Rooftop Comedy Guest Editor: Daniel Lehman

Rooftop Comedy Guest Editor: Daniel Lehman

Daniel Lehman is a writer and editor for the actors’ trade publication Back Stage, where he also writes about the New York City stand-up, sketch, and improv comedy scenes for BackStage.com and Blog Stage online. While not a performer himself, as a Casting Editor at Back Stage, Lehman works to find casting calls, open mic nights, and other performance opportunities for actors and comedians in New York and across the country. Comedians can find new comedy gigs every week in the pages of Back Stage and online at BackStage.com, or check out the Back Stage Facebook and Twitter pages for more, updated daily.

Click the links below to watch Daniel Lehman’s stand-up comedy video picks online at RooftopComedy.com.

Kumail Nanjiani: “Creation science fair“

Is any comedian having a better year than Kumail Nanjiani? He’s been called a rising “Comedian to Watch” by Variety, The Hollywood Reporter, and New York magazine, wrote and starred in Michael and Michael Have Issues on Comedy Central, performed on Letterman and The Colbert Report, hosted the Gotham Awards, was chosen for Comedy Central’s “Hot List,” toured his stand-up act, and is developing a sitcom pilot for NBC. Kumail deserves the acclaim, as a very funny comedian who takes the time to step back and enjoy the wonderment of our bizarre society.

Jackie Kashian: “The hilarity of men“

I am guilty of this crime, and I suspect Jackie got help from my girlfriend — whose patience I test every day with what she considers my increasingly “middle-aged dad-like” sense of humor — when writing this hilarious bit about being forced to laugh at her father’s lame jokes. After all, doesn’t the best comedy use a specific example to reveal a universal truth?

Who Got the Part? Lauren Francesca

Role: Backup dancer in ‘Still a Boss,’ a hip-hop music-video parody for ‘The Daily Show With Jon Stewart’

Lauren Francesca

“When you’re an actor, I feel like you’re always putting yourself out there, and you’re doing everything to become that person or that character,” actor-model Lauren Francesca says of her approach to onscreen comedy. “So it’s really not about ‘Are people going to make fun of me?’ It’s more ‘Am I going to make people laugh? Is it going to be a funny video that people are going to enjoy?’ “

When Francesca saw a casting notice for “The Daily Show With Jon Stewart” at BackStage.com, she applied immediately to be a backup dancer for the show’s parody hip-hop music video. “It’s ‘The Daily Show,’ and I was pretty confident that it was going to be a great video,” she says. “It was really cool. I got books thrown on my head.”

Francesca was cast as a dancer in the video “Still a Boss,” the second half of a two-part series in which “Daily Show” correspondent Wyatt Cenac examined the effects of the recession on the hip-hop community. Cenac helped write and direct the video with rapper Slim Thug “to raise awareness about a community in trouble,” he says. When the nation’s economic collapse leads to less bling, smaller posses, and clipping coupons, it’s a sad day in rap.

Talking “Inventory” with The A.V. Club

On Monday night, writers and editors of the popular pop culture site The AV Club came from New York and Chicago to descend on Union Hall in Brooklyn, where they celebrated the release of their new book “Inventory” with a full house of adoring geeks who treat film, TV, and music critics like rock stars. In readings from “Inventory,” the new book of pop culture lists, AV Club members Keith Phipps, Josh Modell, Kyle Ryan, Tasha Robinson, Nathan Rabin, Andy Battaglia, and Amelie Gillette told us what songs should never be covered again, alternate film endings we should be glad we haven’t seen, unconfirmed celebrity rumors (in PowerPoint form), bonding with Bronson Pinchot, and more live excitement on stage.

We spoke with AV Club editors Keith Phipps and Josh Modell this week about “Inventory,” making lists, and why theater isn’t considered “pop culture”:

Blog Stage: The place was packed Monday night! I underestimated how popular you guys are.

Keith: I did too. (laughs) I had no idea that we’d have that crowd. That was awesome.

Have you had that kind of response in other cities?

