Untitled Short Film
CASTING CALL FOR ACTORS!
Nastalliagon Productions ~ Dopeshoes Entertainment LLC. Brigid Turner& Jas Anderson
SAG/AFTRA Ultra Low Budget
SAG/AFTRA / NON UNION ACTORS MAY AUDITION
LOCAL HIRE ONLY
Audition Date: November 21, 2015
Callback Date: TBA
Production Dates: December 12th,13th, 19th, 20th 2015 (All actors will not be needed for entire productions dates)
Location: New York
Pay Rate: Vary, depending on role and IMDB credit
Director: Brigid Turner IMDB -http://www.imdb.com/name/nm2307773/?ref_=fn_al_nm_1
Writer: Brigid Turner
Submission Instruction: Email NPDE.TEAM@GMAIL.COM
MUST RECEIVE HEADSHOTS/RESUME ELECTRONICALLY FOR CONSIDERATION AND CASTING INFORMATION.
STORYLINE: A story about a homeless women, her daughter, their struggles and triumphs.
CHARACTER ROLES/ DESCRIPTION/BREAKDOWN:
[HONNOR] LEAD, African American, Mixed or Latina (must not have a strong accent) Female, Ages 11-14 -
A young, bright girl that truly loves her mother. She is sweet and tender with her actions. Must be able to sing.
[STREET VENDOR] - All Ethnicities- Female/Male, Ages 25-40- Will work as a street vendor selling items.
[STORE MANAGER]- All Ethnicities- Male, Ages 25-40- He is the manager of the store Charity works for.
Untitled Drama Feature Film
TORONTO CASTING CALL! Feature Length Film (Drama)
Bonnie (21-28) - Lead Character
Bonnie is the main character of this film. It is HER story. She is late teens/early twenties and has her head on straight... with exception of the voices. MUST be able to do comedy AND drama. Caucasian
Jack (21-28) - Bonnie's boyfriend - Athletic - Tall - all ethnicities
Travis (21-28) - Bonnie's gay best friend - all ethnicities
Caroline (40-50) - Bonnie's mom - Caucasian
Lucas (18-24) - Bonnie's brother - Caucasian
George (20-30) - Hot teacher - all ethnicities
Non Union Project. Low Pay.
No ACTRA submissions please.
Please submit headshot and resume to email@example.com
Shoot Date TBD - Tentatively Spring 2016
Stills - Web Series
Indie Web Series “STILLS” – Casting Roles – All Races & All Ages
Stills is an independent full length dramatic web series on Footprint.TV currently casting a variety of roles for its third season. Stills features a multi-ethnic ensemble giving the audience a glimpse into the lives of New Yorkers from a variety of backgrounds (gay, straight, transgender, HIV +, etc.) Links to our pages below.
Non-Union. Unpaid. IMDB credit is offered.
We welcome all levels of experience, just send along a headshot/or clear face picture and resume.
Please send submissions to firstname.lastname@example.org and include the role(s) you wish to submit for.
Auditions will be held in December.
We look forward to meeting you!
Woman – Female, Puerto Rican w/island accent, Mid 30’s-early 50’s. The Woman is a mystical yet grounded character who pops up a few times throughout this season. She must be warm and kind with a hint of sadness and an otherworldly aura.
Nate Jr. – Male, Caucasian, 14-20 months old. The orphan of HIV positive parents. Nate Jr. is HIV negative and adorable doesn’t being to describe him. Any foster parent would be lucky to adopt him.
Nana – Female, Caucasian, 70’s-90’s. Think Trey’s mother on Sex and the City, however, while Nana’s outward appearance would conjure images of an elitist aristocrat, she is much deeper. There’s no one in the world she loves more than her granddaughter Brenda and she is instrumental in helping Brenda or “Ren” in her battle against breast cancer. Nana is also a survivor.
Dwight – Male, African American, 40+. An imposing man both in stature and personality, Dwight has led a rather selfish life. In and out of his family’s lives, he rejected his eldest son for being gay, was never there for his daughter and barely knows his youngest son. As he heads into the twilight of his life, Dwight’s vowed to make up for lost time and carefully attempt to reconnect with his estranged wife and adult children.
Yvette – Female, Caucasian French, 40+. Yvette grew up in the slums of France and married very young. Their marriage wasn’t ideal nor was it horrific. Love was there but her husband’s inner demons got the better of him and led to an early death. The mother of 3 sons 2 of which have passed away (car accident and suicide) Yvette is now enjoying life and the forthcoming wedding of her youngest son, Maurice. Acceptance, culture and love are what she wears on her sleeves but within her eyes is the pain of all she’s lost.
