Emayatzy Corinealdi WHY the “MILES AHEAD” STAR RE-EVALUATES HERSELF EVERY SIX MONTHS
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03.31.16 • BACKSTAGE.COM Emayatzy Corinealdi WHY THE “MILES AHEAD” STAR RE-EVALUATES HERSELF EVERY SIX MONTHS 16+ PAGES OF CASTING NOTICES! THE BENEFITS OF NETWORKING LOOKING AT THE TOP DANCE CONSERVATORIES PREVIEWING “THE BOSS” WITH BEN FALCONE CONTENTS vol.57,no.13|03.31.16 COVER STORY NEWS page 14 6 WritersGuildofAmerica,Westreleased2016 Hollywood WritersReport THE SIX- 7 Thisweek’sroundupofwho’scastingwhat starringwhom MONTH PLAN 8 TDF’sautism-friendlyinitiativereached B’way’s “Aladdin” “Miles Ahead” star Emayatzy Corinealdi is behind on her biannual self-evaluation—but for all the best reasons ADVICE 11 NOTEFROMTHECD Clothingnotoptional 11 #IGOTCAST QuartayDenaya 12 SECRET AGENTMAN Thestartofdropseason 13 #IGOTCAST RachelAlig FEATURES 4 BACKSTAGE7WITH... CiaránHinds 10 MEETTHEMAKER BenFalcone,“TheBoss” 12 SPOTLIGHTON... CliffCurtis 13 INSIDEJOB BonnieGillespie,castingdirectoratCricketFeet 18 GOBULLDOGS Howtogetintooneofthemostcompetitive graduateactingprogramsinthecountry 19 STEPO T THENEXTLEVEL Tenstellardanceconservatories toconsiderforcollege 20 WHENOU Y GRADUATEFROMHERE, YOU’REFAMILY Fourofthenation’stopactingschools breakdowntheartofnetworking 40 BACKSTAGELIFE “LifeinPieces” CASTING 22 New YorkTristate 30 California 34 National/Regional On the cover: Emayatzy Corinealdi photographed by Benjo Arwas in Los Angeles. Styling by Lizette Pena. Hair by Marcia Hamilton. Makeup by Kirin Bhatty. Dress by Caterina Gatta. Cover designed by Jessica Balaschak. BRIAN DOUGLAS BACKSTAGE.COM 03.31.16 backstage 1 Chief Executive Officer President & Chief Financial Officer Vice President of Vice President & Peter Rappaport Chief Operating Officer Michael Felman Engineering National Casting Editor Joshua Ellstein James G. Reynolds luke Crowe Vice President, Director of Digital Corporate Controller Graphic Designer David Grossman Scott Wilson Jeff lilley EDIToRIAl ART CASTInG CUSToMER SERvICE Editor-in-Chief Design Director Managing Casting Editor Customer Service Manager Mark Peikert Jessica Balaschak Melinda loewenstein Richard Burridge Senior Digital Editor Art Director Supervising Casting Editor Customer Service Associate Rebecca Strassberg Margaret Ruling v eronika Daddona Danny Camporeale Associate Editor Film & TV Casting Editors PRoDUCTIon Briana Rodriguez Riley Fee Production Manager ADvERTISInG SAlES lisa Hamil Assistant Editor Mark Stinson Director, Jack Smart Theater & Performing Integrated Marketing Arts Casting Editors Kasey Howe Staff Writer Michael Coughlin Benjamin lindsay Group Sales Director Anna Paone Allen Buhl Community Manager Casting Editor Britney Fitzgerald Senior Manager, Elijah Cornell Business Development Copy Editor Regional Casting Editor Gerry Sankner Brandy Colbert Byron Karlevics Contributing Writers Casting Specialist s MARKETInG Matt Busekroos John Berkowitz Marketing Associate Molly Eichel Molly Matthews Ryan Remstad Marci liroff Research Editor & Director of Education Call Sheet Editor and Events Rebecca Welch Tome lapk Backstage was founded in 1960 by Ira Eaker and Allen Zwerdling EDIToRIAl oFFICES CASTInG DEPARTMEnT CUSToMER SERvICE PERMISSIon 45 Main St. 323-525-2358 917-725-6367 For one-time use of our content, Brooklyn, NY 11201 [email protected] [email protected] as a full article, excerpt, or [email protected] production prop, contact DISPlAY ADvERTISInG [email protected] [email protected] BACKSTAGE, vol. 57, no. 13 (ISSn#53635 USPS#39740) IS PUBlISHED WEEKlY (except the fourth week of December) by Backstage LLC, 45 Main St., Brooklyn, NY 11201, $3.99 per copy, $99 per year. Periodicals postage paid at Brooklyn, NY 11256 and additional mailing offices. Printed in USA. POSTMASTER: Send address changes to Backstage, 45 Main St., Ste. 416, Brooklyn, NY 11201.Publication Mail Agreement No. 40031729. ©2016 Backstage LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the prior written permission of the publisher. Backstage LLC: Peter Rappaport, Chief Executive Officer; Joshua Ellstein, President and Chief Operating Officer. 2 backstage 03.31.16 BACKSTAGE.COM BACKSTAGE 7 WITH... BACKSTAGE 5 WITH... Ciarán Hinds FIRST LASTNAME by Mark Peikert Tell us about this production of ‘The Crucible.’ Ivo starts from the very beginning. And my character [Deputy Gov. Danforth] doesn’t come in until the beginning of the third act, so I came in today for the first time after the read-through two weeks ago. Some directors do a read-through and some improvise around it. Some sit around a table for weeks discussing and analyzing, but Ivo just starts at the beginning and works very precisely. And when it’s time to turn up, you’re called for rehearsal. What do you wish you’d known before you started acting? That it was going to go on for so long in my case! But then some people find me very fortunate to have the continuation of work. But every time you find another job, you’re back with a pick and shovel hacking away at the work. You have to start at the bottom all over again. On whom do you have an acting crush? Mark Rylance, Cate Blanchett, Meryl Streep, Toby Jones, Adrian Lester. And, of course, Jim Norton. What was your most memorable survival job? Working in Harrods’ packing department in the ’70s when I was a student for no money a week, packing up very expensive pieces of elegant crockery to be sent to very exotic places. How do you typically prepare for an audition? To be honest, I haven’t auditioned for a while. When I left theater school, I did about Returning to Broadway for the first four or five auditions and I was terrible at them. I was fortunate that time since the 2013 production of [Glasgow Citizens Theatre Company] took pity on me and gave me a job and kept me on for seven seasons. Without that, I don’t know if I’d “Cat on a Hot Tin Roof,” Ciarán Hinds ever get to work at all. I didn’t really know the art of it at that time. It’s is part of an all-star cast bringing all different now. In the ’70s, you went on a hope and a prayer, really. to life a very different production of In the alternate universe in which you aren’t an actor, what would Arthur Miller’s iconic drama “The you be doing? I might do a spot of gardening, planting and stuff—but Crucible,” directed by Ivo van Hove. not in the winter. A fair-weather gardener. Hinds talks to Backstage during the How did you get your SAG-AFTRA card? I suppose you could say it rehearsal process about van Hove’s was out of loyalty. I worked for Sam Mendes in the ’90s [in London] directorial style and why Sam Mendes a couple of times and he was filming “Road to Perdition” in Chicago, about an Irish gangster family, and he fought very hard to get me led to his SAG-AFTRA membership. involved in it. And it really stuck out to me, because nobody knew who I was but he really fought to get me into it. • “EVERY TIME YOU FIND ANOTHER JOB, YOU’RE BACK WITH A PICK AND SHOVEL HACKING AWAY AT THE WORK.” JOEL KIMMEL JOEL 4 backstage 03.31.16 BACKSTAGE.COM NEW YORK STELLAADLER.COM 212-689-0087 31 W 27TH ST, FL 3 NEW YORK, NY 10001 [email protected] THE PLACE WHERE RIGOROUS ACTOR TRAINING AND SOCIAL JUSTICE MEET. 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Many people can get their first job but how do you have a long-running career?” As an employer, Mazzara added that while inclusion efforts met some pushback in “a system resistant to change,” they improved the quality of work coming out of his writers’ rooms and challenged stereotypes or clichés he “wouldn’t have thought of.” “[This] report makes it emphatically clear that [the Writers Guild of America, West] needs not just to mirror a broken system, but to work to change it.” — HOWARD A. RODMAN, WGAW PRESIDENT “It’s about different perspectives,” Mazzara said. “Because I have a particular viewpoint, it’s about listening and talking and having TELEVISION conversations that constantly challenge your core perspective, and realize that that’s what we do as writers—we need to examine those Who’s in the different perspectives.” Mazzara has made inclusion a core value that’s implemented early on in the production process. Writers’ Room? It’s a step which echoed feelings during an ABC panel late last year about diversity on television. WRITERS GUILD OF AMERICA, WEST RELEASES ITS 2016 REPORT “A lot of times, unfortunately, inclusion comes in tacking on casting...and then what you “[This] report makes it emphatically clear wind up with is the token friend, especially in BY BRIANA RODRIGUEZ that our Guild needs not just to mirror a broken comedy,” said Jamila Hunter, the network’s head he Writers Guild of America, West system, but to work to change it,” said WGAW of comedy development.