for teens, offers full- or part-time
summer conservatories. Selected participants are offered comprehensive
training in film, theater, Meisner,
Alexander Technique, movement,
speech, musical theater, audition technique, Shakespeare, voiceovers, auditioning, monologues and improvisation
taught by professional staff from the-
ater, casting, film/TV, and competitive
acting conservatories. Summer students have the opportunity to audition
for our ACTeen Fall Talent Showcase,
showcases which have launched the
careers of hundreds of alumni for over
35 years.”
•• Company: ACTeen. Staff: Rita Litton,
dir.
•• Young adult programs run June 27-July
2, July 11-28, Aug. 1-12, or Sat. only July
9-Aug. 13; Junior Intensives (ages 10-12)
run June 27-July 1, Aug. 1-5, or Sat. July
9-Aug. 13 at ACTeen summer studios,
134 W. 29th St, 2nd fl., NYC.
•• Seeking—Teenage Actors: males &
females, 10-19, all ethnicities, all skill
levels. Pre-Teen Actors: males &
females, 10-12, all ethnicities, for junior
program.
•• Seeking submissions from NY, NJ and
CT.
•• To apply, visit www.acteen.com/apply.
For more info, visit www.acteen.com,
or email info@acteen. Company is
interested in beginners or professionals
and students are grouped accordingly.
Note: Skype audition or online submissions accepted.
•• No pay; fee for programs range from
$325-$2,400 (courses average $350 per
term) with discounts for registering by
Apr. 15, or for full programs.
Broadway Artists Alliance,
Young Performers
•• Seeking advanced young musical theatre performers (ages 6-21) for upcoming summer intensives, master classes,
industry showcases, and performance
opportunities in NYC. BAA states:
“Work one-on-one with the stars and
casting directors of your favorite
Broadway shows! Participants study
song interpretation, audition technique, and Broadway dance with Tony
Award winning guests, Broadway performers, casting directors, and agents!
Admission is by audition only.
Upcoming auditions in a city near you!”
•• Company: Broadway Artists Alliance
of NYC. Staff: Recent and upcoming
guests include Jeremy Jordan, Michael
Cerveris, Sutton Foster, Megan Hilty,
Laura Osnes, Jason Robert Brown, Bebe
Neuwirth, Christian Borle, Norbert Leo
Butz, Billy Porter, Jonathan Groff, and
more. Special Broadway guests and
casting directors also tour with the
national audition team.
•• Programs are held at Ripley Grier
Studios, NYC.
•• Seeking—Young Performers: males &
females, 6-21, all ethnicities.
•• Auditions will be held by appt. April 16
in NYC.
•• Online/video auditions will also be
accepted through April 4.
•• For more info, call (212) 561-9429 or
visit www.broadwayartistsalliance.org.
•• Class and summer intensive tuition
ranges vary from $175-$1,450, depending on the program.
VISIT BACKSTAGE.COM/CASTING
for full character breakdowns, script
sides, and more casting notices
Broadway Workshop with
Broadway Stars + Siblings,
Adam Jacobs (‘Aladdin’) &
Arielle Jacobs (‘Wicked’), Kids
& Teens
•• Seeking young actors (ages 7-18) of all
skill levels for a Broadway workshop
with siblings Adam Jacobs (“Aladdin”)
and Arielle Jacobs (“Wicked”). Artistic
Director states: “Work with Broadway
stars and siblings Adam and Arielle
Jacobs in a one-day musical theater
audition technique workshop. Adam is
currently starring in the title role as
Aladdin in ‘Aladdin’ and Arielle can
currently be seen portraying
Nessarose in ‘Wicked.’” Participants
will bring a 16-bar cut of a musical theater song they would like to use for an
audition and perform for Adam and
Arielle who will offer thoughtful feedback and coaching. There will be a
question & answer session with Adam
and Arielle and every student will
walk away with an autographed picture of Adam and Arielle and have a
photo opportunity with both stars.
Students will also work with another
Broadway star with a song and dance
combination in a situation similar to a
real Broadway audition. Students will
be taught how to “stand out from the
crowd at an open call and walk away
with the tools necessary to make it on
Broadway today.”
•• Company: A Class Act NY. Staff: Jessica
Rofe, artistic dir.; Adam Jacobs,
Broadway actor-instructor; Arielle
Jacobs, Broadway actor-Instructor.
Tel: 212 / 645 1525
[email protected]
www.MichaelHowardStudios.com
ONE AND TWO-YEAR CONSERVATORIES
Professional training for the committed actor
SUMMER CONSERVATORIES
A six-week intensive dedicated to the actor’s cra
YOUNG ACTOR CONSERVATORY
A two-week intensive for the talented young actor
PROFESSIONAL WORKSHOPS &
ONGOING SCENE STUDY
Apply now!
“e invaluable training and intensive study
allowed me to pursue the cra on a full-time basis.
Not only did I find focus, I learned that
professional acting was what I wanted to do with
my life.”
Kerry Washington, Actor, ABC’s “Scandal,”
“Django Unchained,” and “Ray”
“Michael Howard Studios is a wonderful home
to creativity.”
Ali Larter, Actor, FOX’s “e Asset,”
NBC’s “Heroes,” and “Legally Blonde”
casting NEW YORK TRISTATE
•• Workshop is May 7 (9:45 a.m.-1:30
p.m.) at Ripley-Grier Studios, 520 8th
Ave., NYC.
•• Seeking—Young Actor: males &
females, 7-18, all ethnicities.
•• Seeking submissions from NY, NJ and
CT.
•• Send submissions to [email protected].
•• To register, visit AClassActNY.
Eventbrite.com. Space is limited to 20
students.
•• $195 tuition fee required.
Four-Day Musical Theater
Camp, Ages 5 & 6
•• Seeking five- and six-year-old participants for a four-day musical theater
camp. Artistic Director states: “A professional NYC actor and voice teacher is
your child’s instructor for the week.
Introduce your ‘little guy’ to the magic of
the performing arts in this one-week
musical theater summer camp. Every
day, lucky campers rehearse song and
dance numbers, learn proper singing
technique, and expand their theatrical
knowledge under the guidance of an
experienced Broadway star and teaching
artist. Campers also get to craft the props
and costume pieces that will be incorporated into the final performance. On the
last day of camp, ‘little guys’ make their
‘Off-Broadway debut’ in a recital for family and friends at the studio.”
•• Company: A Class Act NY. Staff: Jessica
Rofe, artistic dir.; Broadway/on-camera
actors, instructors.
•• Workshop runs July 5-8 at Pearl
Studios, 500 8th Ave., NYC.
•• Seeking—Young Actor: males &
females, 5-6, all ethnicities.
•• Seeking submissions from NY, NJ and
CT.
•• Send submissions to [email protected].
•• To register, visit www.AClassActNY.
Eventbrite.com.
•• No pay. Cost: $675.
Monologue Class with L.A.
Talent Agent, Mitchell Gossett
(Sr. VP at CESD), Kids & Teens
EVENTS
•• Seeking young actors for a monologue
workshop with L.A. talent agent
Mitchell Gossett (Sr. VP at CESD Talent
Agency). Artistic Director states: “Work
with L.A.-based talent agent, Mr.
Mitchell Gossett of CESD, one of the
most respected bi-coastal talent agents
in the industry, on monologues, improvisation, physicality exercises, and
character development in this one-day
workshop. Mitchell believes the most
exciting way to explore material is not
through thoughts alone, but through
actions--through what you are doing
with your body. Bringing ‘ACTions’ into
the work creates a stronger, more visceral connection to the material. But as
importantly, it also provides a means of
showing the most unique feature any
actor can present: themselves in the
work. Mitchell will guide young actors
through the physical activity that the
instrument best shows who the individual actor is and what they uniquely
bring to the role and material. Students
will receive monologues in advance of
class and Mitchell will offer direction
and coaching to lucky participants.
24 backstage 03.24.16
Focus of class: learn Mitchell Gossett’s
‘ACTions’ approach to delivering a
memorable performance; perform a
monologue for Mitchell Gossett; receive
insightful coaching and feedback from
Mitchell Gossett; perform a mock audition for Mr. Gossett; walk away with a
personalized feedback form; and a
question and answer session for students and parents.”
•• Company: A Class Act NY. Staff: Jessica
Rofe, artistic dir.; Mitchell Gossett, Sr.
VP at CESD Talent Agency.
•• There separate sessions will be held
May 21 at Ripley-Grier Studios, 520 8th
Ave., NYC. 1st Session (ages 7-19): 10
a.m.–1:30 p.m. 2nd Session (ages 7–11):
2-5:30 p.m. 3rd Session (ages 12–19:
6:15–9:45 p.m.
•• Seeking—Young Actor: males &
females, 7-19, all ethnicities.
•• Seeking submissions from NY, NJ and
CT.
•• Send submissions to [email protected].
•• To register, visit AClassActNY.
Eventbrite.com.
•• $195 tuition fee required.
FESTIVALS & EVENTS
TRU 2016 Combined Audition
Event
•• Seeking particpants for the TRU combined audition event. The company
States: “Theater Resources Unlimited
(TRU) is presenting the annual TRU
Audition Event, which will be attended
by more than 40 NY-area Equity and
non-Equity producing companies,
directors, and producers, and other
individuals, including casting directors
and agents. The TRU Voices Reading
Series will also be cast at this event.”
•• Company: Theater Resources
Unlimited (TRU).
•• Event runs Apr. 9-10 in NYC. If cast in
any projects, the performance dates
and locations will vary depending on
the theater or production company.
•• Seeking—Actors: males & females, 5+,
all ethnicities, all ages and all types.
•• Auditions will be held by appt. April 9
from 10-11 a.m. (non-musical auditions)
and from 10:30 a.m.-5:30 p.m. (musical
auditions ) and April 10 from 10 a.m.5:30 p.m. (non-musical auditions) at
Desotelle Theater, 300 W. 43rd St., #301,
New York City, NY, 10036.
•• Prepare two monologues or a monologue and a song not to exceed two
minutes total. An accompanist will provided on Apr. 9 only.
•• For more info and an application
packet, visit www.truonline.org/audition and www.truonline.org/
events/2016-audition-event. For questions, call (212) 714-7628 or email
[email protected]. Note: Make
sure to email the special Backstage discount code BS75 to TRUStaff1@gmail.
com to confirm your discount. Final
registration deadline is Mar. 26 (postmark). All applicants must mail in a
hard copy headshot and resume along
with a completed application.
•• The standard registration fee is $85.
All Equity actors may take $20 off the
registration fee. Special Backstage discount rate: Registration is just $75 with
code BS75. The pay situations and
Equity/non-Equity contracts will vary
depending upon the productions that
are casting.
GROUPS &
MEMBERSHIP
COMPANIES
‘Beyond the Fringe!’
•• Casting early for “Beyond the Fringe!”
for The Actor’s Project NYC’s 36th season of full-length theatrical showcases
of music, scenes, monologues, and
sketch comedy, all original works by
company writers. Producer states:
“TAPNYC is a company that assists its
members in landing agents and getting
work through industry showcases and
plays. All shows are attended by agents,
managers, and casting directors. Past
productions have been attended by producers (Broadway, off-Broadway & offoff-Broadway, film, and TV), agents
(commercial and legit), managers, and
NY/L.A. casting directors.”
•• Company: The Actor’s Project NYC.
Staff: Joe Naples, Duvall O’Steen,
Bobby Holder, and Ann Bonner, codirs.; Sam Carner & Derek Gregor, musical dirs.
