the professionals casting


Dylan Sprayberry for DA MAN Magazine by Mitchell McCormack lockscreens with psd

• Yeah people y’all can calm down now because i just made lockscreens of the new Dyl’s photoshoot *yep you all can scream a lot now* (jesus this guy needs to stop)

• Well if you’re gonna use/save/fall in love please like/reblog or follow me because i’m gonna make MORE ;) ♥

• Click on the pic to save it in HQ

anonymous asked:

It's just so hard to be happy for Harry when Louis has such a shitty team behind him. I see all this stuff happening for Harry and I just want to see it happen for Louis. Does that make me bad?

No it doesn’t make you /bad/… it’s just..

Okay look. Let’s pretend that Louis has the best team he could acquire, who would work tirelessly for him and do everything right for him. Even if he had Harry’s team, even if he had a better team, there is a really good chance that Louis would still not be doing what Harry is doing.

They are not currently acting within the band. They are acting as solo artists, solo artists who may have different goals and different aspirations and may be interested in different aspects of the industry. They may just want different things. it’s not fair to hold that against Harry.

I want Louis to have a team who cares about him, and I want a team that will fight FOR him and fight beside him to get him the best of everything that he can get. I want Louis to be free to explore what he wants to do, and know that he has a professional and effective supporting cast behind him, whatever that means. Whether it’s more songs, an album, writing, mentoring or producing, working with the girlband etc. Whatever he WANTS to do is what I want.

But the fact that he is obviously with a team who is not fighting for him is not, in my opinion, a fair reason to be resentful towards Harry. I’m so happy for Harry and I’m excited and I want to see what happens and how he does and I want to cheer for him and support him. Being frustrated about Louis’ team and being happy for Harry are not mutually exclusive, they can be felt at the same time.

a broadway actor: theatre is MEANT to be EXPERIENCED LIVE and filming it in ANY capacity DEFEATS the PURPOSE of LIVE theatre! no one should EVER film THEATRE even if it’s a professional recording it defeats the PURPOSE of EXPERIENCING it LIVE.

my broke theatre-loving ass: love me

Lin-Manuel Miranda caps a huge ‘Hamilton’ year with 'Moana’ (L.A. Times):

[…] When did “Moana” come to you?

I can trace the journey of “Moana” in the journey of my son’s life. I found out I got the job on “Moana” the same day I found out I was going to be a father. My wife was going on a business trip and she was leaving first thing in the morning. She turned to me and said, “You’re gonna be a father. I gotta go catch a plane.”

And I went, “What? That’s great.” And fell back asleep. I had to call her back for confirmation. Then I got the call later that afternoon that I got the job. They called me again and said, “We’re all going to New Zealand this weekend; you’re leaving first thing in the morning.” It was pre-“Hamilton.” So I’ve been working on this for two years and seven months. My son [just] turned 2.

It was really kind of an incredible journey. And the “Hamilton” phenomenon happened while I was writing it.

How did you split the time?

I had to really protect my writing time. In one sense it was really great, because, you know, when something is as successful as “Hamilton” everyone wants a piece of you. Everyone wants 10 minutes to talk about their pitch, or press, or what have you. The things that come with the success of a thing.

I got the luxury of having to say no to a ton because I was like, “Tuesdays and Thursdays are full-time ‘Moana’ writing days.” I would meet via Skype with the creative writing team at 5 p.m. every Tuesday and Thursday, then I would go to the chiropractor, then I would get into costume for a 7 p.m. show. It was built into my performance schedule.

I also had the luxury of amazing singers in the building — so a lot of my early demos for “Moana” is [the “Hamilton” cast]. Pippa [Phillipa] Soo, who played my wife, singing Moana’s tunes, and Chris Jackson, who played George Washington, singing Maui’s tunes. He’s actually in the movie: He’s the singing voice of Moana’s dad.


What was the key that unlocked the character of Moana for you?

The thing that resonated for me with Moana is she is not someone who hates where she is. Moana loves her family, she loves her island. She knows she’s got responsibilities and she’s ready to embrace them. And yet there is this voice inside her that says you’re not supposed to be here, you’re supposed to be somewhere else.

