#chicago actor headshots

[capturely12]

Atlanta Headshots: Capturing the Essence of Professionalism and Personality

In today’s digital age, first impressions are often made online. Whether you're an aspiring actor, a corporate professional, or a social media influencer, a high-quality headshot is crucial for making a lasting impact. Atlanta, known for its vibrant arts scene and booming film industry, is home to numerous talented photographers who specialize in headshots. This article delves into the significance of headshots, what makes Atlanta a unique place for this service, and tips for getting the perfect shot.

The Importance of a Professional Headshot

A headshot is more than just a photograph; it's a visual representation of your brand. For actors, it’s a critical tool in their arsenal, often serving as the first introduction to casting directors. For business professionals, a polished headshot conveys competence, confidence, and approachability. In the age of LinkedIn and professional networking sites, having a standout headshot can make a significant difference in career opportunities. Moreover, for influencers and content creators, a headshot helps in building a personal connection with their audience.

Acting and Entertainment Industry

Atlanta headshots has earned the nickname "Hollywood of the South" due to its thriving entertainment industry. With numerous films, television shows, and commercials being shot in the city, the demand for professional headshots is high. Casting directors receive thousands of submissions for roles, and a compelling headshot can make an actor stand out from the crowd. It’s not just about looking good; the headshot must also capture the essence of the actor’s personality and versatility.

Corporate and Professional Use

In the corporate world, a headshot is often used on company websites, LinkedIn profiles, and in marketing materials. A well-executed headshot can reflect the professionalism and credibility of an individual or a company. It’s an essential component of personal branding and can influence how colleagues, clients, and potential employers perceive you.

Social Media and Influencers

For influencers and social media personalities, a headshot is a key part of their online presence. It’s often the first image people see when they visit a profile, making it crucial for establishing a personal brand. A great headshot can help build trust and connection with followers, making it easier to grow an audience and engage with them effectively.

Why Atlanta?

Atlanta offers a unique blend of factors that make it an ideal location for headshots.

Diverse Backdrops

Atlanta’s diverse urban and natural landscapes provide photographers with a variety of backdrops, from sleek cityscapes to lush parks. This diversity allows for creative flexibility, ensuring that each headshot session can be tailored to the individual’s needs and personality. Historic neighborhoods, modern architecture, and scenic outdoor locations offer countless possibilities for creating memorable headshots.

Thriving Arts Scene

Atlanta’s vibrant arts scene means there’s no shortage of creative talent in the city. Many photographers in Atlanta are not just skilled technicians but also artists who bring a creative eye to their work. This artistic perspective can elevate a headshot from a simple photograph to a compelling portrait that tells a story.

Professional Community

The city’s professional community, particularly in entertainment and business, is strong and interconnected. Photographers in Atlanta often collaborate with other industry professionals, such as makeup artists, stylists, and casting agents, to provide a comprehensive service. This network ensures that clients receive the highest quality results, tailored to their specific industry needs.

Tips for Getting the Perfect Headshot

Choose the Right Photographer

Selecting a photographer who specializes in headshots is crucial. Look for someone with a portfolio that reflects the style you’re aiming for. Whether you need a dramatic, character-driven shot for acting or a clean, professional image for corporate use, the photographer’s previous work should align with your vision.

Prepare in Advance

Preparation is key to a successful headshot session. Here are some tips to get ready:

Wardrobe: Choose clothing that reflects your personal style and the image you want to project. For corporate headshots, opt for professional attire in solid colors. For actors, consider having a few different outfits to showcase versatility.

Grooming: Pay attention to grooming details. A fresh haircut, clean shave, and subtle makeup can make a significant difference. For women, professional makeup can enhance natural features and ensure a polished look.

Rest and Hydration: Get plenty of rest the night before and stay hydrated. This helps your skin look fresh and reduces under-eye bags.

Practice Posing: Spend some time in front of a mirror practicing different poses and expressions. This will help you feel more comfortable and confident during the shoot.

During the Session

Relax and Communicate: The more relaxed you are, the better your photos will turn out. Communicate with your photographer about what you’re looking to achieve. A good photographer will guide you through poses and expressions.

Variety of Shots: Aim to get a variety of shots, including different angles, expressions, and wardrobe changes. This will give you a range of options to choose from and ensure you have a headshot that fits different purposes.

Natural Light: Whenever possible, use natural light. It’s flattering and can add a level of warmth and realism to your headshots. Photographers in Atlanta often take advantage of the city’s ample sunshine and outdoor locations for natural light shots.

After the Session

Review the proofs with your photographer and select the best images. Professional retouching can enhance the final product, but it’s important to maintain a natural look. Avoid excessive editing that makes the photo look unrealistic.

Conclusion

In the bustling city of Atlanta, where the arts and professional worlds intersect, a high-quality headshot is an invaluable asset. It’s more than just a photograph; it’s a powerful tool for communication and branding. Whether you’re an actor seeking the perfect role, a corporate professional aiming to impress, or a social media influencer building a personal brand, investing in a professional headshot is essential. With its diverse landscapes, vibrant arts scene, and talented photographers, Atlanta is the perfect place to capture the essence of who you are through a headshot. By choosing the right photographer, preparing adequately, and approaching the session with confidence, you can achieve a headshot that makes a lasting impression.

[brechtian]

how Does one make a future professionally in theatre, especially after graduation? asking genuinely, looking for advice!

Hello! I’m back home, I don’t have plans today except for filming an audition tape, and I’m ready to answer this question. Let’s get started!

Resumes:

If you went to school for theatre, hopefully your professors taught you to have separate professional, technical, and acting resumes & how to format them correctly, as they’re all weird and different. If they hung you out to dry, dm me, I can send some examples :)

Applications:

Just go for it! Apply for things! You’re particularly going to want to look for the following:

Theatres in your area you could plausibly commute to.

Theatres that offer artist housing (most common in summerstock, but plenty other theatres do it as well)

Theatres in cities where you have connections/potentially a place to crash for a couple months

ALSO. If you’re an actor, do not just audition; apply for technical and administrative positions as well. In this industry, artistic directors often want to cast people they trust, so if you start out as a production (or, in my case, box office + education) intern but want to act in the future, they’re a lot more likely to cast you when the next pool of auditions come around. Also working in other parts of theatre is fun & makes you more well-rounded/hirable!