•• Rehearses and performs in summerfall 2016 in NYC.
•• Seeking—Actors & Singers Seeking
Representation Through Showcases:
males & females, 18+, all ethnicities.
•• Auditions will be held by appt. March
28 from 3-4 p.m. (group audition) and
April 5 from 2:30-3:30 p.m. (group audition) at TAPNYC @ Studios 353, 353 W.
48th St., NYC, 10019.
•• Send submissions to [email protected].
•• In your submission, include an audition date selected from the options;
casting personnel will email you an
audition request. Add [email protected] to your contacts to
ensure the confirmation lands in your
inbox. Prepare a one-minute contemporary comedic monologue. Auditions
will be done in groups. Producer states:
“We suggest (though do not require)
monologues from Bobby Holder’s book
‘Out of the Blue’ (available on
TheActorsProjectNYC.com,
BobbyHolder.com, Amazon, iBooks,
etc.) or TAPNYC-approved monologues
on the MonologuesToGo.com website.”
•• Membership dues are $495/season and
include agent/manager coaching,
resume workshops, branding-yourself
workshops, and entry into The ActingCareer Seminar, where company members meet with a commercial agent, a
legit agent, and a talent manager.
Possible pay provided; actors cast in
company plays share a percent of the
profits (you must be an accepted member to participate).
‘Breaking Out!’
•• Casting early for “Breaking Out!” for
The Actor’s Project NYC’s 36th season
of full-length theatrical showcases of
music, scenes, monologues, and sketch
comedy, all original works by company
writers.
•• Company: The Actor’s Project NYC.
Staff: Joe Naples, Duvall O’Steen,
Bobby Holder, and Ann Bonner, codirs.; Sam Carner & Derek Gregor, musical dirs.
•• Rehearses and performs in summerfall 2016 in NYC.
•• Seeking—Actors & Singers Seeking
Representation Through Showcases:
males & females, 18+, all ethnicities.
•• Auditions will be held by appt. March
28 from 3-4 p.m. (group audition) at
TAPNYC @ Studios 353, 353 W. 48th St.,
NYC, 10019.
•• Send submissions to [email protected].
•• In your submission, include an audition date selected from the options;
casting personnel will email you an
audition request. Add [email protected] to your contacts to
ensure the confirmation lands in your
inbox. Prepare a one-minute contemporary comedic monologue. Auditions
will be done in groups. Producer
states: “We suggest (though do not
require) monologues from Bobby
Holder’s book ‘Out of the Blue’ (available on TheActorsProjectNYC.com,
BobbyHolder.com, Amazon, iBooks,
etc.) or TAPNYC-approved monologues
on the MonologuesToGo.com
website.”
•• Membership dues are $495/season and
include agent/manager coaching,
resume workshops, branding-yourself
workshops, and entry into The ActingCareer Seminar, where company members meet with a commercial agent, a
legit agent, and a talent manager.
Possible pay provided; actors cast in
company plays share a percent of the
profits (you must be an accepted member to participate).
‘Pushing Boundaries!’
•• Casting early for “Pushing
Boundaries!” for The Actor’s Project
NYC’s 36th season of full-length theatrical showcases of music, scenes,
monologues, and sketch comedy, all
original works by company writers.
Producer states: “TAPNYC is a company
that assists its members in landing
agents and getting work through industry showcases and plays. All shows are
attended by agents, managers, and
casting directors. Past productions
have been attended by producers
(Broadway, off-Broadway & off-offBroadway, film, and TV), agents (commercial and legit), managers, and
NY/L.A. casting directors.”
•• Company: The Actor’s Project NYC.
Staff: Joe Naples, Duvall O’Steen,
Bobby Holder, and Ann Bonner, codirs.; Sam Carner & Derek Gregor, musical dirs.
•• Rehearses and performs in summerfall 2016 in NYC.
•• Seeking—Actors & Singers Seeking
Representation Through Showcases:
males & females, 18+, all ethnicities.
•• Auditions will be held by appt. March
28 from 3-4 p.m. (group audition) at
TAPNYC @ Studios 353, 353 W. 48th St.,
NYC, 10019.
BACKSTAGE.COM
CALIFORNIA casting
SOUTHERN
CALIFORNIA
MUSICALS
‘A Chorus Line’
•• Casting “A Chorus Line,” the musical.
Director states: “Funny and exhilarating, yet raw and personal at its core, we
are going to bring new life to this
groundbreaking show that lifted the
veil on the anonymous faces behind the
stars, and uncovered a heart-rending
truth about what drives artists yesterday and today.”
•• Company: The Chance Theater. Staff:
Oanh Nguyen, dir.
•• Rehearsals begin May 16; runs July 1-31
(Thurs., 7:30 p.m.; Fri., 8 p.m.; Sat., 3
p.m. & 8 p.m., and Sun., 3 p.m.) with
possible extension through Aug. 7 at
Chance Theater in Anaheim, CA.
•• Seeking—Zach: male, 25-40, all ethnicities, director-choreographer, workaholic, egotist, authoritative, driven;
manipulative, powerful, has an elegance; contained, secure, steady, cool,
laid-back; confident, direct; ambitious
and forceful, yet charismatic and masculine; dancer is a plus; non-singing.
Larry: male, 25-40, all ethnicities,
Zach’s assistant; strong dancer, can
take over with authority, protective of
Cassie, liaison between her and Zach;
responsible; tenor. Cassie: female,
20-35, all ethnicities, Zach’s ex-girlfriend, was his protege, a dancing star
on Broadway; now realizes she just
wants to do what she loves; womanly,
has star quality; excellent triple threat;
mezzo/belter. Sheila: female, 25-40, all
BACKSTAGE.COM
ethnicities, ex-showgirl, yet ballet
trained; has worked for Zach; tough
exterior, covers up her insecurity, vulnerable, willful, strong, witty, playful;
aging, and can be sarcastic; statuesque;
alto, excellent part singer. Val: female,
25-40, all ethnicities, sassy, funny,
sexy, saucy; sure of herself, knows what
she wants; ambitious; strong belt;
mezzo/belter. Diana: female, 18-30,
Hispanic, Puerto Rican, passionate,
confident, appealing energy; Latin fire,
spunky; determined; excellent singer;
mezzo/belter. Judy: female, 18-30, all
ethnicities, nervous, scatterbrained,
gawky, warm, and hopeful; mezzo.
Kristine: female, 18-30, all ethnicities,
married to Al, good dancer, can’t sing;
nervous, a beauty, dependent on her
husband; apparent non-singer, mezzo/
alto. Maggie: female, 18-30, all ethnicities, has an honesty, softness, simplicity; her father was in the service and
never home; created a fantasy world for
herself. Daddy’s girl; over the hurt, yet
fragile and vulnerable; high belt;
mezzo, excellent part singer. Bebe:
female, 18-30, all ethnicities, confident,
eager, newcomer to New York; enthusiastic with a determination; Jewish;
mezzo/belter, excellent part singer.
Connie: female, 18-30, Asian, has been
Zach’s assistant, has been around the
block; confident, energetic, seasoned;
needs to be short--4’10”; sensitive about
her size; mezzo/belter. Mike: male,
18-30, all ethnicities, Italian, streetwise, has a temper, cocky; last of 12
kids; had to defend himself against
name-calling; tap and acrobat a plus;
tenor. Richie: male, 18-30, African
American, confident, enthusiastic,
proud, energetic; tenor. Don: male,
18-30, all ethnicities, married, two kids,
practical, from the Midwest, not a complicated guy, dependable, realistic, logical; high baritone. Paul: male, 18-30,
Hispanic, Puerto Rican, secretive, shy,
introvert, sensitive; strong dancer;
ashamed and trapped by his past;
friend of Diane; quiet, shy, introverted,
gay; baritone. Mark: male, 18-30, all
ethnicities, young, eager, innocent,
naive, all-American; not terrified or
shy; sincere; tenor. Greg: male, 18-30,
all ethnicities, young, eager, innocent,
naive, all-American; not terrified or
shy; sincere; tenor. Bobby: male, 18-30,
all ethnicities, Peter Pan, optimist, mischievous, funny, clever, has a flair,
charming yet is “twisted and
demented”; WASPy; baritone. Al: male,
18-30, all ethnicities, macho, aggressive, knows Zach, street tough, married, adores his wife, Kristine; from the
Bronx; baritone. Ensemble: males &
females, 18-45, all ethnicities, dancers
who sing for all ensemble and also principal roles, including understudies/cut
dancers in “A Chorus Line.” All must be
strong dancers and singers. Female
vocal range: B below middle C to high
E. Male vocal range: B just below one
octave below middle C to E above middle C.
•• Auditions will be held March 28 at 7
p.m. and March 30 at 7 p.m. at Chance
Theater, 5522 E. La Palma Ave.,
Anaheim, CA, 92807.
•• Send submissions to casting01@
chancetheater.com.
03.24.16 backstage
25
•• Prepare 30-45 seconds of contemporary musical theater from the last 40
years; selections not from the production preferred. Provide sheet music for
accompanist. Bring a headshot and
resume. For more info, visit http://
chancetheater.com/auditions-2/. Actors
can also email their pictures and
resumes to casting01@chancetheater.
com by Mar. 25 for an audition
appointment.
•• Pays: $550 total for the production run
of 22 performances.
‘Jesus Christ Superstar’
•• Casting “Jesus Christ Superstar.”
•• Company: Welk Resort Theatre. Staff:
Joshua Carr, prod.; Ray Limon, dir./
choreo.; Justin Gray, musical dir.
•• Rehearsals begin Apr. 22; runs May
20-Aug. 10, Thurs., Sat., and Sun. matinees at 1 p.m. and Thurs., Sat., evenings
at 8 p.m. at the Welk Theatre in
Escondido, CA. Note: No conflicts will
be accepted with rehearsals or
performances.
•• Seeking—Jesus: male, 18-30, all ethnicities, rock tenor up to high E. Judas:
male, 18-30, all ethnicities, rock tenor
up to high D. Mary : female, 18-40, all
ethnicities, alto, low G to C belt. Annas:
male, 18-40, all ethnicities, high A.
Caiaphas : male, 18-40, all ethnicities,
low F to high F. Pilate: male, 18-40, all
ethnicities, baritone with high G or B.
Peter: male, 18-40, all ethnicities, high
baritone - high G. Simon: male, 18-40,
all ethnicities, high Ab. Herod and
Priests: male, 18-40, all ethnicities.
Female Ensemble: female, 18-30, all
ethnicities, all types and ethnicities;
strong singer/dancers.
•• Auditions will be held March 28 at 9:30
a.m. at Welk Resort Theatre, 8860
Lawrence Welk Dr., Escondido, CA,
92026.
•• No submissions accepted; there is one
audition call and you must attend.
Note: Dancers will not be seen without
singing first; sign-in begins at 9:30 a.m.
•• Pays $10/hr. for rehearsals and $20$22.50/hr. based on role for performances (approx $350- $400/wk.).
Possible housing for L.A. area and
beyond actors.
‘The Spitfire Grill’
•• Casting “The Spitfire Grill,” a heartwarming musical with music and book
by James Valcq and lyrics & book by
Fred Alley, based on the film by Lee
David Zlotoff.
•• Company: Theatre Palisades. Staff:
Sherry Coon, Lew Hauser, coords.