I can relate to that. I was a kid who was always making stuff. I didn’t know whether I wanted to make action movies or animated cartoons or musicals, but I was always just making stuff. My parents were like, “This is not practical. You’ll be a great lawyer.” And it was never gonna happen. I loved my parents and I loved where I lived, but I also had this voice that was, what’s the distance between me and what I want. That’s what I tried to imbue her with without villainizing the things around her. It’s not “there must be more than this provincial life,” it’s “I love it here and yet; and yet every time I absentmindedly walk I find myself at the water again.”

Given the love for “Hamilton” in the world, given that its journey is not over by a long shot, there is going to be some high school in Kansas that wants to mount a production of “Hamilton” and all of the roles are gonna be played by white kids. Is that missing the point? Or is that the point?

When it comes to kids, I relax all of my rules. When I think from my perspective I got to be a son in “Fiddler,” I got to be Conrad Birdie, I got to play roles that I’ll never get to play as an adult. Once you’re an adult, the world puts you in a box and you’re cast by type and ethnicity. I directed “West Side Story” my senior year in high school. I was one of the only Latino kinds in my school, so my Sharks were white and Asian. At the same time, I was able to flip that into a teaching moment. I brought my dad in to do dialect coaching so it wasn’t [bad] Hollywood accents, it was authentic Puerto Rico accents that these kids were attempting.

I hope there’s enough in “Hamilton” that if you go to a school where there are literally no kids of color — and that is increasingly rare in our country, which is a good thing — your job is to honor the story. For me “In the Heights” has been this. I get joy from both sides of it. I get joy that kids who go to schools that are largely white suddenly are waving Dominican flags around and having to learn Spanish to understand what they’re singing. So they’re getting a dose of cultural education by virtue of doing this show they like. Whether or not they have quote unquote permission to do it. They’re getting it. The medicine is going in. You now have empathy for a group of people that have never been in your school.

I’m grateful for that. Then when a school in the South Bronx does it and it’s all black and Latino kids and the sense of ownership and pride they feel — like this is ours, this is about our families — there’s no quantifying the joy I get from seeing a production like that.

I think keeping kids from art is not something that’s interesting to me. Now, regional productions are a whole different thing. When you’re in a professional production it’s like, cast [it] right. Save yourself the headache of everything that comes with a very important conversation about cultural appropriation.

Is there somebody who has the ‘How to be a Celebrity’ playbook that you’re cribbing from? You’ve navigated the pre-“Hamilton” to post-“Hamilton” transition better than most.

You learn very quickly that the trappings of it is how much you bring to it. If you surround yourself with three security guards and an entourage, people are gonna look at you. As opposed to my friend Josh Groban, who takes the train to work. And he’s Josh Groban. He’s got millions of fans. He wears it lightly. He’s still just a guy. I’m inspired by that. I refuse to sit on a pedestal that people want to put you on. I’ll write a dumb tweet in the morning and someone will be like, “Pulitzer Prize winner. Can’t get his coffee right.”

You can’t stop being the person you were just because more people are looking at you. […]

read the rest of the great interview!

Last night I saw what had to be the most professional and talented cast of high school kids do a production of Les Mis I’m still a bit in awe. I’ve seen the show about 4 times on broadway and I swear this production was comparable like I legit forgot I was at a high school musical. I might post a video from the performance so people can see what I’m talking about because holy fuck. Especially the kid who played jean valjean who sounded and acted like a seasoned broadway professional. I was in tears they were all so good 😭

  • Ouat Cast: Robert Carlyle is a genius, it's an honor to work with him.
  • Robert Carlyle: *spends an hour to prank Colin O'donoghue*
  • Robert Carlyle: *holds a water bottle to his side to make it look like he's peeing so Lana Parrilla messes up her scenes while laughing at him*
  • Robert Carlyle: *starts peeling his Rumple skin off during rehearsals and throws it at Jennifer Morrison to troll with her*
  • Robert Carlyle: *makes faces during Emilie de Ravin's shots to make her laugh*
  • Robert Carlyle: ¯\_(ツ)_/¯

♥ it’s time to spread your podcast pallet ♥

We are almost done with January! We’re almost done with the first month of the new year and we are still listening, protesting, talking, and surviving. We still have so much more to accomplish and today’s podcasts may help rekindle that creative spark we all desperately need. 

