**Casting Latinos, Hispanics and light-skinned African Americans**
$$ RATE: $300/8
Work dates December 7-11! (Will likely work only 1 day).
Those selected will portray a mixed family for a pizza industrial.
KIDS: Ages 4-12 - will portray the young members of the family! (Hispanics, Light-Skinned African Americans)
Younger Brother: Ages 18-25, (Hispanics, Light-Skinned African Americans)
MOM: 40s - 50s Looking at her, her chances of owning a mini van are high. We need a woman with a bright and heart warming smile. A woman who makes everyone want to be their mom.
DAD: 40s - 50s We are looking for a man’s man who loves to grill out and watch the game with his family. We’re looking for the #1 dad!
SISTER to our cast member: Early 20’s. Sorority type. We are looking for a young hispanic or mixed college girl who has a conservative look and a million dollar smile to bring home to her happy family.
Grandparents: 60's to 70's. Classic-looking - conservative. (Hispanics, Light-Skinned African Americans)
HOW TO SUBMIT:
Please send several photos with your age, height, weight and contact info to CatrettCasting@gmail.com. Subject: BBQ Family
The Ride - Table Read for Feature Film
Casting Notice!!! Now accepting submissions for a table read of "The Ride" feature film written by Jason Hurt. www.JasonHurt.me "A young adult confronts his estranged father on a road trip from Paradise back to the concrete Jungle" The reading will take place on 12/1 in Midtown Manhattan. Email head shots, resume and reel links to firstname.lastname@example.org
JR (Male / 18-24 yrs. / Mixed Race early -mid 20’s. Aspiring talent. Raised in the tough streets of the South Bronx, JR is a weathered dreamer who was given the opportunity to experience the luxuries of life early at college in FL.
SR (Male / 41-50 yrs. / Mixed Race.) “SR” is a fast talking mid 50’s Military Vet turned street vendor. SR. Can sell water to a well. He lost track of what's important in life and is trying to get back on the right page.
Nan (Female / 61+ yrs. / African American.) Family matriarch. This retired and aging southern bell has been around the block for a few generations and is not too happy with the current state of relationship between her only son and his youngest boy. This Life Saver does everything in her power to be the link to a better experience for the two.
Sylvia (Female / 51-60 yrs. / African American.) Sylvia Is Nana’s side kick and best friend of over 40 years. A widow herself Sylvia is the Ying to Nana’s Yang- She knows the family as her own and is a quiet observer when it comes to the dealings within the household.
Sandy (Female / 41-50 yrs. / Hispanic.) JR's mother . has re-married since moving back home to NYC in the late 80’s and has recently re-located down South to Georgia in seek of a more peaceful and fulfilling experience away from the city life.
Lou (Male / 41-50 yrs. / Hispanic.) Apply now LOU is a mid 40’s light hearted Latino engine specialist who works on cruise ships during the day.
Ray (Male / 18-24 yrs. / Hispanic.) Apply now LOU’S Nephew and an aspiring mechanic. He barely speaks a lick of English but loves cars and is determined to put in the time to learn the trade so that he can one day open up his own shop.
ABE (Male / 25-30 yrs. / Black - African.) ABE is SR’s business partner- Seeking Sudanese or African Actors
ABU (Male / 25-30 yrs. / Black - African.) ABU is a vendor who also works with Abe and SR.
Mark (Male / 25-30 yrs. / Caucasian.) Mark and Jr. became best friends during college and showed him the ropes of the luxury life in paradise. Mark is no holds barred and lives life in the fast lane.
Love at First Night - Web Series
CASTING IN NEW YORK for New Web Series
"Love At First Night" is a comedy based web-series about 2 men finding love after a hook up. Although their connection is seamless, they can't escape the issues affecting their blossoming relationship. Spencer and Jayden walks us through the stages of their unconventional love story.
- JAYDEN | Male | African-American | Age: 28 - 40 | Role Type: Leading
Jayden is an outspoken, self aware man who knows what he wants and isn't afraid to go for it. After hooking up with Spencer he also holds a secret that could get in the way of their happiness. (Must be comfortable with doing the intimate scenes with another male actor.)
- DERRICK | Male | African-American/Latino | Age: 25 - 30 | Role Type: Supporting
Derrick is Jaydens ex, he's very charismatic, seductive yet there's something dark and mysterious about him. You can sense he has something to hide.
-MICHELLE | Female | African-American | Age: 31 - 40 | Role Type: Supporting
Michelle is Jaydens sister, single mother, rough around the edges. She's very blunt and to the point but delusional and doesn't care.
-DENNIS | Male | African-American | Age: 25 - 30 | Role Type: Supporting
Dennis is Spencer's co-worker. Laid back hood dude that doesn't know much about boundaries. He means well and often gives great advice at the wrong time.
Please email current headshot, reel and resume at email@example.com
Non-Union - Non Pay - Food, copy, and credit will all be provided
""""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