•• Rehearsals begin Apr. 11; runs June
3-July 10 (Fri. & Sat. at 8 p.m. and Sun.
at 2 p.m.) at Pierson Playhouse, 941
Temescal Canyon Rd., Pacific Palisades,
CA.
•• Seeking—Percy Talbot: female, 20-25,
all ethnicities, a bit rough-edged, her
face declares the strength of her youth
and a sadness beyond her years; strong
folk/country belt to D, some head voice
required. Hannah Ferguson: female,
60-70, all ethnicities, a tough-skinned
and flinty old bird with a short, nononsense manner bordering on the bit-
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[email protected]
MUSICALS
•• Send submissions to [email protected].
•• In your submission, include an audition date selected from the options;
casting personnel will email you an
audition request. Add [email protected] to your contacts to
ensure the confirmation lands in your
inbox. Prepare a one-minute contemporary comedic monologue. Auditions
will be done in groups. Producer states:
“We suggest (though do not require)
monologues from Bobby Holder’s book
‘Out of the Blue’ (available on
TheActorsProjectNYC.com,
BobbyHolder.com, Amazon, iBooks,
etc.) or TAPNYC-approved monologues
on the MonologuesToGo.com website.”
•• Membership dues are $495/season and
include agent/manager coaching,
resume workshops, branding-yourself
workshops, and entry into The ActingCareer Seminar, where company members meet with a commercial agent, a
legit agent, and a talent manager.
Possible pay provided; actors cast in
company plays share a percent of the
profits (you must be an accepted member to participate).
casting CALIFORNIA
MUSICALS
FILM
ter; mezzo/alto chest range. Shelby
Thorpe: female, 30-35, all ethnicities,
plain, soft-faced, with a shy, almost
ethereal manner; shimmering folk
soprano with strong high belt to D.
Caleb Thorpe: male, 40-45, all ethnicities, out-of-work, frustrated working
man clinging to the past; solid folk/rock
voice with an edge (top G). Sheriff Joe
Sutter: 25-30, all ethnicities, smalltown policeman; appealing intensity;
restless nature; strong folk tenor to a G.
Effy Krayneck: 50-58, all ethnicities,
postmistress and busybody; a woman
with narrow eyes and a sour tongue;
solid singer in mezzo/alto chest range
(carries close harmony). The Visitor:
male, 40-45, all ethnicities, a mysterious figure who never speaks; an actor
with powerful eyes and a very strong
sense of his body.
•• Auditions will be held April 2 from 11
a.m.-3 p.m. and April 5 from 7-9:30 p.m.
at Pierson Playhouse, 941 Temescal
Canyon Rd., Pacific Palisades, CA,
90272.
•• Send submissions to sherrycoon7@
verizon.net.
•• Prepare a song with which you are
comfortable that best shows off your
talent and ability. Accompanist
provided.
•• No pay.
‘The Wiz’
EVENTS
•• Casting Actors’ Repertory Theatre of
Simi’s production of “The Wiz: The
Super Soul Musical ‘Wonderful Wizard
of Oz.’” Synopsis: “The Wiz” is a glorious musical retelling of Frank Baum’s
“Wonderful Wizard of Oz” set in the
context of African-American culture.
With an infectious funky soul score and
lyrics by Charlie Smalls, “The Wiz”
brought renewed relevance to a timeless classic. The 1975 Broadway production was like nothing Broadway had
ever seen, and ultimately won seven
Tony Awards, including Best Musical
and Best Score.
•• Company: Actors’ Repertory Theatre
of Simi. Staff: Jan Glasband, artistic dir.
•• Rehearsals begin Apr. 17; runs June
4-July 10 (Fri. & Sat. at 8 p.m. and Sun.
at 2 p.m.) at the Simi Valley Cultural
Arts Center, 3050 Los Angeles Ave.,
Simi Valley, CA.
•• Seeking—Dorothy: female, 16-25,
African American, Ethnically
Ambiguous / Mixed Race, must look/
play 13-16; mezzo soprano, G3-B5;
bright-eyed, energetic, curious, adventurous. Aunt Em: female, 35-42,
African American, Ethnically
Ambiguous / Mixed Race, mezzo
soprano, G3-C5; Dorothy’s aunt; life
has not been easy for her and promises
little else; harsh towards Dorothy at
times, but acts out of love. Uncle
Henry: male, 40-50, African American,
Ethnically Ambiguous / Mixed Race,
non-singing; Dorothy’s uncle; physically run-down from years of hard
work on the farm; often acts as the
voice of reason towards Aunt Em.
Addaperle: female, 21-40, all ethnicities, age flexible; mezzo-soprano,
F3-C5; good Witch of the North; has
magic powers that don’t always pan
out as well as she would like them to.
Scarecrow: male, 25-40, all ethnicities,
26 backstage 03.24.16
AUDITION
HIGHLIGHT S
Thurs. Mar. 24
CA L I F O R N I A
‘#NOFILTER’
‘Eastside Heartbeats’
‘Legally Blonde’
‘Al And Eddie’
Fri. Mar. 25
‘Destructive Attraction’
‘Dinner at the Donner’s’
Sat. Mar. 26
‘Penitent’
‘The Next Big Recording Artist’
‘Erase Me’ (also 3/27)
‘Roux’ (also 3/27)
Sun. Mar. 27
‘Accept Who I Am’
Mon. Mar. 28
‘Jesus Christ Superstar’
Enviroblind Infomercial
‘A Chorus Line’ (also 3/30)
For the full auditions calendar,
visit backstage.com/auditions
age flexible; tenor, D3-A4; tired of
being a scarecrow and the prospect of
not going anywhere; embarks on the
journey to see The Wiz in hopes he can
provide a brain. Tin Man: male, 25-40,
all ethnicities, age flexible; baritone,
E3-A4; lost all his limbs to a cursed
axe; joins in the journey in hopes the
Wiz will provide him a heart because
“it isn’t enough to be good-looking.”
Lion: male, 25-40, all ethnicities, age
flexible; baritone, G2-Bb4; travels
around the jungle scaring people, but
has “a yellow streak a mile wide”; joins
in the journey to see the Wiz to gain
some courage. Gatekeeper: male,
30-60, all ethnicities, age flexible;
non-singing; guards the gate to the
Emerald City. The Wiz: male, 30-50,
African American, Ethnically
Ambiguous / Mixed Race, age flexible;
range: tenor, C3-A4; all-powerful
leader over the land of Oz; his true
identity is an enigma. Evillene: males
& females, 30-45, African American,
Ethnically Ambiguous / Mixed Race,
age flexible; alto, Bb3-Db5; Wicked
Witch of the West; low-down evil; not
a kind bone in her body or kind
thought in her rotten mind; can be
played in drag. Lord High Underling:
male, 28-40, all ethnicities, non-singing; weak coward; Evillene’s number
one. Winged Monkey: males &
females, 25-35, all ethnicities, nonsinging; servant of the Wicked Witch
of the West, summoned to do her bid-
ding; the mere mention of him brings
fear. Adult & Children’s Ensemble:
males & females, 10-55, all ethnicities,
Pit Singers (seated with orchestra),
Tornado (dancers), Munchkins
(Children), Crows, Kalidahs, Poppies,
Field Mice, Emerald City Citizens,
Soldier Messenger. Note: Children’s
ensemble will be comprised of six
dancer/singers with a prerequisite of
considerable stage performance.
Yellow Brick Road: males & females,
18-35, all ethnicities, four dancing/
singing actors combine to create the
Yellow Brick Road; metaphorically represents the road Dorothy travels down,
encouraging her along the way.
•• Auditions will be held by appt. April 5
from 7-10 p.m. (singing audition only),
April 6 from 7-10 p.m. (singing audition
only) and April 7 from 7-10 p.m. (singing audition only) at Simi Valley
Cultural Arts Center, 3050 Los Angeles
Ave., Simi Valley, CA, 93065.
•• Send submissions to [email protected].
•• This is a singing audition only. Be prepared to sing 16-32 bars of a Broadway
show tune of a similar genre (with a
funky, soulful style). Choosing a selection from the production is acceptable.
Sheet music is preferable; an accompanist will be provided.
•• No pay.
FEATURE FILMS
‘Back to the Start’
•• Casting “Back to the Start” (working
title), a feature film. Synopsis: “Back to
the Start” is about conversations a
young man has with three women over
the course of 24 hours. Each conversation traverses the emotional landscapes
of connections ephemeral, imagined,
missed, and remembered, in the vein of
Richard Linklater’s “Before” Trilogy,
“Certified Copy,” and the works of
Derek Cianfrance and Drake Doremus.
•• Company: Real Human Being
Productions. Staff: Matthew Grifferty,
prod.-dir.-writer.
•• Rehearses towards the end of Apr.;
shoots in May/June in L.A.
•• Seeking—Sadie: female, 20-30, all ethnicities, it’s Friday night and Sadie has
abandoned what inhibition she might
have to pursue John; bold, charming,
and casually funny, she can’t tell if he
can’t take a hint or just isn’t interested; in time we learn of all her infinite complexity; if you’re capable of
seeing beyond the woman in the red
dress, you might be Sadie. Abby:
female, 21-25, all ethnicities, Abby and
John have dated casually for a great
length of time, but after she finally
decides she cares where “they’re”
going, she comes to learn more about
what has kept John from taking their
relationship forward; we meet her in
their “break-up, having never gotten
together” conversation; she is feminine but casually invokes more masculine conversational traits; somewhat
awkward but deeply felt; reserved but
determined. Elizabeth: female, 18-30,
all ethnicities, after a recent break-up,
Elizabeth has allowed herself to dip
her toes into the water of dating apps;
two dull and disappointing dates
behind her, she meets John without
great expectation but still retaining
the deep-seated hope of a romantic;
soon they find themselves in one of
the most engaging conversations of
their lives; as fiercely intelligent as she
is plain-spoken, Elizabeth displays a
measured grace somewhat contrasting
our other two female leads; she is calculating, like John; very much herself,
but very much a picture of herself as
well.
•• Seeking submissions from CA.
•• Send submissions to [email protected].
•• Producer states: “As noted in the synopsis, this shoot will be striving for
realism both in its production values
and acting. As such, it would be fantastic if you could attach a brief cover letter speaking to some aspects of your
personality and ‘artistic’ ambition,
which might demonstrate your suitability for this project.”
•• The producers plan to apply for the
SAG-AFTRA Ultra Low Budget
Agreement.
FESTIVALS & EVENTS
Hollywood Fringe Festival
2016
•• Seeking shows and performers of all
types for the seventh annual
Hollywood Fringe Festival. Producers
state: “The Hollywood Fringe Festival
is an annual, open-access, communityderived event celebrating freedom of
expression and collaboration in the
performing arts community. Each June
during the Hollywood Fringe, the arts
infiltrate the Hollywood neighborhood:
fully equipped theaters, parks, clubs,
churches, restaurants and other unexpected places host hundreds of productions by local, national, and
international arts companies and independent performers. Participation in
the Hollywood Fringe is completely
open and uncensored.”
•• Company: Hollywood Fringe Festival.
Staff: Ben Hill, dir.
•• Festival runs June 9-26 at various venues in Hollywood.
•• Seeking—Performing Arts Companies:
males & females, 18+, all ethnicities.
Producers: males & females, 18+, all
ethnicities. Artists: males & females,
18+, all ethnicities.
•• Seeking submissions from CA.
•• Register online by Apr. 1 via www.hollywoodfringe.org/learn/index/127.