Robert – Male, Caucasian French, 40+. Robert grew up in the slums of France. Married young and had 3 boys. He loved his wife and sons but his inner demons always seemed to get the better of him. Unable to stay loyal to his wife or express love and acceptance this led to a strenuous relationship with 2 of his sons. This pain went to the grave with one of his sons and ultimately to Robert’s grave in relation to his youngest son. When we meet Robert we find an echo of the man’s life, half flashback/half ghost.
Jean – Male, Caucasian French, 30’s. The eldest of 3 brothers, Jean, grew up with his parents in the slums of France. Despite a stern upbringing by his father, Jean respected and emulated the “logic” and “strength” he felt his father possessed. This led to a somewhat colder relationship with his mother and 2 younger brothers. A family man himself, Jean married and had a son. Sadly, he and his family passed away in a car accident years ago. When we meet Jean we find an echo of the man’s life, half flashback/half ghost.
Pierre – Male, Caucasian French, 20’s. The middle of 3 brothers, Pierre grew up with his parents and older brother in the slums of France. The emotional one, Pierre had the hardest time accepting the detached manner with which his father treated his family. His closest friend was his younger brother, Maurice but even that relationship wasn’t enough to prevent Pierre’s breakdown and resulting suicide. When we meet Pierre we find an echo of the man’s life, half flashback/half ghost.
Kelwin – Male, Latin (darker skin), 40+. Think Lenny Kravitz. Just plain cool. He adores his wife Luz and daughter Yari. Laid back, artsy and exudes a quiet strength, however, his might was tested when his wife was diagnosed with Breast Cancer. He became less of the caretaker for his family and more the one in need of care. In the years since her recovery he’s returned to the cool dude he was but the damage done in the eyes of his daughter.
Luz – Female, Latin, 40+. Think Lisa Bonet. Gorgeous, cultured and beautiful. Love and passion lead her life and there’s no one she loves more than her husband Kel and daughter Yari. Years ago Luz battled and beat Breast Cancer. While her husband was not the model of strength and support for her, Luz has forgiven him and moved on. Now she simply enjoys each and every day!
Kas – Female, Latin, 30’s-40’s. Stern and judgmental. Kas isn’t interested in hearing all sides of a story, only her own. Once she’s made up her mind, that’s it. While she loves her daughter (19-year-old) add family greatly, she seldom shows it. Outwardly, she holds grudges and takes comfort in being cold and mean. Inwardly, she often admires those she spars with, most notably, her niece, Yari.
Dr. Mann – Female, Any Race, 30’s. A Breast Cancer survivor, Dr. Mann has dedicated her life to helping others battle the illness. Great bedside manner and a skilled physician, Mann is the doctor you want guiding you through any illness.
Yari Age 11 – Female, Latin, 11-years-old. Precocious and wise beyond her years, Young Yari is wide-eyed and positive about the world. However, she will learn to see life with a more critical eye when her mother battles Breast Cancer and her hero-her father, collapses under the stress of seeing his ill wife’s struggles.
Bob – Male, Caucasian, 40+. Bob is a very well to do and often elitist country club goer. A former college/minor league baseball athlete, Bob’s made a successful life for himself as a baseball scout. He loves his family and his only daughter, Brenda, is his princess. Money is often the solution to any problem and that has caused Brenda to withhold her recent Beast Cancer diagnosis.
Elaine – Female, Caucasian, 40+. Born with a silver spoon in her mouth, Elaine grew up in mansions and country clubs. Detached from how the other half lives, Elaine has a heart of gold but cannot relate to the normal everyday scenario. Money is often the solution to any problem and that has caused Elaine’s daughter, Brenda to withhold her recent Beast Cancer diagnosis.
Nick – Male, Caucasian, Late 20’s-Early 30’s. Kind, soft spoken, hardworking developer. Nick has been in a relationship with recurring character Deirdre for about a year and knows all about her strained relationship with her absentee father. When her father returns, Nick instinctually shows the right blend of patience, strength, support and space. A good guy.
Milah – Female, African American, Early-Mid 20’s. Straight A student, when Milah (short for Kamilah) speaks you would swear someone twice her age was talking. She is outgoing and kind. Milah’s dating recurring character Simon and makes sure she makes it all his college games.