On that topic, if you’re in or fresh out of college, you’re going to want to keep an eye out for internships and apprenticeships; you’re most likely to get hired for them, and, again, a foot in the door is a foot in the door.

Once hired:

If you get a contract to work at a theatre, have fun, but also use that opportunity to make connections!

This doesn’t just mean with the theatre you’re working at; connect with your interns, actors, directors, creative staff, admin. Theatre is a small world, and a lot of the people who are working in it professionally will have contacts and recommendations for you. Listen to them, and make friends!

Just in case this one isn’t obvious. Reputation is extremely important in this industry. Work hard, be pleasant to be around, and if you’re going to do stupid shit (I did plenty), don’t post it to your public story or loudly tell others about it. Trust me.

Other Notes:

When you work in professional theatre for the first time, you will probably feel really inadequate and embarrassed and like everyone is more prepared than you (at least, I did). Do not let the demons win.

Find your niche. Apply for everything, sure, but everything is a lot! I was interested in Shakespeare, so I went through every registered Shakespeare theatre in America to look at job opportunities + whether they offered artist housing, and it definitely made my cover letter more convincing because I DID actually care about the theatre being made there.

Okay this one may be controversial but. Don’t pay $400 for a headshot that shit is goofy to me. Find a friend with a good camera, wear a solid color and take some nice photos in front of a neutral background. Sorry maybe I’ll invest one day but like literally just does not seem worth it to me especially this early in my career.

Keep an eye out also for theatre-related jobs in other industries. I recently applied for a stagehand position at a music venue since it’s still in the theatre realm but it’s in my city + has decent pay while I work on moving! :)

Don’t make yourself miserable. If you’re working in theatre, you’re doing so because you love it, so it just doesn’t make sense to work in a place or position that you hate. With that said, if the only kind of theatre you want to be doing is acting in Chicago, maybe broaden your horizons lol!

That’s all that is coming to mind right now; if you have any questions or want more specific advice, just let me know :)

[bowtiesnmusicals]

Here is my recap of the To The Max (Adler) episode of the podcast.

Jenna makes a joke that Kevin is the special guest. Kevin says grim…you couldn’t do better then me.

Max is probably the only cast member that was actually in show choir. Kevin said he was the most qualified person on the show. Jenna said she is surprised they didn’t audition him for Puck. Kevin said Robert Ulrich had a vision and really nailed it. Kevin said he trusts Robert Ulrich.

Max talked about his son. He said he is talking up a storm into planes, garbage trucks and construction vehicles. He said they a re battling to get him to sleep in his own room.

Max talked about the writers strike. He said he is trying to figure out life amongst the strike. He is producing and acting. Kevin said it is interesting because the last time the writers strike happened Glee happened. It worked out for them last time. Maybe a reboot. Max said maybe he could be a shoe(schue) in no pun intended. The mentioned a reboot. Max joked that he wouldn’t be invited back. Jenna and Kevin said same that they also would just be watching. Max mentioned a podcast called Strike Talk. It’s all about the strike. They also had a whole conversation about mini rooms which is like a show writer and two writers that write an entire season of a show instead of like a team of ten writers. This is much like how Glee was for the first two seasons. It was just Ryan, Ian, and Brad. Glee was also unique in that it was 22 episodes and not 8, 10, or 12 like many shows that might use a mini room.

Jenna asked Max about his audition for Glee. Max said he was doing the valet/restaurant/day job game. He was working at Macaroni Grill and missed a shift for a callback for a Montana Meth project. Meth was a big problem in Montana and they were trying to battle that through PSAs. He booked this gig. He was fired the same day he got into SAG. He worked at another restaurant and was doing bit on Ghost Whisperer and What About Brian. He had an agent and begged him to get in for a series regular on Glee. He mentioned that he and Jenna were the only people in show choir. He was a huge show choir person in high school. They toured and competed. He sang and danced. He went to the Bahamas and Chicago. He lived the Glee life. He loved Nip/Tuck. He would have parties at his parents house and friends houses. When he heard the creator of Nip/Tuck was doing a show about show choir he was like please please get me in. Kevin said nothing is more specifically right for you. Max said right, right but in the world of Hollywood they didn’t see him. They didn’t see it and didn’t think he was right. He dropped his headshot off every week at Unique A casting. They brought him in for two lines one day for both Karofsky and Azimio. He had to read for both parts. He coached on it for 2 hours. It was the big monologue where he talks to Quinn and Finn. He was like who is this guy and why is he saying this and wanted to stand out. He waked in so prepared and there were like 45 dudes and he saw Ashley Angel from O-Town and was like I’m going to go back to the restaurant game. There is no way they are going to go for me. He went in and did his thing and Robert in the room said I think you are the guy for this. This never happens. He was like that was the best read of the day, I think you are my choice. Max was like this would be a dream come true, give me two lines I want to be on this show. There’s was already this hype and buzz that the show was going to be shooting to the moon. He was pumped just to get on. When he got the call he was doing Richard II with the Shakespeare group Porters of Hellsgate where he met his wife. Jenna asked if he was doing this in LA. Max said yes. Kevin said acclaimed actor. He was like if he can do Shakespeare he can bang out these two lines on Glee. So he got the call and it made his day and then went on to change his life.

It was really exciting and he had no idea where it would go. It was just two lines and the biggest thing about it was the slushee. He was called in advance to practice with a dummy. Jenna said he was the first slushee thrower that he was the og. Kevin said there were slushee’s in the pilot and that someone slushied Lea. You didn’t see there face though. Max said the prop master was passionate about the slushees. They had started with rubber pieces but it bounces off the face. They will heat it in the microwave so it won’t be so cold but it wouldn’t read. Then he said f it we are going to use real slushee but don’t miss you’ve only got one take. If you miss your are going to mess up the clothes and make up and the set and everyone is going to be pissed. He came in and they adjusted it to Cory’s height. He was like go for the nose we want it to explode all over the face. Don’t get the chest. Don’t get the chin. There was so much pressure. Max was like what I’m an actor. I’m not a slushee thrower I don’t know what is going to happen. He said the prop master would be in a corner stirring and waiting for Cory to come around the corner right at the last moment Max was like I better get it right and luckily he did. Jenna said he threw a lot of slushies. Max said he got slushied once but he had zombie make-up covering his face so it wasn’t as bad. Kevin said must be nice. Jenna said were you guys slushied in the same episode. Was it the Super Bowl episode? Max said yeah they were coming down the hallway in their letterman jackets and they were slushied by the Hockey players. Kevin that hockey team that you ere originally a part of. Max said yeah there was that yeah I think so the hockey team turned football team. Kevin said all the sports. Max said something about a change of heart. He was an athlete or jock.