Company states: “If you are planning
on participating in the festival this year
and want your production to be
included in the printed Festival Guide,
then you need to register your project
by Apr. 1; you can still register after that
date but you won’t be a part of the
guide.” For more info, visit www.hollywoodfringe.org.
•• $150-$300 registration and venue fees
required. Company states: “100% of
box office revenue given back to performing companies.”
BACKSTAGE.COM
NATIONAL/REGIONAL casting
PLAYS
‘All Aunt Hagar’s Children’
‘Noises Off’
•• Casting “Noises Off,” a comedy.
•• Company: Broadway West. Staff: Mark
Drumm, dir.
•• Rehearses late May in Fremont, CA.
•• Seeking—All Roles: males & females,
20-65, all ethnicities, British accent
desired but not necessary.
•• Auditions will be held by appt. April 10
and April 11 at Broadway West Theatre,
4000 Bay St., Fremont, CA.
•• Send submissions to [email protected].
•• For an audition appointment, visit
www.tinyurl.com/zgsnl6t.
•• No pay.
STUDENT FILMS
‘Sunday’
•• Casting “Sunday,” a student film for
San Francisco State University.
•• Company: San Francisco State
University. Staff: Lauriann LaMoreaux,
dir.
•• Shoots Apr. 3 in San Francisco, CA.
•• Seeking—Man 3: male, 25+, all ethnicities, member of the Mormon LDS
FILM & TV CREW
‘Shadows On The Wind’
•• Seeking crew for “Shadows on the
Wind,” a science fiction short film
based in the world created by Joss
Whedon on the show “Firefly” that
focuses on a young government pilot
who has her loyalties questioned when
she unknowingly picks up a rebel in her
ship.
•• Staff: Samantha Laurenti, coord.
•• Shoots Apr. 29-May 4, and May 4-12 in
Folsom, CA.
•• Seeking—Production Sound Mixer:
males & females, 15+, all ethnicities.
Sound Editor: males & females, 15+, all
ethnicities.
•• Seeking submissions from CA.
•• Submit resume, headshot, reels, and
links to shadowsonthewind.director@
gmail.com. We will be premiering the
film near Comic Con in San Diego this
July. The film is a long form short film,
it should run about 45 minutes.
•• Experience, meals, lodging, some gas
reimbursement, and IMDb credit
provided.
Artists Repertory Theatre
•• Casting the Artists Repertory Theatre
2016-2017 Season. Season includes
“Trevor” (Nick Jones, writer; Dámaso
Rodriguez, dir. Rehearses Aug. 9-Sept.
4; runs Sept. 6-Oct. 9), “American
Hero” (Bess Wohl, writer; Shawn Lee,
dir. Rehearses Sept. 6 -Oct 2; runs Oct.
4-30), “A Civil War Christmas” (Paula
Vogel. Writer; Paul Angelo, dir.
Rehearses through Nov. 20; runs Nov.
22-Dec 31), “Marjorie Prime” (Jordan
Harrison, writer; Adriana Baer, dir.
Rehearses Jan. 10-Feb. 5, 2017; runs
Feb. 7-Mar. 12, 2017), “Feathers And
Teeth” (Charise Castro Smith, writer;
Dámaso Rodriguez, dir. Rehearses Feb.
7-Mar. 5, 2017; runs Mar. 7-Apr. 9, 2017),
“The Talented Ones” (Yussef El Guindi,
writer. Rehearses Mar. 27-Apr. 23, 2017;
runs Apr. 25-May 21, 2017), and “The
Importance Of Being Earnest” (Oscar
Wilde, writer. Rehearses Apr. 17-May
14, 2017; runs May 16-June 18, 2017).
•• Company: Artists Repertory Theatre.
Staff: Dámaso Rodriguez, artistic dir.
•• Season runs in Portland, OR.
•• Seeking—Equity Actors: 18+, all
ethnicities.
•• Equity Principal Auditions will be held
April 4 from 10 a.m.-6 p.m. (by appointment) and April 6 from 10 a.m.-6 p.m.
(by appointment) at Artists Repertory
Theatre, 1515 S.W. Morrison, Portland,
OR, 97205. A monitor will not be provided. The producer will run all aspects
of this audition.
•• For an audition appointment, Equity
members email [email protected]
NATIONAL/
REGIONAL
PLAYS
‘1776’
•• Casting Equity actors for “1776.”
•• Company: Palm Beach Dramaworks.
Staff: Willliam Hayes, prod. artistic dir.;
Clive Cholerton, dir.; Craig Ames, musical dir.; Nanique Gheridian, company
mngr.; Sherman Edwards and Peter
Stone, writers.
•• Rehearses June 7-30; runs July 1-24 in
West Palm Beach, FL.
•• Seeking—John Adams: 40-49, all ethnicities. Abigail Adams/
CharlesThomson: 30-39, all ethnicities.
Richard Henry Lee/John Witherspoon:
25-35, all ethnicities. Benjamin
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BACKSTAGE.COM
03.24.16 backstage
27
FILM
•• Casting Equity actors for “All Aunt
Hagar’s Children,” which takes place in
1950’s Washington, D.C. and through
flashbacks to early 1900’s Alabama.
•• Company: Z Space Studio/ Word for
Word Performing Arts Company. Staff:
Stephanie Hunt, dir.; Margo Hall, asst.
dir.; Susan Harloe and JoAnne Winter,
artistic dirs.
•• Rehearsals begin Oct. 17; runs Nov.
16-Dec. 11 in San Francisco, CA.
•• Seeking—Actor: male, 20-49, African
American. Actress: female, 20-39,
African American. Actress: female,
20-39, African American. Actress:
female, 30-59, African American.
Actresses: female, 40-59, African
American.
•• Equity Principal Auditions will be held
April 4 from 10 a.m.-5 p.m. and April 6
from 4-7 p.m. at Joe Goode Annex, 499
Alabama St., San Francisco, CA, 94110.
A monitor will not be provided. The
producer will run all aspects of this
audition. Parking is very difficult. Take
public transit or allow ample time.
•• For an audition appointment, email
headshot and resume to abryant@
zspace.org. Sides will be provided upon
appointment request. Bring a hard copy
of a headshot and resume to the audition. Callbacks will be held Apr. 7-8.
•• Equity Bay Area Theatre Agreement.
Franklin/Leather Apron: 55-65, all ethnicities. Thomas Jefferson/Lyman
Hall: 25-35, all ethnicities. Martha
Jefferson/A Courier: male, 20-29, all
ethnicities. Edward Rutledge/Josiah
Bartlett: 40-49, all ethnicities. John
Dickenson/Samuel Chase: 50-59, all
ethnicities. John Hancock/Robert
Livingston/Stephen Hopkins: 45-55, all
ethnicities. Caesar Rodney/ Lewis
Morris: 50-59, all ethnicities. Thomas
McKean/Joseph Hewes: 45-55, all ethnicities. George Read/James Wilson:
40-49, all ethnicities. Andrew McNair/
Roger Sherman: 35-55, all ethnicities.
•• Auditions will be held by appt. March
31 from 10 a.m.-5 p.m. at Palm Beach
Dramaworks, 201 Clematis Str., West
Palm Beach, FL. Parking behind the
theatre in City Garage or off-street
meters available. A monitor will not be
provided. The producer will run all
aspects of this audition.
•• For an audition appointment, Equity
members email [email protected]. No phone calls.
AEA members without appointments
seen as time permits.
•• Prepare two brief, contrasting contemporary musical theatre selections, in
similar style to the show. Bring three
headshots and resumes. Casting nontraditionally and seeking eleven men,
two+ women, of all ethnicities to play
various roles. Some additional roles
may be cast as females. For more info,
visit www.PalmBeachDramaworks.org.
•• Pays $684/wk. Equity SPT Cat. 10
Agreement.
PLAYS
NORTHERN
CALIFORNIA
church, gives a young girl insightful
advice on how to listen inside yourself
in order to hear the answer to prayers.
Woman: female, 25+, all ethnicities,
member of the Mormon LDS church,
who gives sympathetic but slightly
judgmental advice to a young girl.
Casting personnel state: “This woman
can be of any race; she just can’t be a
Caucasian woman with brown hair, so
she does not resemble the young girl’s
mother.”
•• Seeking submissions from CA.
•• For consideration, email laur.
[email protected]. If chosen, production personnel will email you the
script.
•• No pay.
casting NATIONAL/REGIONAL
PLAYS
with your preferred audition day/time.
•• Prepare two contrasting monologues
or one monologue and 32 bars of a
capella music, not to exceed three minutes total. For mor info, visit www.artistsrep.org/learn-about-us/
work-with-us.aspx. Note: We value
diversity on our stages and in our theatre, and encourage actors of all types,
ages, ethnicities, genders and actors
with disabilities to audition.
•• Pays $534/wk. Equity SPT Agreement.
‘Bedroom Farce’
•• Seeking Equity actors for various roles
in “Bedroom Farce.”
•• Company: Huntington Theatre
Company. Staff: Alan Ayckbourn,
writer; Maria Atikin, dir.; M. Bevin
O’’Gara, assoc. prod.; Tonasia Jones,
producing/casting apprentice.
•• Rehearsals begin Oct. 18, 2016; runs
Nov. 11-Dec. 11 (with possible extension
to Dec. 18) in Boston, MA.
•• Seeking—Ernest: male, 64-70, all ethnicities. Delia: female, 60-70, all ethnicities. Nick: male, 35-40, all ethnicities.
Jan: female, 30-39, all ethnicities.
Malcolm: male, 35-40, all ethnicities.
Kate: female, 20-39, all ethnicities.
Trevor: male, 35, all ethnicities.
Susannah: female, 25-49, all ethnicities.
•• Equity Principal Auditions will be held
March 31 from 10 a.m.-6 p.m. (by
appointment; lunch 1-2 p.m.) at
Calderwood Theatre Pavilion, 527
Tremont St., Dean Rehearsal Hall,
Boston, MA. A monitor will not be provided. The producer will run all aspects
of this audition.
•• For an audition appointment, Equity
performers call Tonasia Jones at (617)
273-1543 or email [email protected]. Leave a message with
your name, primary contact number,
and your preferred audition hour.
Equity walk-ins are welcome and will
be seen from 10 a.m.-noon. Prepare two
contrasting monologues or a side from
the play. If using sides, request them at
the time you request your appointment
and indicate the character for which
you would like to read. A reader will be
provided for your audition. Bring pix &
resumes, stapled together.
•• Pays: $936/wk. Equity LORT B+ NonRep Contract.
Blue Man Group, Atlanta
Auditions
•• Casting Blue Man Group. Description:
Best known for multimedia performances that feature three bald and blue
characters, “Blue Man Group is theater,
ritual, comedy, rock music, and dance
party all rolled into one. The character
has strong roots of the downtown New
York performance art scene as well as
significant nods to vaudeville and Le
Coq’s principals of playfulness, togetherness, and openness.
•• Company: Blue Man Productions.
Staff: Tascha Van Auken, mgr., casting
and training.
•• Ongoing performances.
•• Seeking—Blue Man: 18+, all ethnicities,
must be between 5’10”-6’2” with an
athletic build; strong candidates frequently have backgrounds in physical
theater and improvisation and are compelling and genuine nonverbal story-
28 backstage 03.24.16
tellers; must thrive in a constantly
evolving team environment on and off
stage; drumming skills/musicianship
are an advantage but a good sense of
rhythm is necessary.