So it’s time to tune into creepy stations, dig around that dusty old library, and keep things campy for flavor. Hopefully this combination of new finds will get us all through February until the welcoming embrace of spring.

Looking for something fresh to please that sudden thirst for audio storytelling? Look no further as PodCake has six more podcasts you’ll certainly love.

1. Point Mystic 

Each year thousands of unexplained events occur. We know these accounts to be true. Behind that truth lies the real stories — life-changing and sometimes frightening. My name is Christopher Reynaga. From the shores of Point Mystic, come with me in search of the stories behind the magic, the mystery, and the unexplained.

Magic and mystery collide in Point Mystic, the cult radio show that should be a pleasant pick for the coming chills of the year. Be it a “Dragonscale” epidemic or little white rabbits, these stories are bound to entrance you one way or another.

Point Mystic has only a few episodes under it’s belt at the moment, though I’m sure they would love to welcome you down it’s rabbit hole. So get curious and get on point with this pick.

2. Wooden Overcoats

On the overlooked Channel Island of Piffling, obstinate undertaker Rudyard Funn runs his family’s failing funeral parlor. But when new and sexy undertaker Eric Chapman sets up shop across the square and becomes an immediate sensation, Rudyard realizes he’ll have to take drastic steps to stay in business.

Hello there you Piffling Islander! Got a taste for British black comedy? Well, Wooden Overcoats may or may not be a familiar title among you podcast fanatics. This is most definitely a must-listen for those looking for excellent comedic timing, charm, and a talented cast voicing a colorful cast of characters. 

Follow the misadventures of Rudyard and friends and family and rivals as he goes through any means to keep himself afloat and his coffins full. Who says death always has to be a downer? 

3.  Synesthesia Theatre 

Stories you watch with your ears. A professionally-produced full-cast audio drama podcast presenting 8-12 part serials across a variety of genre and story types, featuring some of Chicago’s premier vocal talent.

In this audio movie theater experience produced by the talented voices of Chicago theater comes Synesthesia Theatre. In this serial anthology podcast we are granted a variety of amazing tales straight from the source of Burning Brigid Media.  

Synesthesia effortlessly bounces from theme to genre as it pulls of steampunk western one day and cyberpunk western the next, pulling off each idea with great new characters and fresh lore. Variety is the spice of life and the heart of this great audio drama.

4. The Adventures of MechaBetty 

Just a small town girl turned giant cyborg to fight off an alien invasion.

For audio drama fans who think their podcasts could use more robot girls, TitanKore has you covered. In this campy old-style radio drama that meshes the future with 50′s style camp, MechaBetty is delightfully action packed and bursting with creativity. 

Stylized to a T to make something both humorous and oddly heartwarming, MechaBetty is something a little different to warm up the last few days of winter. MechaBetty is wonderfully weird and plenty aware of it so it’s a better time than ever to join the fun.

5. Dark Tome

What if there was a book that literally opened up doorways to other worlds? Where would it lead, and could you handle what you found on the other side? Cassie, a wayward teen, is about to find out. One day, after she wraps up community service at a local hospital, she stumbles out of the basement of a spooky bookshop and into a story set on a devil’s staircase in a remote Italian village. 

Multidimensional books, anyone? I’m glad I already have your attention. If you’re looking for solid and sometimes strange storytelling, Dark Tome has story after story to keep you coming back down its staircase. 

Dark Tome comes complete with excellent voice acting, great characters, and a number of equally cool and creepy tales told by the likes of Joe Hill and Catherine Valente. These contemporary tales from around the world are sure to keep you entertained. 

6. The Magnus Archives 

Make your statement, face your fear. A weekly horror fiction podcast examining what lurks in the archives of the Magnus Institute, an organisation dedicated to researching the esoteric and the weird. Join Jonathan Sims as he explores the archive, but be be warned, as he looks into its depths something starts to look back… 

Creepy will always be cool when it comes to audio drama. There’s never enough creepy tales to keep your skin crawling and The Magnus Institute has plenty to spare. Eerie and atmospheric with a touch of mystery, join Jonathan Sims as we follow him through each and every cryptic case number.