Kevin asked how did go from you getting these two lines to you becoming a huge central figure to the entirety of the series. Max said first of all thats very nice. Kevin said your characters influenced one the biggest characters on the show and that he had an incredible and crazy storyline through all 6 seasons. Kevin said he loved that it all started with Max dropping his headshots off at the casting directors office and him getting called in and workin on those two lines. He asked did they call him back for Azimio and Karofsky back for another couple of lines here and it just evolved. Max said he only thought there was that one and every actors dream that they notice something and ask him back but he was like what can they notice in two lines. Then he got the call they wanted to bring him back and he did the Supercuts line. He was like great I will come back. He was like if I can get enough of these I can quit the restaurant. Max said it was the dream because he was a fan of the show. Cory welcomed him with his gigantic heart and arms. He introduced Max to his mom. Max said it was five episodes for the first season.

Max said he remembered the season 2 premiere party at Paramount. Someone turned to him and was like this is for cast only. He said he still wasn’t recognized as part of Glee even though now he had done 5 episodes. Ryan came up to him party and like kind of secretly is like we just wrote something really special for you. Jenna joked on episode 21. Max was like a rainbow slushie or magical slushie. Then he got the script, someone would deliver them an actual paper script. It was Never Been Kissed where Karofsky kissed Kurt. He said it was outstanding because he had coached this whole time about what is this guys problem. What does he want? Why is he being a bully? He tried to understand bullies. He was giving it so much more then he felt he had to but he is so glad it developed into something that felt real and grounded. It gave him purpose for doing everything he had been doing. In his mind it was natural jealousy that Kurt gets to sing a song and be in a show choir and I’m a jock and I am going to bully you for that. But then when it was revealed these were the reasons it got so much more complex and so much more depth. Max said he knew people like that in high school. It was kind of a dream come true. He said Dante Di Loretto had been cold to him and Dante watched the rehearsals for the locker room scene. It was the first time he smiled, gave him a nod, patted him on the back and handshake. Max was like okay this means something and he took it very seriously and is happy with the way it came out. Kevin mentioned they just watched the episode and that him and Chris were phenomenal in the episode. He said Karofsky was beating the shit out of Kurt the whole episode. Jenna was like wow that is intense. Max said there were times when he was shoving Chris into the locker bay and someone in the crew would say can you not push him that hard. Let’s just take it easy. Max was like I’m sorry I was trying to make the sound and get into it. He felt so terrible and was like are you okay, I’m so sorry. He said he definitely beat him up and he pushed Darren gate in that episode.

Max said that was a big one and right after that it was crazy. He got invited with Josh Sussman and Patrick Gallagher to go to D.C. to the Kennedy Center. He ws getting a sense of what the main cast had been living with. He said it changed overnight. The world became different through his eyes and it was crazy how that happened. He said he remembered getting invited to a cast and crew screening and Brad saying I think you are going to be really proud of the episode. He said Kevin after the screening ran into his arms for a big hug and it was validation. It was like welcome to the show. Kevin said it is one of those things. It’s so hard to get a job. You are happy to get your two lines and then to watch someone come on the show. It’s hard to be the person that pops in and out. It really is especially when it was an ensemble cast that was really close. He mentioned they talked to Josh Sussman about this and how those two related to each other because they had a similar trajectory on the show. He said to see someone get given that storyline and then be so good and the care Max had with Karofsky the entire time. He said we got to watch our friends sing and do these crazy scenes and were always so proud of each other and to see someone like Max just bring it seemingly going from oh I am just going to say a mean thing and push someone against a locker and then here you are with this really beautiful and sensitive storyline. It meant a lot to see that as a friend and fellow actor and just being fan of Max’s. It was special. Max said thank you and it felt special. He said even now it will be tough to find a role that is awesome and complex and nuanced and on a show that gets that many ratings and eyeballs. He said he has shot stuff before that and since then that you when you are shooting it you are like who knows if this going to see the light of day. Who know how many people will watch. He said it was exciting being on the Glee set knowing that what we are doing is going to be watched in a few weeks by 14 million people or whatever it was and it like this will change some minds and change some hearts. It will influence people and maybe save some lives. That was the biggest thing. It transcended just a role on tv to making a difference. He started getting letters, emails, messages of people saying they had seen some gay people portrayed on tv but they weren’t the masculine jock that you didn’t see coming. Thank god for this because they feel validated and seen. It was things were their family had disowned them and after seeing this episode they understood now who they were and reached out to patch the family back up. He said it was insane to just be a part of it. It made him take things more seriously. He was representing a lot of people that didn’t feel seen or heard which is the whole point of the show.

Max said what was so weird about that is that he never had the Ryan sit down or like this is what we are going to do or lets talk about what people are feeling about it. He said he would try but he would’ve get much of a response. He mentioned Life of Pi. He said he just wants that lion to look back and acknowledge him. He was like thats Glee. There was never anyone that was like hey we did it or good job on the storyline. It just kind of ended. He was like did just that happen and still waiting for that closure. He said he understand what they are talking about because he has been the bigger part of shows and its like you bond more because you spend so much time together. The guest stars are great and awesome. It’s like in high school where you can go the same school but unless you have that one night of partying where the truth comes out. You have that bond and talk about it the next day. Its like he’s in my science class but were not like that. He said he understood the pecking order. He said weird that the outside world was like you are on Glee and a cast member and doing it. He was like am I though. He was straddling the fence of when will I be back, will I be back. He was like am I going back to the bread lines. It was a very weird unstable 6 years but also the most exciting and rewarding. He said he is still trying to deal with that.