•• Auditions will be held April 26 at 10
a.m. at Alliance Theatre, 1280
Peachtree St. NE, Atlanta, GA.
•• Send submissions to [email protected].
•• Include your height, weight, and any
instrumental experience on your
resume. Submissions deadline is Apr.
22. Bring a recent and clear photo or
headshot and a performance résumé.
Wear whatever you are comfortable in.
Jeans and a T-shirt are fine. Casting
personnel will conduct a brief acting
audition with you. There is nothing you
need to prepare for the audition.
Callbacks for these auditions will be
held on Apr. 27 & 28. Casting personnel
will let you know by 7 p.m. on Apr. 26 if
we are interested in bringing you to
callbacks.
•• Pay provided.
Bluff City Theater Season
•• Casting Equity actors for the Bluff City
Theater 2016 Summer Season. Season
includes “Alice In Wonderland, The
Musical” and “Best Of Enemies.”
•• Company: Bluff City Theater. Staff: Joe
Anderson, exec. dir.; Clark A.
Cruikshank, assoc. prod.
•• Contract runs June 6-July 30 in
Hannibal, MO.
•• Seeking—Equity Actors/Singers: males
& females, 18+, Caucasian, African
American.
•• Equity Principal Auditions will be held
March 27 from 12-4 p.m. at Utopia
Studio, 3957 Park Ave., Studio 5, St.
Louis, IL, 63110. EPA Rules are in effect.
A monitor will not be provided. The
producer will run all aspects of this
audition.
•• For an audition appointment, email
headshot and resume to auditions@
bluffcitytheater.com. Prepare one dramatic monologue, one comedic monologue, and one up-tempo song. Bring
headshot and resume.
•• Pays $443/wk. Equity SPT 2
Agreement. Eight week contract.
Contemporary American
Theatre Festival 2016 Season
•• Casting the Contemporary American
Theatre Festival 2016 Season. Season
includes “pen/man/ship” (Christina
Anderson , writer; Lucie Tiberghien,
dir.), “Not Medea” (Allison Gregory ,
writer; Courtney Sale , dir. Rolling
World Premiere), “The Wedding Gift”,
(Chisa Hutchinson , writer; May Adrales
, dir. World Premiere), “20th Century
Blues” (Susan Miller, writer; Ed
Herendeen, dir. World Premiere), and
“The Second Girl “ (Ronan Noone ,
writer; Ed Herendeen, dir.).
•• Company: Contemporary American
Theatre Festival. Staff: Joshua Midgett,
general mgr.
•• Season rehearsal begins June 2; runs
July 8-31 in Shepherdstown, WV.
•• Seeking—Ewuity Actors: males &
females, 18+, all ethnicities.
•• Equity Principal Auditions will be held
April 4 from 9 a.m.-5 p.m. (lunch, 12:301:30 p.m.) and April 5 from 9 a.m.-5 p.m.
(lunch, 12:30-1:30 p.m.) at Center for
Contemporary Arts, 92 West Campus
Drive, Building One, 2nd fl., Rm. 202,
Shepherdstown, WV, 25443. A monitor
will not be provided. The producer will
run all aspects of this audition.
•• For an audition appointment, Equity
members call Joshua Midgett at (304)
876-3304, (weekdays 8 a.m-6 p.m.) or
emial [email protected]. AEA members
without appointments will be seen as
time permits.
•• Prepare a one minute contemporary
monologue. Be prepared to cold read.
Bring picture and resume. For more
info, visit www.catf.org.
•• Pays $700/one show; $825/two shows.
Equity LORT Rep Agreement.
Media Theater Season, GPAA
•• Casting Equity performers for various
roles in the Media Theater and various
Philadelphia Theatres’ upcoming 20162017 Seasons as part of the Greater
Philadelphia Annual Auditions
(GPAAs). Media Theater 2016-1017
Season includes “The Bridges Of
Madison County” (Jason Robert Brown,
music and lyrics; Marsha Norman,
book. Rehearsals begin Aug. 22; runs
Sept. 14-Oct. 23), “A Christmas Story”
(Benj Pasek and Justin Paul, music and
lyrics; Joseph Robinette, book and lyrics. Rehearsals begin Oct. 24; runs Nov.
9, 2016-Jan. 8, 2017), “Romeo And
Juliet” (William Shakespeare, writer.
Rehearsals begin Jan. 9, 2017; runs Jan.
25-Feb. 19, 2017), “Sideshow” (Henry
Krieger, music; Bill Russell, book and
lyrics. Rehearsals begin Feb. 13, 2017;
runs Mar. 8-Apr. 2, 2017), and “West
Side Story” (Leonard Bernstein, music;
Stephen Sondheim, lyrics; Arthur
Laurents, book. Rehearsals begin Mar.
27, 3017; runs Apr. 19-June 18, 2017).
•• Company: Media Theatre. Staff: Jesse
Cline, artistic dir.-dir.; Dann Dunn,
dir.-choreo.
•• Season runs in Media, PA.
•• Seeking—Equity Performers: males &
females, 18+, all ethnicities.
•• Equity Principal Auditions will be held
April 4 from 10 a.m.-6 p.m. (lunch, 1-2
p.m.) at Walnut Street Theatre, 825
Walnut St., Philadelphia, PA. A monitor
will not be provided. The producer will
run all aspects of this audition.
•• All actors will be given three minutes
to perform any kind of combination of
songs and monologues. You will be contacted by a staff member to confirm an
appointment and will be required to
send 30 photocopies of headshots for
the attending organizations. These
auditions are instrumental in helping
the region’s theatres discover local
actors and cast their shows for the
upcoming season. Participating Equity
theatres are listed below and last year’s
participants are available on the website. For more info, visit www.phillyannualauditions.org and www.
mediatheatre.org.
•• Pays $593/wk. Equity LOA Ref. to LORT
Agreement.
Portland Center Stage Season
•• Casting Equity actors, singers, and
dancers for the Portland Center Stage
2016-2017 Season General Auditions.
Season includes “Little Shop of Horrors”
(Co-pro with Cincinnati Playhouse in
the Park. Alan Menken and Howard
Ashman, writers; Bill Fennelly, dir.
Runs Aug 16-Oct. 16.), “Hold These
Truths” (Jeanne Sakata, writer; Jessica
Kubzansky, dir. Runs Sept. 17-Nov.13),
“The Oregon Trail” (Bekah Brunstetter,
writer; Rose Riordan, dir. Runs Oct.
4-Nov. 20), “Hershey Felder as Irving
Berlin” (Hershey Felder, writer. Runs
Nov. 29-Dec. 30), “Santaland Diaries”
((David Sedaris, writer; Wendy Knox,
dir. Runs Nov. 22-Dec. 24), “Astoria”
(Chris Coleman, writer/dir. Runs Dec
13-Feb. 12), “His Eye is on the Sparrow”
(Larry Parr, writer; Timothy Douglas,
dir. Runs Jan. 10–Mar. 19), “Lauren
Weedman Doesn’t Live Here Anymore”
(Lauren Weedman, writer; Rose
Riordan, dir. Runs Feb. 21–Apr. 30),
“Wild and Reckless” (Blitzen Trapper,
creator; Rose Riordan and Liam KaasLentz, dirs. Runs Feb. 21-Apr. 30),
“Mary’s Wedding” (Stephen Massicotte,
writer; John Langs, dir. Runs Mar. 21–
May 28), and “Constellations” (Nick
Payne, writer; Chris Coleman, dir. Runs
Apr. 18-June 18).
•• Company: Portland Center Stage.
Staff: Rose Riordan: assoc. artistic dir.;
Brandon Woolley: prod. assoc.
•• Season runs in Portland, OR.
•• Seeking—Equity Actors/Singers/
Dancers: 18+, all ethnicities.
•• Equity Principal Auditions will be held
March 29 from 10 a.m.-5 p.m. and
March 30 from 10 a.m.-5 p.m. at
Portland Center Stage, 128 NW
Eleventh Ave., Ellyn Bye Studio,
Portland, OR, 97209. A monitor will not
be provided. The producer will run all
aspects of this audition.
•• For an audition appointment, mail
headshots and resumes to Brandon
Woolley, 28 NW 11th Ave., Portland, OR
97209 or email [email protected].
Prepare two contrasting monologues
and for singers an optional 16 bars of a
song, (accompanist will be provided on
both days). Total audition should not
exceed four minutes. Bring two headshots w/resumes. Actors of all ethnicities encouraged to attend. No calls or
visits. For more info, visit www.pcs.
org/1617season.
•• Pays $861/wk. or $637/wk. Equity
LORT Non-Rep LORT B, D Agreements.
Steppenwolf Theatre Season
•• Casting Steppenwolf Theatre’s 2016-17
Season. Season includes: “Visiting
Edna” (David Rabe, writer; Anna D.
Shapiro, dir.-artistic dir, Runs Sept.
15-Nov. 6); “The Fundamentals” (Erika
Sheffer, writer; Yasen Peyankov, dir.
Runs Nov. 10-Dec. 23); “The Christians”
(Lucas Hnath, writer; K. Todd Freeman,
dir. Runs Dec. 1, 2016-Feb. 5, 2017);
“Straight White Men” (Young Jean Lee,
writer-dir. Runs Feb. 2-March 19, 2017);
“Linda Vista” (Tracy Letts, writer. Runs
March 30-May 21, 2017); “Hir” (Taylor
Mac, writer. Runs June 29-Aug. 20,
2017); and “Pass Over.”
•• Company: Steppenwolf Theatre. Staff:
Jonathan Berry, Aaron Carter, & Hallie
Gordon, artistic prods.; Tam Dickson,
casting apprentice.
•• Season runs in Chicago, IL.
•• Seeking—Actors: males & females, 18+,
all ethnicities.
BACKSTAGE.COM
NATIONAL/REGIONAL casting
•• Seeking Equity actors and actor/singers for various roles in Theatre
Horizon’s 2016-17 season. Season
includes: “A New Brain” (William
Flynn, music-lyrics; William Flynn and
James Lapine, book; Matthew Decker,
dir.; Amanda Morton, music dir.; Jenn
Rose, choreo. Runs Oct.-Nov. 2016);
“Grand Concourse” (Heidi Schreck,
writer. Runs Feb.-Mar. 2017); and
“White” (James Ijames, writer; Malika
Oyetimein, dir. Runs Apr.-May 2017).
•• Company: Theatre Horizon. Staff: Erin
Reilly, artistic dir.; Rebecca May
Flowers, casting dir.; Christina Higgins
and Josh Millhouse, audition monitors.
•• Season rehearses and runs in
Norristown, PA.
•• Seeking—Equity Actors: 18+, all ethnicities. Equity Actor/Singers: 18+, all
ethnicities.
•• Equity Principal Auditions will be held
April 4 from 10 a.m.-6 p.m. (by appointment; lunch 1-2 p.m.) at Walnut Street
Theatre, 825 Walnut St., Philadelphia, PA.
A monitor will not be provided. The producer will run all aspects of this audition.
•• For an audition appointment, email
[email protected]
with your name, phone number, first
and second choice of appointment
times, as well as any times you aren’t
available. All actors will be given three
minutes to perform: two contrasting
monologues; two song selections with
an accompanist the theater provides; or
one of each. Bring pix & resumes, stapled together. For more info, visit www.
TheatreHorizon.org.
•• Pays: $393 minimum (pending
approval). Equity SPT Cat. 5 Contract.