Tamara – Female, Latina, Early 40’s. Divorced mother just getting back into the dating world. She pushes herself to live outside her comfort zone but her fears can overwhelm her.
Cynthia – Female, Any Race, Late 20’s-Early 30’s. Cute and nice. The type of self-consumed person who can be completely into a man but pays zero attention to what he’s saying.
Lauren – Female, Caucasian, Mid-Late 20’s. Bat shit crazy... But totally appealing.
Jake – Male, Caucasian, 30’s, Handsome, charming, successful, lady’s man. Feels comfortable in a suit and has no problem cheating on his fiancé. Beneath the surface, his infidelity stems from his sexual curiosities.
Butler – Male, Caucasian, 40+. Stereotypical British snooty butler.
Olivia – Female, Any Race, Late Teens. Sweet young lady dating one of the recurring teenage characters.
Creeper – Female, Any Race, Early-Mid 20’s. The living embodiment of the Cheshire Cat.
Nurse Lemon – Female, Any Race, Any Age. The awesome and personable nurse who knows more than any doctor.
Dr. Matthau – Male, Any Race, 40+, Good bedside manner and competent.
Dr. Whitley – Female, Any Race, 40+. Stern bedside manner and competent.
Dr. Raye – Male or Female, Any Race, Any Age. Friendly bedside manner and competent.
Dr. Omar – Male or Female, Any Race, Any Age. Good bedside manner and competent.
Mala - Student Film
CASTING NOTICE - for the NYU graduate thesis short film, "Mala," directed by Marly Schuyler Hernández Cortés & co-produced by Adel L. Morales The film is about Lucinda, a 15-year old Hispanic girl, attempting to navigate the balance between the demands of her work life on an onion farm and her progression into womanhood.
*Send resumes and reels to Marly Hernandez
*Producers plan on using SAG-AFTRA Deferred Student Film Agreement.
*Shoots in late November in L.A. and surrounding areas.
Mama: (Supporting) age - 40 - 58 - Spanish-speaking role - She is a Hispanic mother to two girls (16 & 19) and has been working on farms for a decade. She has a utilitarian moral compass, always looking out for the needs of the family; will look out for individual needs as long as they don't jeopardize the family as a whole. She is stern with her daughters, even though she loves them very much.
Carmen: (Supporting) age 17 - casting age 18 - 25 - Spanish-speaking role - a Hispanic farm worker. She is shy and caring. Her best friend Lucinda, is like a sister to her. Kissing scene with Eddie.
Junior: (Supporting) age 17-19 - casting age 18 - 25 - Spanish-speaking role though not much dialogue in Spanish. Hispanic farm worker. Grew up in Twin Falls, Idaho. He's a silent observer, sees through the bullshit of the world; character has very limited dialogue but says everything through his expressions. This character is the lens through which the audience sees the world of the movie. Eddie is his cousin.
Eddie: (Supporting) age 17-19 - casting age 18 - 25 - Spanish-speaking role - Grew up in Mexico. He's been working on a farm for the last three years. He's somewhat shy but flirtatious. He has a crush on Carmen. Kissing scene with Carmen. Junior is his cousin.
Lab Cats - Web Series
Casting: "Lab Cats" Web series
Hey Guys, this show is DEFINITELY "Characters Welcomed"!
We are always seeking new talent and are currently accepting submissions if your in the NY Area. We have 2 speaking roles right now that we are in need of actors.There is no pay,but we will provide meals and footage.We are seeking people interested in working on a great project , a comedy/drama about one of the most important phases of our lives : C-O-L_L_E_G-E! AHHHHHH, The ups and downs , the mood swings, the courage to go or not go, fighting for what you believe in and standing your ground with sound evidence, facing parents,professors,faculty, as your doing your best to become who your meant to be while the rest of the world is trying to mold you to become someone else!FUCK THAT SHIT!
1)Old Head: (Male mid 40's -60's) -any ethnicity: wise older man,has seen a lot in life,experienced in business and community service,knows what it's like to work for what he wants and encourage those younger than him that life is about what you can offer to the world as an individual and be proud.
2)Professor D: (Male/Female mid 30's-60's)-any ethnicity:professor that only cares about what they speak about ,what they say is what goes, students have no chance persuading this professor and if a student even tries,they will face consequences with no remorse. However this professor enjoys teaching because they feel there is a lack of good teachers out there that actually care how well students learn,and enjoys students that are eager for more,the challenge is what drives this professor.