Jenna said he had such a big storyline even after the initial kiss to the big episode where you attempt suicide. It is a massive undertaking. She asked what it was like when he read that script. Did he know that was coming? Did Ryan drop any nuggets? What was the response? Did it shift at that point? Max said it solidified his place on the show. He worked with his coach and was like this guy in a small town worried about his sexuality getting out there, his dad, society. In reality he would probably think about suicide. Max was like they would never do that on a Fox musical comedy. So when it actually came to him he was like oh my gosh and thank you to the writers for doing this character justice and showing what could happen to someone in that situation and in that position. Let’s be real about it and let’s really touch lives and save some hearts and change peoples minds and open peoples eyes. He said it was a brutal episode to film. It’s as a very dark space. He had to understand what would lead to someone committing suicide. The hopelessness and not having anyone to turn to and being at the literal end of your rope. It’s dark. He said he remembers sitting in the golf cart with Brad Buecker right outside the studio for like an hour. He was telling Max really vulnerable things about his life and mindset and where he’s been. Max was confessing stuff to him about when his mom passed. It was a very emotional talk that put him in a great space to go in and film. He knows he is representing people. At this time Fox sent him to Dr. Phil, Access Hollywood, and Dr. Drew. He was out there talking about teen suicides and cyber bullying. This was the forefront of when Anderson Cooper and Ellen and everyone was talking about cyber bullying and teen suicides. He was like this is crazy that he was playing this role at this time in the world and that this might not ever happen again. It was huge. He said the biggest reward was that the Trevor Project flashed their hotline at the end of the episode and the calls went through the roof. It was the highest percentage of people that reached for help after that episode. He said to be a part of that was incredibly rewarding and an honor.

Keviin said how lovely it was that during Never Been Kissed and On My Way he had Brad Buecker at the helm both times. He is the most thoughtful and generous person. He asked if it was helpful because he was there for the advent of Karofsky real journey having him be a through line. He said the Dante and Ryan’s were doing other things. Buecker was editing the show at the same time he really knew all the characters so so well. He asked if he found that as an actor to have Brad connect those dots for him. Max said he absolutely loved working with Brad. He said he thinks it was the first time that he worked with a director that was an editor. Kevin mentioned Never Been Kissed was Brad’s first episode. Max said there must ave been 20 different takes for the locker room. He said it was so fun because he came through one door and Chris came through another door. He said Brad would go back and forth between Max and Chris and give them idea of things to try. Max said it was fun because they got to try everything he was feeling and didn’t have to hold back or try to get it right. He said he wanted to work with Brad again. He said the same thing with On My Way there was already that trust built in. He was like I don’t know how many tears you can get out of me. He said it was really great working with him. He said Brad treated where he walked through the locker room and saw fag on the locker and he was like its going to be in slow motion and I want to see your life leave your body. The way he shot and pushed in and cue Cough Syrup. He said he got emotional watching it. Brad and Max got invited to Sacramento for a couple of years and be a part of a program called Directing Change because of that episode. All of these high school students were making short films about mental health awareness, stigmas, and suicide prevention. Brad and Max were there to represent, they spoke to the kids and judged the videos. Now they were in the real world talking about these issues from the storyline. It took on a serious part of his life. He wanted to understand what he was talking about because he was talking to real kids going through it. This is more then just memorizing lines and showing up. It was a crazy time.

Kevin said it is crazy to think about how when the show came out and it started to do well they became conscious that x number of people are going to see what we are doing right now. When they did the first 13 episodes no one had seen anything but the pilot. He said knowing that you are doing these really serious things and then having a 3 week turn around. He asked in those 3 weeks did you ever get scared or nervous because every time he was on screen he had some really heavy shit. Kevin said for us they were like I am excited for my parents to see this musical number or I get to get out of the chair and dance. For Max, he was acting through some really tough things. Kevin said he got scared for people to see some things. He asked what was going through Max’s head knowing that 15 million people were going to see this. Max said excitement and there was no fear. He moved out to LA when he was 18 right after high school. He was like everyone was saying they were going college and he was like I’m going to LA an see what happens, don’t laugh at me. He was like I better make it because there was no plan b. He said to be on a dream show with a dream creator knowing people are watching it. He said all his high school friend were watching it. He had a big support base from family and friends. His wife Jenn studied theater in London with this guy Jeremy O’Keefe who ended up being a casting director. He overheard while he was working at a restaurant talking about how he also bartends at a bar called Silver Spoon. They had a back room where they would have Glee Nights. He said he things it was a gay bar. They would show Glee hand have drinks. Max was like you know I’m on that show. Jeremey said come on by and so it became a thing where Max would go with 20 friends and they would watch the episode and have drinks. He said he remembers when he got Never Been Kissed there were people that were like is your dad going to be cool with this. You are kissing a dude on national tv. What are you going to do? He said he didn’t even think about it until he was confronted with it. He was like no, I’m an actor, and a kiss is a kiss. Lips are lips. A storyline is a storyline. He didn’t really think about that element of it. He just thought about the character and the instinct of why he has been doing what he’s been doing for a year and this release. Kevin said he too it so seriously. Max said it almost felt like he was shooting a different show. It was crazy they were putting it in this episode. Jenna said we always say the Kurt and Burt, the heavy and heart of the show and then you have the clowns. It was sometimes two different shows. Max said that is what worked. Through the circus of that you have that little notice of let me pound you in the heart with this. He said it reminded of that American Beauty scene where Chris Cooper kisses Kevin Spacey in the garage. He said that scene rattles him still and was like that was powerful. He said if they can come anywhere close to capturing that feeling of just the release of what this guy must be feeling wondering what it feels like to kiss a guy after 16 years or whatever it is. Let’s show that release. Then he found out Ryan knew people like that in high school. Brad Falchuck had a friend named Dave Karofsky that messaged Max on Facebook. He’s not at all like the character. It was very rewarding and he was excited to do that storyline. He said it was more negative before Karofsky exposes what his deal is and then it became like thank you and I feel scene. He said this was a crazy ride.