Theatre Horizon Season, Local
•• Seeking Equity actors and actor/singers for various roles in Theatre
Horizon’s 2016-17 season. Season
includes: “A New Brain” (William
Flynn, music-lyrics; William Flynn and
James Lapine, book; Matthew Decker,
dir.; Amanda Morton, music dir.; Jenn
Rose, choreo. Runs Oct.-Nov. 2016);
“Grand Concourse” (Heidi Schreck,
writer. Runs Feb.-Mar. 2017); and
“White” (James Ijames, writer; Malika
Oyetimein, dir. Runs Apr.-May 2017).
BACKSTAGE.COM
MUSICALS
Disney’s ‘The Little Mermaid’
•• Seeking strong actors and singers for
Disney’s “The Little Mermaid.”
•• Company: Paramount Theatre. Staff:
Trent Stork, casting dir.; Amber Mak,
dir./choreo.; Tom Vendafreddo, music
dir.; Kory Danielson, asst. music dir.;
Jim Corti, artistic dir.; Kaylee Oost,
company mgr.
•• Rehearsals begin Oct. 24; runs Nov. 23,
2016-Jan. 8, 2017 in Aurora, IL.
•• Seeking—Ariel: 20-29, all ethnicities.
Eric: 20-29, all ethnicities. Triton:
30-49, all ethnicities. Ursula: 30-49, all
ethnicities. Grimsby: 40-49, all ethnicities. Sebastian: 20-49, all ethnicities.
Scuttle: 20-49, all ethnicities.
Flounder: 10-16, all ethnicities.
Flotsam and Jetsam: 20-29, all ethnicities. Louis: 30-49, all ethnicities.
Ensemble: 20-39, all ethnicities.
•• Equity Principal Auditions will be held
April 4 from 10 a.m.-6 p.m. (lunch, 1:302:30 p.m.) at Actors’ Equity Building,
557 W. Randolph St., 1st fl., Member
Center, Chicago, IL, 60661. EPA Rules
are in effect. A monitor will be
provided.
•• For an audition appointment, call (312)
641-0406, 9:30 a.m.-12:30 p.m.and
3-4:30 p.m. beginning Mar. 28. Prepare
16-32 bars of a song in the style of the
show. The song doesn’t necessarily
have to be from a musical, but should
be representative of Alan Menken’s
songbook. Bring one copy of headshot/
resume. Note: We will not be seeing
child actors at this time.
•• For a Chicago appointment, email submissions to casting@paramountarts.
com or mail to Trent Stork, 8 E. Galenda
Blvd., Ste. 230, Aurora, IL 60506.
Submission deadline is Apr. 5
•• Pays $678/wk. Equity LOA to COST
Contract.
AUDITION
HIGHLIGHT S
Fri. Mar. 25
M I DW E S T
‘Literal’ (also 3/26)
‘Murder on the Nile’ (also 3/28)
Sat. Mar. 26
‘Ghost Hackers’
Sun. Mar. 27
Rep. Theatre of St. Louis (also 3/28)
Bluff City Theater Summer Season
Mon. Mar. 28
‘Mamma Mia!’ (also 3/29)
Writers Theatre (also 3/29-3/30)
Canterbury Summer Theatre Season
Weds. Mar. 30
Rep. Theatre of St. Louis, Chicago
‘The Dark Ages: Otho the Great’
For the full auditions calendar,
visit backstage.com/auditions
‘Jesus Christ Superstar’
•• Casting strong actors and singers of all
genders, ages, and types for “Jesus
Christ Superstar.”
•• Company: Paramount Theatre. Staff:
Trent Stork, casting dir.; Tom
Vendafreddo, music dir.; Jim Corti,
artistic dir.; Kory Danielson, assist.
music dir.; Kaylee Oost, company mgr.
•• Rehearsals begin Mar. 20, 2017; runs
Apr. 19-May 28 in Aurora, IL.
•• Seeking—Jesus Christ: 33+, African
American. Judas Iscariot: 30-39,
African American. Mary Magdalene:
20-39, African American. Pontius
Pilate: 30-59, African American.
Caiaphas: 30-59, African American.
Annas: 20-39, African American. Peter:
20-39, African American. Simon
Zealotes: 20-39, African American.
King Herod: 30-59, African American.
Ensemble: 20-39, African American.
•• Equity Principal Auditions will be held
April 18 from 10 a.m.-6 p.m. (lunch,
1:30-2:30 p.m.) at Actors’ Equity
Building, 557 W. Randolph St., 1st Floor
Member Center, Chicago, IL, 60661.
EPA Rules are in effect. A monitor will
be provided.
•• For an audition appointment, call (312)
641-0406, 9:30 a.m.-12:30 p.m. or 3-4:30
p.m. beginning Apr. 11.
•• Prepare 16-32 bars of a song that shows
off a rock, gospel, or pop sensibility.
The song doesn’t have to be from a
musical; it should simply be a song you
love to sing that shows us power, range,
and emotion. Bring one copy of headshot/resume.
•• For a Chicago appointment, mail submissions to Trent Stork, 8 E. Galenda
Blvd., Ste. 230, Aurora, IL 60506 or
email [email protected].
Submissions deadline is Apr. 12.
•• Pays $678/wk. Equity LOA to COST
Contract.
‘Sweeney Todd The Demon
Barber Of Fleet Street’
•• Casting Equity actors and singers for
“Sweeney Todd The Demon Barber Of
Fleet Street.”
•• Company: Paramount Theatre. Staff:
Trent Stork, casting dir.; Amber Mak,
dir./choreo.; Tom Vendafreddo, music
dir.; Kory Danielson, asst. music dir.;
Jim Corti, artistic dir.; Kaylee Oost,
company mngr.
•• Rehearsals begin Jan.9, 2017; runs Feb.
8-Mar. 19, 2017 in Aurora, IL.
•• Seeking—Sweeney Todd: male, 30-49,
all ethnicities. Mrs. Lovett: female,
30-49, all ethnicities. Johanna: female,
20-29, all ethnicities. Beggar Woman:
female, 30-49, all ethnicities. Anthony
Hope: male, 20-29, all ethnicities.
Judge Turpin: male, 40-49, all ethnicities. Pirelli: male, 20-49, all ethnicities.
Beadle: male, 30-49, all ethnicities.
Tobias Ragg: male, 10-12, all ethnicities. Ensemble: males & females, 18+,
all ethnicities.
•• Equity Principal Auditions will be held
April 11 from 10 a.m.-6 p.m. (lunch,
1:30-2:30 p.m.) at Actors’ Equity
Building, 557 W. Randolph St., First Fl.
Member Center, Chicago, IL, 60661.
EPA Rules are in effect. A monitor will
be provided.
•• For an audition appointment, Equity
members call (312) 641-0406, 9 a.m.12:30 p.m. or 3-4:30 p.m. beginning Apr.
5.
•• Prepare 16-32 bars of a legit musical
theatre song. The song does not have to
be from the Sondheim canon; rather, it
should be something that has a legit/
operatic sensibility. Bring one copy of
headshot and resume. Note: We will not
be seeing child actors at this time.
•• For a Chicago appointment, submit to
Trent Stork, 8 E. Galenda Blvd., Ste.
230, Aurora, IL, 60506 or email [email protected].
•• Pays $678/wk. Equity LOA to COST
Agreement.
CHORUS CALLS
Disney on Broadway: ‘The Lion
King’ & ‘Aladdin,’ Singers
•• Seeking singers for “Aladdin” and
“The Lion King.” Disney Theatrical
Productions announces a multi-city
open casting call across North America
for its current and future productions of
the award-winning musicals “Aladdin”
and “The Lion King.” Casting representatives from both productions will hold
open auditions for local singers in
Chicago, Los Angeles, Atlanta, Toronto,
Washington, D.C., Orlando, Miami,
Dallas, and New Orleans. Both productions are seeking singers who move well
to be in the ensemble and to cover or
replace lead roles. Casting states: “We
are not seeing performers for ‘Frozen’
or ‘Freaky Friday’ at this time.”
•• Company: Disney Theatrical Group.
Staff: “Aladdin”: Casey Nicholaw, dir.03.24.16 backstage
29
MUSICALS
Theatre Horizon Season
•• Company: Theatre Horizon. Staff: Erin
Reilly, artistic dir.; Rebecca May
Flowers, casting dir.; Christina Higgins
and Josh Millhouse, audition monitors.
•• Season rehearses and runs in
Norristown, PA.
•• Seeking—Equity Actors: 18+, all ethnicities. Equity Actor/Singers: 18+, all
ethnicities.
•• Equity Principal Auditions will be held
March 30 from 10 a.m.-6 p.m. (by
appointment; lunch 12-1 p.m.) at
Theatre Horizon, 401 DeKalb St.,
Norristown, PA, 19401. A monitor will
not be provided. The producer will run
all aspects of this audition.
•• For an audition appointment, email
Rebecca May Flowers at [email protected] or Christina Higgins at
(610) 283-2230 (Mon. & Wed., 10 a.m.-4
p.m.) with your email, phone, and preferred timeframe. Prepare twp contrasting monologues, two song
selections (accompanist provided) or
one of each. Total audition should not
exceed three minutes. Bring pix &
resumes, stapled together. For more
info, visit www.TheatreHorizon.org.
•• Pays $393/wk. (pending approval).
Equity SPT Cat. 5 Contract.
PLAYS
•• Equity Principal Auditions will be held
April 1 from 10 a.m.-5 p.m. (by appointment; lunch, 12:30-1:30 p.m.), April 4
from 10 a.m.-5 p.m. (by appointment;
lunch, 12:30-1:30 p.m.) and April 5 from
10 a.m.-5 p.m. (by appointment; lunch,
12:30-1:30 p.m.) at Steppenwolf
Administrative Office Bldg, 758 W.
North Ave., 3rd fl. Conference Room,
Chicago, IL, 60614.EPA Rules are in
effect. A monitor will be provided.
•• For an audition appointment, call (312)
641-0406, 9:30 a.m.-12:30 p.m. or 3-4:30
p.m. beginning Mar. 28.
•• Prepare one 60- to 90-second monologue as well as a second piece that tells
something about who you are. Second
piece can be a personal story, performance art, song, etc. No second monologue. Entire audition should not
exceed four minutes. Bring pix &
resumes, stapled together.
•• Pays: $835.75/wk. Equity CAT Tier 6
Contract.
casting NATIONAL/REGIONAL
MUSICALS
FILM
TV & VIDEO
choreo.; Alan Menken, music; Howard
Ashman & Tim Rice, lyrics; Alan
Menken & Chad Beguelin, add. lyrics;
Chad Beguelin, book; Michael Kosarin,
music dir.; Tara Rubin Casting & Eric
Woodall, casting. “The Lion King”:
Julie Taymor, dir.; Elton John & Tim
Rice, songs; Hans Zimmer, Lebo M,
Mark Mancina, & Jay Rifkin, add.
music; Irene Mecchi & Roger Allers,
book; Garth Fagan, choreo.; Mark
Brandon & Binder Casting, casting.
•• Casting current and future productions of “Aladdin” and “The Lion King.”
•• Seeking—Singers: males & females,
17+, all ethnicities, strong singers who
move very well to be in the ensemble
and to cover or replace lead roles. For a
full character breakdown, visit www.
disneyonbroadwaycasting.com.