Highly atmospheric with stellar storytelling, The Rusty Quill prepared a compelling and creative show made through good old elbow grease…and really good editing. 

now, get to listening.


“[The packs] are rectangular, a rectangle has corners, and when the corners are made of metal, and you run by a colleague… The flesh is torn by the metal corners. […] Lot’s of torn flesh. Good there weren’t sharks in the studio… ‘Cause of the blood? Anyway.

Moana’s french casting is GREAT

while i am just starting to like moana’s french title, which is “vaiana la légende du bout du monde” (i understand they had to change it but it still took me a while to get used to it ha!) i just learned the main french cast were ALL POC, theres no white washing they actually did a GOOD CAST im so happy i mean LOOK

Moana (or Vaiana): Cerise Calixte, Tahitian

Maui: Anthony Kavanagh, Haitian

Sina, Moana’s mother:  Mareva Galanter, Tahitian (been elected Miss France Tahiti twice in 1998 and 1999)

Chief Tui, Moana’s father: Jean-Luc Guizonne, Antillean

So apparently Callum is playing Theseus. So it’s looking like it’s a flashback. Because there’s no way that someone that babyfaced is going to play his older brother in the present day. No way. Eddie might pass for younger than his age, but not by this much. Callum is clearly so much younger. So if I don’t see a “present day” Theseus casting announcement soon, I’m going to assume that Theseus died sometime between the movies because no professional casting director is going to consider someone this young for this part for a second.

Trailer for “Beatriz at Dinner” Has a Rich People Dinner, in Trump Era, Go Awry

Having dinner with friends and especially friends of friends under the Trump Administration is a dicier proposition than it has been in recent memory. 

The new dark comedy, Beatriz at Dinner, from director Miguel Arteta and writer Mike White attempts to capture that tension in a dinner at a lavish mansion between rich folks and their professional healer. The cast that includes Salma Hayek, John Lithgow, Connie Britton, Jay Duplass, Chloe Sevigny, and Amy Landecker make this doomed dinner even more enticing.

Get a taste of what’s coming with this trailer

Look for Beatriz at Dinner in theaters on June 9th.


“Isolated Heroes is the result of a collaboration between photographer David Sims and designer Raf Simons. Taken in the summer of 1999 the portraits are of non professional models street cast by Raf Simons wearing his Spring Summer 2000 collection. Each boy is portrayed with a fixed gaze and a dose of realism that David Sims has become renowned for. All the models are photographed against a plain backdrop and shot in a mixture of colour and black and white. The sequence of faces are each credited with the models first name and a serial number. Initially conceived as a work in progress this collaboration became a highly regarded body of work in its own right, bridging the worlds of fashion, photography and art.”

Every spring semester the University Library System, in collaboration with Pitt’s Office of Undergraduate Research (OUR), award ten students with the Archival Scholars Research Award (ASRA). This semester, seven of those students are working at Special Collections. Each month, we ask the scholars to submit blog posts demonstrating the discoveries they are making. Enjoy!

In the early 1800s, the theatrical boom of Pittsburgh was sustained by resident stock companies. The performers in resident stock companies mounted a rotating repertoire of independent productions, as well as, supported the well-known, traveling actors who needed a cast of professionals in each city to elaborate their productions. Most stock companies employed troupes of eight to ten actors, at least one stage manager and prompter, a scenic artist, a stage carpenter, a properties master, and an orchestra leader.

One such theatre company, was the Trimble Variety Show, which performed in the Vaudeville style with a mixture of specialty acts such as burlesque comedy, song, and dance. The Trimble Variety Show was one of Pittsburgh’s largest preforming groups and the early managers created Rules and Regulations, as well as Articles of Agreement, comparable to present day Company Agreement’s and Performer Contracts.

Many of the principles outlined in the Rules and Regulations mirror the values of theatre companies today including a commitment to punctuality (third and fourth), the backstage area as a place of business (fifth), and a separation between the performance staff and the patrons (sixth and seventh). 

-Kristen West, Archival Scholars Research Awardee ‘17