Jenna said speaking of a crazy ride his storylines get crazier. Kevin said they don’t remember season 5 and 6 but mostly 6. Kevin said someone tweeted that they knew this is when I knew Glee went off the rails, when Karofsky and Blaine started dating. Kevin was like this happened. Kevin sand no offense to you or anybody he doesn’t know what happened with him and that he doesn’t know anything. Jenna said I don’t know where we were at that time. Max said they had checked out and were just along for the ride. It was a long time ago and they were a long time in and it was a cyclone blur and it was wild. Kevin said tell us about that experience. Max said at that point I’ve done what I’m going to do. The serious stuff with this character that is going to make an impact has stopped. The show has changed and the world has changed. He was happy to be along for the ride, happy to be a part of the show, happy to keep seeing everyone and keep putting on the jacket, and happy to have an income and be working. He said it was fun at that point. He said there was so much pressure on those earlier episodes. He said everyone would be having fun at base camp and he wold be in his trailer doing breathing exercises. He had one shot to nail this and represent hundreds of thousands of people. Kevin said these assholes are singing lady Gaga and I have talk about suicide. Max said I wish I was singing Lady Gaga. He said there was a freedom in that and they had each other and having fun. He was like this was on me and I have to nail it or I am not asked back. There was a very big pressure until season 6. He was like there is Jane Lynch telling me and Darren are related with a family tree at a restaurant. He said love Darren and that they hit it off from the beginning during Never Been Kissed and said they are still close. He was like this is insane but I get to work with you, my buddies and work with you and Chris and cool directors and have a good time. He said it was fun to be a part of it without the weight or pressure of what it was at that point. He mentioned that he got a nice happy ending that didn’t result in a suicide. It is okay to be out in the world and happy, to date , and go do line dancing at gay bars and be out there. It gives people hope that there is a life and a world that will accept you. People will understand you and feel free to reach out to people and try things. He was appreciative of that and that it didn’t end in a tragic way. He just had fun. It was weird thing. Him and Blaine dated. Jenna said Tina tried to date him too. Max said it was a good time.

Jenna asked Max what is the feeling that Glee leave him with. Max said longing. He said he knows that is kind of sad. It was a great time in his life. It was a huge hit show and all the perks that came with it and being seen for your work. He said it was like listening in a bottle. Who know if or when it will come again. He is a parent now. Everything is different now. He said he can’t believe that happened when they were in their 20s. They were footloose and fancy free. What a time. There won’t be a show like again. it won’t really be the same. it was very cool to be with people the same age and going through it. He looks upon those times very fondly. He said he wasn’t in the trenches or the drama as much as the main cast. It’s been all good for him. He misses it. Jenna said that’s awesome they are grateful to have him. She said watching it as a viewer vs an actor in the show it’s really different and profound. They get to see the work he put in and how serious he took the role and how he approached and it really paid off. She said they are really grateful for him and his time not he show, and what he shared with everyone and coming on and hanging out with them again and his friendship. Max said the feeling is mutual. He said thank you for everything you guys did on the show. Jenna said they were just clowns on Glee. Max said thanks for having me and congrats on the show. They said they will voice memo him if they have questions during the podcast. Max said bring it on and that he will be standing by. Kevin said thanks and that it was so good to see him. Max said it was so good to see them and thanks and to take care.

Jenna asked Kevin if he knew that David Schwimmer quit tv right before he got Friends. He quit and went back to Chicago to do theater. Marta Koffman and the creators of Friends were like we wrote this with you in mind. You have to come back and do it. He had a bad experience on another tv show and was like never again. They were like we promise this will be different just come back. He was like alright if you wrote it for me I will come back. Kevin was like see what happens when you are good. Max is just good. They had no idea he had all that formal training. He said you are sweet man and keep it up you are so talented. They said they will have to have him back. That they have so many more questions for everyone.

See you next time.

[coco-corrine]

it has been a beautiful complicated journey with Lorraine Hansberry’s beautifully complicated work and i have been loving the process. this weekend is your last chance to catch A Raisin in the Sun being performed in the place where it was set, the Southside of Chicago, with a group of Chicago actors at @bacchicago it’s been my honor to bring my own Beneatha Younger to life for new audiences 1. poster and cast headshots @theenvironmentalhottisnee being they adorable self. they play ruth and i could not have made it through this show without them 🥰 2. i cried reading our review in the @chicago_reader comparing me to THEE @traceeellisross…craziness! 3. a gorgeous mural on the side of a building right on 51st and king. i was showing my sister the picture of Lorraine Hansberry that’s also on the side of the building and found this new art! i love the love chicago shows ms. hansberry 💜 4. tech week family lunch with @theenvironmentalhottie, jayden (travis) and a sneaky background appearance from our dope director @speak_of_the_devin 🥰 loved working with these people 5. the pre-curtain call dance ritual to celebrate making it through the show featuring travis and george 🕺🏾 only four more shows! ticket link is in my bio dm me about discounts (at Beverly Arts Center) https://www.instagram.com/p/CouwySTJw_z/?igshid=NGJjMDIxMWI=

[whoisjmercer-blog]

Something’s coming. Shout out to @aaronmichaelproductions eye and gift. #blacktor #actor #headshots #philly #chicago #thebrownthebaldandthebeautiful #theatre #film #hollywood #photos #commercial (at Philadelphia, Pennsylvania) https://www.instagram.com/p/BrtqSGKBZFE/?utm_source=ig_tumblr_share&igshid=ahh5gz13dsx6

[chiokedmachi]

Chioke Dmachi photographed by celebrity photographer Paul Gregory

[mreidphotography]

Lucy

[rationalseries]

We’re excited to introduce a new cast member for season two! Please welcome Cooper Bohn as Elliot Williams. Cooper is a Chicago-based actor who recently appeared on Chicago PD and short films entitled Intervention and Giallo. He is originally from Wisconsin, loves the Milwaukee Bucks, and streams on Twitch in his spare time.