•• Auditions will be held April 9 from 9-11
a.m. (singers only; park admission not
required) at Disney’s Animal Kingdom
Rehearsal Facility, 3271 Sherberth Rd.,
Kissimmee, FL, 34747. And April 12
from 9-11 a.m. (singers only) at In
Motion Dance, 4700 Biscayne Blvd.,
2nd Fl., Miami, FL, 33137. Sign-in starts
at 9 a.m. and ends promptly at 11 a.m
•• For “Aladdin”: Prepare 16 bars of an
uptempo musical theater song and
bring a picture and resume, stapled
together. Bring your own sheet music.
An accompanist will be provided.
•• For “The Lion King”: Prepare your best
16 bars (approximately 30 seconds, with
sheet music) of a R&B, pop, or rock ‘n’
roll song that best showcases your voice
and range. Do not sing material from
the show or standard Broadway theater
music. An accompanist will be
provided.
•• Pays: $1861/wk. Equity Production
(Disney) Contract.
‘Disney’s the Little Mermaid,’
Dancers
•• Seeking strong dancers, actors, and
singers of all genders, ethnicities, ages
and types for “Disney’s the Little
Mermaid.” Note: We will not be seeing
child actors at this time.
•• Company: Paramount Theatre. Staff:
Trent Stork, casting dir.; Amber Mak,
dir./choreo.; Tom Vendafreddo, music
dir.; Kory Danielson, asst. music dir.;
Jim Corti, artistic dir.; Kaylee Oost,
company manager.
•• Rehearsals begin Oct. 24; runs Nov. 23,
2016-Jan. 8, 2017 in Aurora, IL.
•• Seeking—Ariel: 20-29, all ethnicities.
Eric: 20-29, all ethnicities. Triton:
30-49, all ethnicities. Ursula: 30-49, all
ethnicities. Grimsby: 40-49, all ethnicities. Sebastian: 20-49, all ethnicities.
Scuttle: 20-49, all ethnicities.
Flounder: 10-16, all ethnicities.
Flotsam and Jetsam: 20-29, all ethnicities. Louis: 30-49, all ethnicities.
Ensemble: 20-39, all ethnicities.
•• Equity Chorus Calls will be held April 5
from 10 a.m.-1 p.m. (sign-in, 9:30; male
identified dancers) and from 2:30-6
p.m. (sign-in, 2 p.m.; female identified
dancers) at Actors’ Equity Building, 557
W. Randolph St., 1st Floor, Member
Center, Chicago, IL, 60661. Chorus rules
are in effect. A monitor will be
provided.
•• Be warmed up and prepared to dance
in appropriate attire and bring jazz or
30 backstage 03.24.16
ballet shoes. Prepare 16-32 bars of a
song in the style of the show. Your
selection should be representative of
Alan Menken’s songbook. Bring one
copy of headshot and resume.
•• Pays $678/wk. Equity LOA to COST
Contract.
‘Jesus Christ Superstar,’
Dancers
•• Casting strong actors and singers of all
genders, ages, and types for “Jesus
Christ Superstar.”
•• Company: Paramount Theatre. Staff:
Trent Stork, casting dir.; Tom
Vendafreddo, music dir.; Jim Corti,
artistic dir.; Kory Danielson, assist.
music dir.; Kaylee Oost, company mgr.
•• Rehearsals begin Mar. 20, 2017; runs
Apr. 19-May 28 in Aurora, IL.
•• Seeking—Jesus Christ: 33+, African
American. Judas Iscariot: 30-39,
African American. Mary Magdalene:
20-39, African American. Pontius
Pilate: 30-59, African American.
Caiaphas: 30-59, African American.
Annas: 20-39, African American. Peter:
20-39, African American. Simon
Zealotes: 20-39, African American.
King Herod: 30-59, African American.
Ensemble: 20-39, African American.
•• Equity Chorus Calls will be held April
19 from 10 a.m.-1:30 p.m. (male identified dancers; signup, 9:30 a.m.) and
from 2:30-6 p.m. (female identified
dancers; signup, 2 p.m.) at Actors’
Equity Building, 557 W. Randolph St.,
1st Floor Member Center, Chicago, IL,
60661. Chorus rules are in effect. A
monitor will be provided. AEA
Members will be given priority. Arrive
prior to the call start time in order to
sign-up.
•• Be warmed up and prepared to dance
in appropriate attire and bring jazz or
ballet shoes. Prepare 16-32 bars of a
song in the style of the show. Your
selection should be representative of
Alan Menken’s songbook. Bring one
copy of headshot/resume.
•• Pays $678/wk. Equity LOA to COST
Contract.
FEATURE FILMS
‘Baywatch’
•• Casting photo double for the feature
film, “Baywatch,” starring Zac Effron,
Alexandra Daddario and Dwayne “The
Rock” Johnson.
•• Company: Paramount Pictures,
Casting TaylorMade. Staff: Seth
Gordon, dir.
•• Casting nationwide. Shooting through
May, in Savannah, GA.
•• Seeking—Dwayne “The Rock” Johnson
Photo Double: male, 33-53, Southeast
Asian / Pacific Islander, Ethnically
Ambiguous / Mixed Race, must be a
close match to Dwayne “The Rock”
Johnson, bald or willing to shave,
medium to dark skin tone, height 6’4”6’5”, 260 lbs.
VISIT BACKSTAGE.COM/CASTING
for full character breakdowns, script
sides, and more casting notices
•• Seeking submissions nationwide.
•• Send submissions to [email protected].
•• Include your name, age, contact info,
height, weight, all clothing sizes, location and three recent pics (head,
medium, full length). Please note if you
US citizen or have US work permit.
•• Some pay. Travel & accommodation
will be provided.
‘Hidden Figures’
•• Casting background for the feature
film “Hidden Figures,” starring Taraji
P. Henson.
•• Company: Fox 2000, Marinella Hume
Casting. Staff: Ted Melfi, dir.
•• Shooting March 30, in Atlanta, GA.
•• Seeking—Caucasian Mother & Father:
males & females, 25-45, Caucasian,
between 5’5 and 6’1 tall, who are or
appear as if they are an actual family.
Caucasian Children: males & females,
5-11, Caucasian, 5’5”-6’1”, who are or
appear as if they are an actual family.
•• Seeking submissions from GA.
•• Send submissions to
[email protected].
•• To apply, submit photos of yourself,
along with your name, cell number, and
measurements.
•• Pays $72/8 hrs.
‘Wetlands’
•• Casting the feature film “Wetlands,”
starring Anthony Mackie. Project
description: “A man attempts to make a
new start in Atlantic City with the help
of his daughter and a new business
partner.”
•• Company: Heery-Loftus Casting. Staff:
Emanuele Della Valle, writer/dir.
•• Shoots Apr. 11, in the South Jersey
Shore area.
•• Seeking—Jersey Shore Residents:
males & females, 25-65, all ethnicities,
must be local hire for the Wildwood, NJ
& Cape May, NJ areas.
•• Seeking submissions from PA.
•• Send submissions to [email protected].
•• Include name, phone number, and
SAG-AFTRA union number, if applicable. Also, note where in the South
Jersey Shore Area you are located. One
of the roles requires proficiency at surfing, so be sure to note if you are a surfer
and describe your experience.
•• Professional pay. SAG-AFTRA
contract.
STUDENT FILMS
‘And Then They Were
Strangers’
•• Casting “And Then They Were
Strangers,” a short student film.
•• Company: Biola Cinema and Media
Arts. Staff: Alissa Rooney, casting dir.;
Cal Hudson, creator.
•• Tentatively shoots Apr. 1-2 in the L.A.
area.
•• Seeking—Billy: male, 18-28, all ethnicities. Mike: male, 18-28, Caucasian,
muscular; a stereotypical jock type.
Cathleen: female, 18-28, Caucasian,
Asian. Sophie: female, 18-28, all ethnicities, on the shorter side is pre-
ferred, but not required. Frank: male,
20-35, all ethnicities. Arthur: male,
18-28, all ethnicities. Police Officer:
male, 25-45, all ethnicities.
•• Seeking submissions nationwide.
•• Apply on Backstage.com.
•• In your submission, include headshots
and at least one audition tape.
•• No pay.
SCRIPTED TV & VIDEO
‘Dirty Dancing’
•• Casting the ABC TV movie “Dirty
Dancing,” starring Abigail Breslin,
Debra Messing & Colt Prattes.
•• Company: ABC. Staff: Jessica Sharzer
& Wayne Blair, writers; Wayne Blair,
dir.; Andy Blankenbuehler, choreo.;
Tona B. Dahlqust, casting dir.
•• Shoots April-May, in Asheville, NC and
surrounding area.
•• Seeking—Resort Band: male, 30-59, all
ethnicities, must “finger sync” songs
with the instruments, need players of
drums, percussion, piano, bass, trombone, sax and trumpets.
•• Seeking submissions from NC.
•• Send submissions to [email protected].
•• Include your name, age, race, phone
(prefer cell), height, weight, all clothing
sizes, location (city & state where you
reside), music playing experience, and
recent photos. Mention any tattoos or
piercings which are visible in summer
attire & list dance training/experience
and style/type of dance you are experienced in.
•• Some pay.
‘Longmire’
•• Casting season five of the Netflix
series, “Longmire.”
•• Company: Netflix. Staff: Jim
Wisniewski, casting dir.
•• Currently shooting in the Santa Fe, NM
& Espanola, NM areas.
•• Seeking—Policemen & Firemen
Baseball Teams: male, 25-45, all ethnicities, clean-cut young men, to make up
two baseball teams (policemen vs. firemen), those with some baseball experience preferred, shooting is scheduled
for Mar. 28 in Espanola, NM. Charity
Ball Game Attendees: males & females,
30-70, all ethnicities, upscale, several
men and women to play attendees at a
charity baseball game, shooting is
scheduled for March 28 in Espanola,
NM. Extras: males & females, 18+, all
ethnicities, African American women,
Asian women, Native American
women, and Native American men.
•• Seeking submissions from NM.
•• Send submissions to melon_boxer1@
yahoo.com.
•• To apply, submit a headshot & fullbody shot. Include your height, weight,
measurements, email, phone, location
(city & state), and desired role(s).
•• Some pay
‘Mercy Street’
•• Casting season two of the PBS TV
series “Mercy Street.”
•• Company: PBS. Staff: Ridley Scott &
David Zucker, exec. prods.
BACKSTAGE.COM
NATIONAL/REGIONAL casting
•• Shoot begins Apr.18, in the Richmond,
VA & Petersburg, VA areas.
•• Seeking—Extras: males & females, 18+,
all ethnicities.
•• Seeking submissions from VA.
•• Send submissions to
[email protected].
•• To apply, submit two recent photos
(one close-up & one full-body). Include
all contact information, union status,
height, weight, all clothing sizes, location (city & state), and if you worked on
the program last season and what role.
•• Some pay.
DANCERS &
CHOREOGRAPHERS
Disney on Broadway: ‘Aladdin’
& ‘The Lion King,’ Dancers
•• Seeking male and female dancers for
“Mickey’s Royal Friendship Faire.”
Synopsis: “Mickey, Minnie, Donald,
Daisy and Goofy play host to some of
their very special friends. The arrivals
of Tiana, Naveen, Louis, Rapunzel,
Flynn, the ruffians, Anna, Elsa and Olaf
make this a joyful festival celebrating
the unique stories of the citizens who
make up this magical kingdom with
song, dance, adventure, oohs and ahhs,
and a finale that will light up the sky
and brighten your hearts!”