So uhh yeah,please email us if you are interested ; email@example.com or inbox me.
This is definitely a show to look out for, Let's work!
""""One of the most mortifying moments I experienced in my theatrical career was when I was asked to bring the entirely African-American cast of a new musical we were workshopping, a new piece by an African-American librettist and composer, across the street to the Dorothy Chandler Pavilion and up into the plush boardroom so they could perform a song or two for the board of directors. I wanted to say something, but I didn't. For one thing, it would take an invaluable 45 minutes to an hour out of the creative team's limited time together. But... every year we had to do the same old song and dance for the board to remind them that yes, we did do new plays and musicals, so yes, it was sometimes a good idea to expose the board to new voices, to the vibrancy of an exciting work in progress.
You all know where this is going, don't you? I led the team in. The talent in that team! The writer/composer himself and the cast, lauded veterans of the stage and the most promising members of the next generation of acting giants. And there was our board. White, as white as can be, white white white white. And very comfortable. They'd just been served lunch, I believe. My theater spared no expense in pleasing our board and catering to their demands (oh my god, I'm feeling such rage right now! I'm pretty sure we had a staff member who was mostly dedicated to help our richest board members get house seats to shows on Broadway and the West End. But I digress...)
The only black face in the audience seated at the conference table? The only person of color? The head of our education department, of course. My heart went out to her.
The cast sang a song from the show. They did it. And they brought it. Because they were and are professionals. And the very pillars of the Dorothy Chandler Pavilion reverberated down to the parking lot. It was breathtaking.
And I had just been complicit in the remaking of a scene for the millionth time: black bodies and voices entertaining white audiences, an institution raising money on the backs and voices of black bodies.
I was too mortified to apologize to our writer and to our cast, none of whom, I should add, expressed even an iota of discomfort. They were professionals, and they shone. And come to think of it, they'd probably all become accustomed to this scene. "It's just how theater works," they might have thought with a shrug of their shoulders. Or maybe they seethed inside, for the millionth time, when all they were trying to do is workshop a new musical.
Well, I apologize sincerely now to our writer and those actors. I wish I had had the courage to put my foot down. It is not how theater should work.
I quit the American theater on Valentine's Day 2016, so I've been out more than four years now. And honestly I don't plan to return, which is why I can write with such candor.
The heart of the problem, my friends, is with the non-profit structure, which is capitalism on steroids. Who are the bosses ultimately in an American institutional theater? The board of directors. Who are the board of directors? For the most part, those members of the community not with the strongest attachment to the art form but those with the deepest pockets. Often they're really not members of the community. They often just drop in. They are sometimes mere tourists.
It's no wonder that that board meeting was held in the Dorothy Chandler Pavilion. The theater, like most American theaters, had built its board of directors on the old opera model: You get the richest folks together, offer them galas and house seats and receptions and private recitals and showings (for which artists often don't get paid extra, mind you), you pamper them and make them feel more special and entitled than they already do, and then they'll write you big checks to support the kind of art they like, the kind of art they can bring their kids and grandkids to. AND they--not the artists, not the community--get to hire the institution's leadership.
It is a rotten model. Rotten to the core. How can any artistic institution claim to be working for and in the community with that model?
It's got to be torn down. It's got to be reinvented. And I have no idea what the next model will be. I really don't. And no, honestly I don't think government is the solution frankly. Some of the most bloated, self-satisfied, decadent theater I've ever seen was in Germany, where it was almost fully government-funded. Lots of bells and whistles and provocations and completely soul-dead.
I see amazing and galvanizing lists of demands recently being made and posted by theater artists of color. These are vital demands. But they don't address the central issue. As long as the ultimate bosses of an artistic institution remain the community's deepest pockets, nothing will change. Nothing. You'll be putting band-aids on a gaping wound. Sorry, but it's true.
So please figure something else out. Maybe for a few years you just avoid the institutions. You've already started. In the pandemic, so many of you are making amazing art without an institution. Find those who truly adore your work and ask them to fund it. Screw non-profit. Form a corporation and value your art art-making as a resource that profits you, your viewers/audience and your community. I have no idea.
But please don't return to a new version of the old. After the virus, after he's out of office, after police reform and nationwide conversations about race, after, after, after, begin something new. I can't wait to see what it is!”
Words: Pier Carlo Talenti
Video: Griffin Matthews
April Yvette Thompson