[image ID: a headshot of a 20-something white man with short red hair and a beard, wearing a blue shirt. /.End ID]

[gigslist]

Crew and Talent Wanted for Online Theatre Plays - Paid Work from Home

'Love-- or Sartre: The Passions of Simone de Beauvoir' by Paul K. Smith

CATEGORY:THEATER: PLAYSSTAGE STAFF & TECH

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:February 3, 2022 7:20 PM

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Company

America's Theatre & The Broadway 8

Paul K. Smith, lead producer and Playwright

Production Description

Casting "Love--or Sarte: The Passions of Simone de Beauvoir." Production states: "Our story shows Simone de Beauvoir on first making her home in Paris (1931) -- and then on the eve of creating 'The Second Sex' (1948)-- in Paris, and in Chicago. With Nelson Algren. With Albert Camus. With Jean-Paul Sartre. Seeking an ensemble cast. This is a new play about twelve women who created Paris between 1889-1938. Synopsis: Key time-points include 1917 and 1931. Part One: Paris. 1917. We met Mata Hari. Marie Curie. Colette. Coco Chanel. Djuna Barnes. Isadora Duncan. We met them as women reclaiming dreams they shelved. Reawakening hidden selves. Breaking free– finding their wings to fly. Marie Curie harnesses science to save wounded young soldiers. Isadora Duncan creates modern dance. Coco Chanel invents the little black dress. Each woman creates separate social roles. Roles at war with each other. Breaking free of convention brings down the wrath of society: One woman is shot for doing forbidden things. Yet, they survive. They prevail. Along the way, these women also create Paris. A play where the people, and the events, enjoy distinctive orchestral melodies. A play with dance. This Part- Part Two- is set in Paris, 1931 (with a 1948 flashforward) Takes place against the backdrop of the May-November 1931 Colonial Exposition. The focus is on Josephine Baker, Anaïs Nin, Simone Weil, Sonia Delaunay, Simone de Beauvoir. Marie Curie, Colette, and Coco Chanel continue as roles from Part One. The actors must portray characters who themselves created multiple social roles, roles that threaten to pull one's self apart, onstage."

Roles

Collapse All Roles

Actors & Performers

Josephine Baker: Female, 23-29WORK FROM HOME

.

Ethnicity: Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples

Required Media: Headshot/Photo, Video Reel, Cover Letter

Apply

Simone de Beauvoir at 24 ("Jade"): Female, 21-28WORK FROM HOME

it is 1931: two-years after she has signed a "two year lease" of partnership with her love, Jean-Paul Sartre; simple, and fiery-- resists conventional social-role expectations; a young teacher already Controversial for her ideas, her lifestyle, and her choices as a free Woman.

Ethnicity: All Ethnicities

Required Media: Headshot/Photo, Video Reel, Audio Reel, Cover Letter

Required Skills:

Acting Techniques

Apply

Simone Weil: 21-24WORK FROM HOME

Ethnicity: All Ethnicities

Required Media: Video Reel, Cover Letter

Apply

Coco Chanel: Female, 42-49WORK FROM HOME

Ethnicity: All Ethnicities

Required Media: Video Reel, Cover Letter

Apply

Henry Miller: Male, 30-39WORK FROM HOME

the writer, and the lover of Anais Nin.

Ethnicity: All Ethnicities

Required Media: Video Reel, Cover Letter

Apply

Nelson Algren: Male, 39-42WORK FROM HOME

the Chicago-based novelist at a peak of his career; a man of machismo, he fascinates the intellectual Simone de Beauvoir, he burns through her shell, he melts her protective shields, he makes this aloof Parisian incandescent with desire; if one crossed a role from Racine with a role from "Tennessee Williams"-- this is the character you might get; to be cast based on the chemistry with the actress playing Simone as she turns 40 ("Ruby") -- based on that rare ability to create such a vortex of desire on the stage, that it sweeps the audience into its hunger.

Ethnicity: All Ethnicities

Required Media: Video Reel, Cover Letter

Apply

Director: WORK FROM HOME

Costume Designer: WORK FROM HOME

Composer / Sound Designer / Audio Engineer: WORK FROM HOME

Simone de Beauvoir at 39 ("Ruby"): Female, 36-43WORK FROM HOME

Assistant Diector: WORK FROM HOME

Jean-Paul Sartre: Male, 26-45WORK FROM HOME

Albert Camus: Male, 30-43WORK FROM HOME

Simone de Beauvoir at 40 ("Pearl"): 40-51WORK FROM HOME

Lighting Designer: WORK FROM HOME

Dramaturge: WORK FROM HOME

Sponsor Development/ Brand Enhancement / Fundraising: WORK FROM HOME

General Manager: WORK FROM HOME

Rehearsal and Production Dates & Locations

Performs Winter 2021-2022 in NYC.

Compensation & Union Contract Details

Professional PayPay TBD.

Key Details

Seeking talent:

Nationwide (United States)

Additional Materials

The Women of Paris -- The Secrets of Mata Hari.jpg

The Women of Paris script cover.jpg

h-3000-beauvoir_simone-de_le-deuxieme-sexe_1949_edition-originale_tirage-de-tete_1_56532.jpg

ob_aabd74_01-de-beauvoir-sartre-1929-a.jpg

email Shamash@ShamashShaman.com

https://www.shamashshaman.com/

[hustlehill]

Headshot alert. Remember I used to BOOK OFF SELFIES. #photography #selfies #photoshoot #actor #chicago #chicagoland #actorslife #actorlifestyle #actors #headshots #headshotchicago #tbt #t #j #a #m #e #s #l #e #t #t #tt #success #marathon #marathoncontinues #blueprint #hiphop #hip #style #styleblogger (at Chicago metropolitan area) https://www.instagram.com/james_lett_iii_the_actor/p/BwZm5o-JjkR/?utm_source=ig_tumblr_share&igshid=rvppfmfkzhyh

[pasitheapowder]

Welcome, welcome Cat Evans to The Pasithea Powder Season Two! Cat plays Lieutenant Steptoe, who might be in over her head with this captain she reports to. We can't wait for you to hear what Cat does with this role!

New episodes of The Pasithea Powder begin January 2021!