•• Company: Walt Disney Entertainment.
Staff: Darla Hayward, casting dir.
•• Runs at Walt Disney Entertainment in
Lake Buena Vista, FL.
•• Seeking—Dancers: males & females,
18+, all ethnicities.
•• Auditions will be held April 1 at 10 a.m.
(sign-up 9-10 a.m.) and at 7 p.m. (signup 6-7 p.m.) at Disney’s Animal
Kingdom Rehearsal Facility, 3271
Sherberth Rd., Kissimmee, FL, 34747.
And April 6 at 10 a.m. (sign-in, 9-10
a.m.) at Creative Arts Academy, 165 S
Main St., Bountiful, UT, 84010. And
April 8 at 10 a.m. (sign in, 9-10 a.m.) at
Power House of Dance, 12300 Inwood
Rd., Dallas, TX, 75244. A monitor will
not be provided. The producer will run
all aspects of this audition. Late arrivals will not be accepted.
•• Provide headshot/resume. All dancers
will be taught a ballet routine. Selected
dancers will move on to an advanced
jazz routine. Dancers should be
warmed up and ready to begin at the
time listed. Wear form fitting attire to
show your silhouette. Wear appropriate
ballet/jazz shoes. Note: Applicants
must be 18+ and authorized to work in
the United States.
•• Pays $16.53/hr. Walt Disney World
Agreement.
THEME PARKS
‘For the First Time in Forever,’
Orlando
•• Seeking male and female actors for
“For the First Time in Forever: A Frozen
Sing-Along Celebration.” Synopsis:
Anna, Elsa, and Kristoff help to lead the
audience through a retelling of Disney’s
animated hit, “Frozen.”
•• Company: Walt Disney World Parks
and Resorts Talent Casting. Staff: Mark
Catlett, casting dir.
•• Performs live at Disney’s Hollywood
Studios at the Walt Disney World Resort
near Orlando, FL.
•• Seeking—Anna: 18+, all ethnicities.
Elsa: 18+, all ethnicities. Kristoff: 18+,
all ethnicities.
•• Auditions will be held April 1 at 2:30
p.m. (sign-in, 1:30-2:30 p.m.) at Disney’s
Animal Kingdom Rehearsal Facility,
3271 Sherberth Rd., Kissimmee, FL,
34747. Late arrivals will not be
accepted. Advanced registration is not
required. Candidates will need to pass a
typecasting audition before moving to
‘The Big 80’s!’
•• Casting “The Big 80’s!,” a theme park
revue show at Knoebels Amusement
Resort in Elysburg, PA for the 2016
Summer Season.
•• Company: JRW Productions. Staff:
James Wilkinson, pres.
•• Rehearsals begin May at Knoebles;
performs May 14-Sept 25 at Knoebles in
Elysburg, PA.
•• Seeking—Singers Who Dance &
Dancers Who Sing: males & females,
18-35, all ethnicities, with good harmonization skills.
•• Auditions will be held April 3 from 12-3
p.m. (singers and dancers) at The
Alamo Restaurant at Knoebles
Ameusement Resort, 391 Knoebels
Blvd., Route 487, Elysburg, PA, 17824.
•• Send submissions to
[email protected].
•• Prepare 16 bars up tempo and 16 bars
of a ballad to be sung a cappella. You
may be asked to harmonize with the
director. Bring comfortable clothing to
change into, as you will be taught a
short dance combination on site by the
choreographer. For questions, call
James at (212) 802-7436.
•• Pay is negotiable, and housing is
available.
WORKSHOPS
‘Hamilton’ Workshop with star
Andrew Chappelle & a Top
Talent Manager, Stamford CT
•• Seeking participants of all skill levels
for a “Hamilton” workshop with the star
Andrew Chappelle. Both kids and adults
are welcome, but space is limited.
Artistic director states: “Join Broadway
star of ‘Hamilton,’ Andrew Chappelle
(‘Hamilton,’ ‘Mamma Mia!,’ ‘Priscilla
Queen of the Desert’) for a one-day musical theatre ‘Hamilton’ theme workshop!
Andrew will teach lucky participants a
song and dance combo from ‘Hamilton’
and also host a lively Question and
Answer Session about his experience in
this historic, revolutionary and inspiring
American Tale! Andrew will also be signing autographs and taking pics with students!” Part one includes a song and
dance combination from “Hamilton”
with Broadway’s Andrew Chappelle, a
question and answer session and and
autograph and photo session. Part 2 of
the workshop will focus on audition
technique with top manager, Lisa Iacono
of CT Kids Talent Management. All skills
levels are welcome, but this portion is
limited to students ages 7-18. The second
part focuses on musical theatre audition
technique. Participants will bring in a
16-bar cut of a musical theatre song and
sing for Lisa Iacono of CT Kids Talent
Management and then receive feedback
and coaching from Lisa and A Class Act
NY’s Artistic Team on their audition
piece.
•• Company: A Class Act NY. Staff: Jessica
Rofe, artistic dir.; Andrew Chappelle
(Broadway Star), teacher; Lisa Iacono,
talent mgr.
•• Workshops will be held May 15, 12:30-3
p.m. (Part 1 “Hamilton” Workshop) and
3:15-5 p.m. (Part 2 Audition Technique
Workshop) at the Jewish Community
Center of Stamford, 1035 Newfield Ave.
in Stamford, CT.
•• Seeking—Participants: males &
females, 7+, all ethnicities.
•• Seeking submissions from NY, CT, MA
and RI.
•• Send submissions to [email protected].
•• To register, visit www.AClassActNY.
Eventbrite.com.
•• $95 tuition fee required (Part 1); $90
tuition fee required (Part 2); or $185
tuition fee required (Both Sessions).
‘Singing on Stage With Jane
Streeton: A 2-Day Intensive’
•• Seeking participants for “Singing on
Stage with Jane Streeton,” a two-day
intensive masterclass with coordinator
of the singing team and course leader
for the Musical Theatre Courses at the
Royal Academy of Dramatic Art (RADA)
in London. The masterclass will feature
techniques from her new book “Singing
on Stage: An Actor’s Guide,” (June,
2014) which was recently nominated for
‘Outstanding Book of the Year Award
for Theatre and Higher Education’
(ATHE) and was also named in the ‘Top
7 Training Books of 2014’ by ‘The
Stage’. HB Studio states: “Ms. Streeton
is an international soprano soloist in
opera and concert and has worked as a
singing coach and vocal adviser for
film, with the BBC, in West End musicals, at the Royal Shakespeare
Company, the National Theatre and
Shakespeare’s Globe. Ms. Streeton will
work with students individually giving
students feedback.”
•• Company: HB Studio.
•• Masterclass will be held Apr. 23 & 24
(noon- 4 p.m.) in NYC.
•• Seeking—Students: 18+, all ethnicities.
•• Seeking submissions nationwide.
•• Send submissions to info@hbstudio.
org.
•• To participate, apply online at www.
hbstudio.org/classes/workshops/singing-on-stage/. Application deadline is
Apr. 15. To audit, call the registration
office or come in person. Audits may be
requested in advance.
•• Students who apply should fully prepare two songs, of which one will be
chosen to work on during the class.
Each student must bring good, clear
copies of the sheet music for the accompanist to play. An accompanist will be
provided. For more info, visit www.
hbstudio.org/classes/workshops/
singing-on-stage/.
•• $175 application fee required. Students
may also audit the class (observe only)
for $30.
03.24.16 backstage
31
EVENTS
BACKSTAGE.COM
‘Mickey’s Royal Friendship
Faire’
the reading portion of the audition.
•• Sides will be provided. Bring a current
headshot and résumé. Note: These are
acting roles and do not require live
singing. Must be 18+ and authorized to
work in the United States. Callbacks
will be held at a later date. For full
details, visit www.disneyauditions.
com.
•• Pays $16.53/hr. Actors employed with
the Walt Disney World Resort are covered under the terms and conditions of
a collective bargaining agreement with
Actors’ Equity Association. EOE.
VARIETY
•• Seeking dancers for “Aladdin” and
“The Lion King.”
•• Company: Disney Theatrical
Productions. Staff: “Aladdin”: Casey
Nicholaw, dir.-choreo.; Alan Menken,
music; Howard Ashman & Tim Rice,
lyrics; Alan Menken & Chad Beguelin,
add. lyrics; Chad Beguelin, book;
Michael Kosarin, music dir.; Tara Rubin
Casting & Eric Woodall, casting; “The
Lion King”: Julie Taymor, dir.; Elton
John & Tim Rice, songs; Hans Zimmer,
Lebo M, Mark Mancina, & Jay Rifkin,
add. music; Irene Mecchi & Roger
Allers, book; Garth Fagan, choreo.;
Mark Brandon, CSA & Binder Casting,
casting.
•• Currently running on Broadway and
touring across North America.
•• Seeking—“Aladdin” Dancers: males &
females, 17-40, all ethnicities, excellent
dancers with athletic builds to comprise the ensemble and also play lead
roles for possible future replacements;
tap, ballet, and jazz; must also be great
singers. Casting states: “We strongly
encourage actors of all cultural backgrounds.” “The Lion King” Dancers:
males & females, 18-34, all ethnicities,
strong dancers with a modern/ballet
dance background; late teens to early
30s.
•• Auditions will be held April 10 at 10
a.m. (dancers) at Disney’s Animal
Kingdom Rehearsal Facility, 3271
Sherberth Rd., Kissimmee, FL, 34747.
And April 13 at 10 a.m. (dancers) at In
Motion Dance, 4700 Biscayne Blvd.,
2nd Fl., Miami, FL, 33137.
•• For registration times and details,
visit www.disneyonbroadwaycasting.
com. For “Aladdin”: Arrive ready to
dance and bring jazz and tap shoes.
Females should also bring character
heels. Bring pix & resumes, stapled
together. Prepare 16 bars of an uptempo
musical theater song. Bring your own
sheet music. An accompanist will be
provided.
•• For “The Lion King”: Arrive warmed up
and ready by the start time. Wear formconscious clothing appropriate for dancing, plus flat jazz shoes or bare feet. You
may be asked to sing, so bring a contemporary song that shows off your voice
and range. Bring sheet music. Bring pix
& resumes, stapled together.
•• Pays: $1861/wk. Equity Production
(Disney) Contract.
backstage life
“The Path”
1
2
4
3
5
Hulu gets serious starting March 30 with new series “The Path,” about a mysterious
organization that may or may not be a terrifying cult. Kyle Allen co-stars alongside
series leads Aaron Paul, Michelle Monaghan, and Hugh Dancy, and shares some
recent photos from the shoot in New York.
(1) Pretending to be producers between takes at the soundstage. I think we produced
a lovely picture! (2) I’m sure you heard that it snowed a bit in New York. We prayed to
the Light that we wouldn’t have to dig out base camp.... The Light was warm inside,
snuggled up in a blanket, drinking hot cocoa, and watching Spencer Tracy films on
Netflix and did not have time to process our request. (3) This is Gunther. He was born
between the time it takes to pack up the camera and the time it takes to set it back up
somewhere else. He was delicious. This picture was taken two days before his death.
(4) Aimee Laurence (Summer) left her phone unlocked at the dinner table. We had
no choice. Inside the Lane family dining room. (5) Alternate ending to [my character]
Hawk and Ashley’s [Amy Forsyth] relationship. On the main road to the compound. •
Photographs courtesy Kyle Allen
32 backstage 03.24.16
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