There are many CDs I hoped to interview back when I was a columnist at Back Stage West. At the top of my list was actor-slash-CD, Jane Alderman of Chicago, whose credits continue to inspire me. In this edition of POV, Jane takes us through some basic truths of casting in Chicago. Enjoy!
Miss Jane Goes to the Movies
I have been casting since 1980 here in Chicago and have been in the business since I was 18 (and no one needs to know when that was). I love actors to pieces and do everything I can to help them and inform them of the lay of the land. This love affair started when I was a kid who went to the movies every Saturday afternoon followed by a stiff visit to the deli next door. Here we are decades later and Miss Jane still goes to the movies watching you all like a hawk — watching you grow, getting bigger roles, and sometimes looking at you on the big screen because I put you there!
Chicago is a thriving market for actors. And not without its ups and downs. It is a small market and easy for us here to track. Things are done pretty much the way things are done nationally except instead of the studios and networks we have weather! There are few casting directors here in Chicago and the three companies that are in the Casting Society of America get along very well and share tons of info about actors. So, it isn’t too hard to get known by them (for better or for worse). As for agents that are franchised with the unions, there are about 12 of them. So different from New York and Los Angeles, eh?! We do get a lot of work here and the actors generally tend to dip into all forms of the business. So, one week an actor might be filming an industrial and then get a role in a feature for a large studio followed by a small role in ER and then do a play at night. Actors don’t separate the categories and just stick to one form.
I, of course, ask the agents for submissions when I am working on a project and I accept them both in hard paper and electronic form. It depends on the situation. Electronic is good for me for a quick and small submission. Or as a quick reminder. But if it is going to be a large feature with over 80 roles, then I take hard copies. Pictures here are both casual and studio and they are now in color. There are some great professional photogs here now that do them digitally and in color.
We have some great training centers here and acting classes and, of course, magnificent colleges and universities surround us. Tons of those graduating tend to stick around Chicago and get a jump-start to their careers here. Our theatre is world class — not only the famous Steppenwolf and Goodman along with Second City, but there are over 90 Chicago area Equity theatres. Playwrights and directors come here to work in relative peace — a wonderful opportunity for any actor. Because of this wondrous playground, it is relatively easy (or easier) to get union membership.
Even though our market it is small (roughly 6000 professional actors), we still look at the resumes to see if an actor is SAG, or has training, or has been in some plays. We take professionalism as seriously as in any other market. Anything less than very talented just will not do.
We are a very forgiving bunch here on actors being a bit green, but the resumes should only follow the standard. Clean, truthful, simple, and all the facts you can remember to put on there. This picture and resume should be MAILED along with a typed cover note or letter. Drop-offs and making rounds here is not recommended. The sign on my door says, “I am out of estrogen and I have a gun.”
As for DVD demos, those are great for me if asked for. But unsolicited via mail or email gets trashed and deleted because I don’t have time to deal with them. I don’t use VHS anymore, but if requested, a reel sent over to me is a cinch if it can get dropped into the computer. Actors here don’t really use them unless they have been lucky enough to gather up a body of theatrical TV and film work. That, of course, is more common in Los Angeles. An actor here can survive without one.
So, if you have some Ugg boots and a long scarf and a great work ethic, this just might be the place for you. See ya in the movies!
I love the concept of a smaller talent pool (like a repertory company among which to cast) and, of course, the love for theatre is a major plus in my book (having been a theatre rat for much of my life). It’s great to know that, in Chicago, drop-offs are discouraged and that beginners get a good shot. All great information. Thanks, Jane!
About Jane Alderman
Jane Alderman has been casting theatre, feature films, and television for 27 years with well over 60 films, 70 television shows, and 36 plays to her credit. British-born and New York raised, she has made Chicago her home for many years. Prior to casting, Jane was an actress — her most notable performance with John Malkovich and Glenne Headly in the Goodman Theatre’s groundbreaking production of Sam Shepard’s Curse of the Starving Class. She still finds joy in acting in the Chicago area, most notably of late: Funny Girl at Marriott, Vagina Monologues at the Apollo, and the popular film The Break-Up — playing Vince Vaughn’s mom. Some of her casting credits include the national tour of Evita; the films Flags of Our Fathers, Rudy, Nothing in Common, Backdraft, and The Straight Story; for television: Normal, EZ Streets, and the series The Untouchables, Turks, Early Edition, ER, and What About Joan starring Joan Cusack. She is currently casting the film Fred Claus starring Vince Vaughn. Jane taught at DePaul’s Theatre School for 20 years and produced the Jeff Award-winning ensemble The Dogs in Xenogenesis and Dogtown. The winner of the Casting Society of America’s Artios Award for Excellence in Casting for EZ Streets and Normal, she has also been nominated for Turks and ER. She is a member of SAG, AFTRA, Equity, NATAS, and CSA. Jane still finds time to teach at Roosevelt U. and Northwestern. She is currently writing a short novel.
This contribution originally ran at Bonnie Gillespie’s online column on February 15, 2007.