🚀

Image ID: On the left, a headshot photo of a Black woman with short hair, against a white background. She is wearing a light denim shirt and is half turned to the side, looking at the camera with an expression that kind of says, "You're not ready for how much you're going to enjoy the acting skills I'm bringing to this project." On the right, a picture of a casting announcement against a background of stars. It reads, "Cat Evans as Lt. Steptoe. Cat Evans is a bisexual Chicago-based actor who earned her BFA in Acting from Northern Illinois University and is now a proud ensemble member of Theatre Y. She is 90 percent cat and 10 percent human, sometimes, with coffee for blood and a Golden Girls obsession. Sun is Pisces, Moon is Leo, and Rising is Gemini because the universe wanted to make things spicy.  She is the voice of Lieutenant Steptoe. Launching January 2021”

[hdunsirn]

Pete Tolly, 5/31/17 Portrait

[maxineshawsdaughter]

I have so many new followers on here now and wanted to share a little more about myself. If you didn't know I own a theatre company, Perceptions Theatre, on the South Side of Chicago (We are 7 months in now) and this really amazing theatre organization @theshakespeareallstars has decided to have their proceeds from their production of "The Tempest" to go to benefit three amazing organizationsand @perceptionstheatre is one of them! Have you seen "The Tempest"? It is streaming online now through July 31. Proceeds from this production with benefit three amazing organizations. One of those organizations is Perceptions Theatre Company! Learn more: Perceptions Theatre is a black woman owned non-profit theatre company that changes the way people perceive the world around them one show at a time by shining a light on under-served communities with theatre and educational programming. We are a safe space that gives a voice to African American and BIPOC communities to express themselves through art that: works to eliminate prejudice, discrimination and defends human and civil rights. In our educational and literary training ground we help our community start their career from headshots, to making a resume, actor and technical training services, self-taping services, to workshops and casting for our own shows and working with the under-served communities around Chicago by bringing our services to them i.e. schools and other organizations. Perceptions Theatre is a 501c3 non-profit organization. https://www.perceptionstheatre.org/ * * * * #myeshatiara #actingjourney #theatre #blactress #blackactress #chicagotheatre #film #webseries #blackgirlmagic #melanin #directingjourney #tv #blackdirectors #chicagoactors #blackactors #blacktheatre #YouTube #MTsCornerwithMyeshaTiara #MTsCorner #ContentCreator #BlackContentCreator #thetempest #shakespeare (at Perceptions Theatre Company) https://www.instagram.com/p/CC6XYl_HHkI/?igshid=1m6liho1sovph

[thejeezloueez]

Biiiiish, Carrie Meyer is about to werk that magic!!! 😍 #sneakpeak . . . #frombardtoburlesque #actor #soserious #monologuestomerkins #patinkintopasties #bighairdontcare #hireme #chicago #LA #jeezloueez #insomniacstudios #headshots

[ducktracy]

123. page miss glory (1936)

release date: march 7th, 1936

series: merrie melodies

director: tex avery

starring: the varsity three (singing waiters), tommy bond (abner), bernice hansen (miss glory)

for the first time since 1934, someone other than friz freleng is directing a merrie melody—our good pal tex. throughout 1936 and 1937, tex would do both merrie melodies and looney tunes shorts, but eventually shifted over to doing a bulk of the merrie melodies, especially with freleng’s departure around 1938. he’d only do a handful of (strictly) looney tunes shorts after 1937, those being the haunted mouse and porky’s preview, both 1941. also notice how there’s no credits on the title card—according to tex avery, leon schlesinger was dating leadora congdon at the time, an artist from chicago. an art deco inspired cartoon, bellhop abner falls asleep on the job and dreams of what the esteemed miss glory’s arrival to the local hotel will be like.

welcome to hicksville, a remote, rural, hayseed little town. towns people prepare a banner that proudly reads “HICKSVILLE WELCOMES MISS GLORY”. the local hotel is also preparing for her arrival, a forest of flowers covering the front desk. the manager orders abner, a gangly, young, air-headed bellhop you hurry up and prepare for the big event. abner spots an advertisement for cigarettes, the bellhop on the flyer (a reference to the bellhop mascot for philip morris cigarettes) controlled and admirable. determined, abner imitates the bellhop’s pose, puffing oit his chest and marching around with his spindly legs, bellowing “all for miss glooooryyyyy!” i love his design (i love a LOT of the designs), the buck teeth, skinny legs and giant shoes convey a strong sense of lovable stupidity.

abner marches over to a bench and waits patiently... until, unprompted, he zips back to where he was and douses himself in some perfume for good measure. the sound of a car horn approaches, and eagerly does abner spring up, only to find two geese honking at each other. a long, drawn out horn has GOT to be miss glory. or not. a cow strolls by, even looking inside as if to say “nice try!” the set up and timing is fresh and amusing, and the backgrounds are exquisitely painted.

time marches on, literally. a cuckoo clock springs open and a bird blares a fanfare, declaring “time marches on!” (a gag that would be similarly used in porky’s romance, albeit under the guise of “time munches on!”) abner’s now asleep on the bench, and his surroundings dissolve around him into an art deco paradise. even his own design changes, like a reverse buddy transformation—going from buddy’s 1935 look back to his 1933 look.

the hotel grows into a beautiful high rise in the city, a sign out front donning it as the cosmopolitan hotel. a cheery underscore of “lullaby of broadway” welcomes the barrage of esteemed visitors—a long limousine produces a lanky woman in a red dress and blonde hair, whose face we do not see. there’s a great walk cycle of an old man parking his snazzy red car out front, appearing prim and proper as ever... until he waddles inside with a ridiculously entertaining walk cycle, carrying flowers.

he approaches abner, who’s still asleep on the bench. a few rings of the desktop bell wakes him up in a jiffy, and the man orders him to page miss glory. immediately, abner is surrounded by a gang of men waving their arms and ordering him to page miss glory. dutifully, abner salutes, once more marching away and declaring “all for miss glooooorrryyyyyy!” he passes a waiter, and they swap contents—abner now carries a bottle of beer and a shot glass on his tiny plate. he corrects the contents once more as he passes another waiter, the alcohol rightfully returned. a great, subtle gag as the pompous waiter passes by a plant. once he comes out the other end, the bottle is empty, his nose is red, his pace much slower than before.

look at those designs (well, abner covers up one of em)! i love them! my love of art deco is ignited in this cartoon. the three waiters bob around and sing “page miss glory”, vocals contributed by abner as well. i really like tommy bond as a voice actor. obviously he plays beans, and has lended his voice to a handful of merrie melodies, most memorably owl jolson in i love to singa. looking at this headshot from his little rascals days as butch, you wouldn’t figure him to be a great singer. he isn’t (the kid wasn’t even 10 years old here), but he’s very endearing and likable.

lovely art deco styled bottles frame a man placing ice cubes into shot glasses like chimes—the borders of the scene black wjth bright green, flat, bottles. two men shake cocktail shakers within an iris. great detail as we go back to the chorus of waiters and abner, wine glasses carelessly strewn about, some empty, some half full. back to the two shakers, who pour the cocktail into a flute. the flute widens into a small, wide glass instead of the stereotypical tall, skinny champagne flute. wonderfully creative as the drink is poured into the iris, now red. we see a tongue and some teeth appear as the drink flows right towards us, the iris mouth hiccuping and a hand gingerly covering the mouth.

champagne bottles are popped to the beat of the music, except one, which refuses to open. the music stops and all we hear is awkward fizzing as the man squeezes the bottle like a toothpaste tube. the bottle finally pops and the chorus resumes as normal, fun and creative. two orange/cherry garnishes dance over some cocktails with their toothpick legs, toppling into the drink. the chorus is finished out by the waiters once more, a hefty pile of wine glasses covering their faces as they sway around and wave their glasses in the air.

a pompous old woman in a striking yellow dress makes her presence known, strutting around. abner mistakes her for miss glory—she turns around and continues to march on. unfortunately, abner accidentally has his foot on her dress, and the dress tears. she gasps “oh!”, and grabs two palm fans to cover herself. thus launches an elaborate, entertaining dance sequence as she twirls around, poking her head out of the fans and giving an incongruous old lady laugh. an absolutely wonderful scene, animated by bob clampett. yesterday i had implied the entire scene was his, and looking back i doubt that’s true, so... my mistake! the half where she does the dance is definitely clampett. unfortunately, i’m unsure as to who does the first half. he turns her back to the audience... until realizing that her back is exposed (she’s wearing a slip, don’t worry). she does a take, whips around and covers herself bashfully. a great scene full of tex avery humor—making the sophisticated as unsophisticated and unceremonious as possible.

a rather rotund man demands he wants service, to which abner calls for said service. a waiter salutes, sticking out his leg and knocking over all of the other waiters next to him like dominoes. they scramble to throw a feast before the man, great timing as the whirlwind of food dies down and a waiter plucks a tiny cherry on top. even better as the waiter forces his hand through the tower of goods as we watch with bated breath. he pulls out a tiny little olive on a fork, a closeup of him taking a tiny, delicate little bite. he placed the fork down, dabs his mouth, and leaves. incongruity is strong, striking, and hilarious. i’d be willing to bet money that tex avery modeled for that character.

suddenly, a man announces over an intercom that miss glory is here. come to see america’s sweetheart. none of the guests need further invitation, including a decrepit old man in a wheelchair with a bandaged foot, who scrambles out of his chair and whirls forward (accompanied by the sound of a jet engine warming up), exclaiming “hot diggity dog!” food is dropped, newspapers are dropped, decorum is dropped as everyone rushes to the elevator.

abner attempts to dive in, too, but the doors slam in front of him. he tries again, and is booted out once more. the charade continues, faster and faster as abner is carelessly thrown about, trying his damnest to get in. eventually, he resorts to pulling back the arrow on the indicator and hopping inside. the elevator boy marches out just in time to hang up a sign that says “OUT TO LUNCH”.

an armada of men rush towards the screen, and we get a lovely transition to see the real miss glory—the blonde woman in red we caught a quick glimpse of at the beginning. the waiters sing another chorus of “page miss glory”, chimes contributed by abner who is furiously pressing every single button on the elevator to get it to work. a distance shot of the hotel and a lone elevator slingshotting up and down at great speeds. the perspective on the miss glory scenes are lovely, men walking right in front of the screen and even an overhead view. the elevator continues to zig zag to the music.

finally, the elevator rises to the correct floor. great perspective as abner makes a break for it, yet the doors slamming him back inside. the malfunctioning elevator slingshots around once more, the force so strong it breaks the roof. abner is propelled into the air and prepares to meet his demise. a ringing bell sound tricks us into thinking he’s breathed his last breath, but not at all—a train conductor is angrily ringing his bell to get abner out of the road (lovely visuals as the skyscraper seems to extend further into the ground behind him).

the real abner wakes up to find his hayseed hotel manager ringing the desk bell. miss glory has finally arrived, for real this time. a crowd gathers around an expensive limo, eagerly awaiting her arrival. abner opens the door for his esteemed guest...

and a cute little blonde marches out with a lollipop, an oversized sash bearing the title “MISS GLORY” nearly covering her entire body. abner contorts his lanky body just to get a good look, exclaiming “miss glory!” bernice hansen works her baby voice magic as miss glory giggles “that’s me, big boy!” the shock is too much for abner, who faints right into her arms. miss glory doesn’t mind, instead saying “boy, do i slay em!” a few happy licks of her lollipop, and she orders “play, don!” (a reference to radio personality jack benny). sure enough, an orchestral close and an iris out bring the cartoon to a close.

what a BEAUTIFUL cartoon! tex’s first merrie melody hits the ground running. the visuals are fresh, new, and exciting, from the backgrounds to the people to the props. tex works his magic and adds his own humor so the cartoon isn’t too much of an ode to promoting the song (which i haven’t found a commercial recording of)—making the pompous as un-pompous as possible. at times, the cartoon does feel a little convoluted, as if tex is juggling and trying to find a balance between humor, style, and song. i wonder if leadora congdon’s input serves as any detriment to tex’s working style. i believe i read where he said he didn’t care for this cartoon in his later years, which i can understand. that’s the thing about these reviews: you have to look at them with the eye of a viewer in 1936 (which i know i don’t at all, constantly making connections to future cartoons). it’s not at all tex’s best work, but considering what we’ve seen up until this point in time, it’s phenomenal. absolutely worth watching. the visuals are stunning and that ending is just fantastic.

link!