Keith: I think this was the biggest crowd we’ve had, and certainly the heartiest response I think we’ve had too. I actually was polling everyone, and a lot of people were not from Brooklyn. People came in from Queens and New Jersey, which was awesome.

During this book tour, you’ve been forced to make the transition from writers, who tend to hide behind the scenes, to being the center of attention on stage. Can you describe that experience?

Keith: It’s been really weird. I wasn’t expecting it at all, and I guess one thing I’ve learned is that any fear you have of public speaking kind of gets negated by the need to perform once you’re on stage. Not that we didn’t have our nervous moments or whatever, but when it’s sink or swim, you better swim.

But in terms of the reception, it’s just been really cool. I think we’re faithful to our readers, and in some ways our readers are faithful to us so, it’s really cool to meet those people.

How did you prepare yourselves for your stage debut? Did you have to take any public speaking classes or learn acting warm-ups, for example?

Josh: Oh no, you’d be shocked by how little we prepared anything, even as far as the presentation. I think we were all surprised to learn that we were sort of good at it, or not necessarily good but not bad at it. Once we got up there, everyone’s been so receptive and we’re talking to our people, so it becomes less like a rock star thing and more like a room full of like-minded people.

Ask a Casting Director: How Do You Cast Superheroes?

'Spider-Man: Turn Off the Dark'

Tiffany Little Canfield
Telsey + Company, New York
Broadway: ‘Spider-Man: Turn Off the Dark,’ ‘Tarzan,’ ‘The Addams Family,’ ‘Rock of Ages’

With Peter Parker [in "Spider-Man"], it’s interesting because he’s sort of the anti-superhero. He’s the nerd who becomes powerful against his will. When you think of casting a superhero, you’re thinking of strength and confidence if you think of someone like Superman or Batman. But this is actually the opposite of that. We’re looking for vulnerability.

Of course, the actor plays Spider-Man too, but he’s in a mask—for a limited amount of time while singing and dancing, and stunt doubles in full costume take over for additional tricks—and in terms of the acting range, you need someone who can then also be physically confident to fly all around the stage and do all the extensive physical work they have to do. We did flying auditions and looked for expression within the body. A lot of the harness work is strength-based for agility and comfort in the air. That’s strength, but it’s also balance and being able to hold yourself so that you can continue to act. And luckily in a musical, you have the music, which does a lot to convey emotion.

Those defining elements of who Peter Parker is are crucial. But does that mean how tall or how short he is? No. Hair color? I’m not as concerned about that. That’s up to the creative team, to figure out what are they going to make him physically look like, which I have no interest in. I’m looking for the essence of Peter Parker. He’s a very complicated hero.

At the Artios Awards with Vincent Kartheiser

Vincent Kartheiser

After all of the statues had been handed out at Monday night’s 25th Annual Artios Awards in New York City, we had a drink with “Mad Men” star Vincent Kartheiser, who was on hand to present several awards honoring the top casting directors in the industry.

What brings you to the Artios Awards tonight?

Vincent Kartheiser: Well I was offered to come, and I said, “That’s a huge honor and I’d love to do it.” I have primarily worked out of L.A., although I know some casting directors in New York. I love casting directors. I owe my career, like all actors do, to two or three casting directors who have really stood behind me.

Who are some those casting directors who’ve shaped your career?

Mali Finn was actually a huge, huge impact on my life as a young man. She basically pulled me out of Minnesota, brought me to L.A., screen tested me. She passed away a couple years ago now, but she was a huge catalyst in my career – and they always are. Throughout your career, you’re going to go through periods where the public doesn’t want you and directors don’t know you, but these people who do the work, and spend their evenings watching movies they don’t want to and plays that are out of their way, are the people who we owe our careers to and who believe in us.

At the Artios Awards with Patrick Wilson

Patrick Wilson

On Monday night, some of today’s hottest actors came to the new Times Center in New York City to honor the industry’s top casting directors at the 25th Annual Artios Awards. I spoke with actor Patrick Wilson (“All My Sons,” “Watchmen,” “Little Children”) at the pre-ceremony reception, before the lights dimmed and he presented several of the night’s awards — and he actually seemed excited to see us!

Does this mean you used to read the Back Stage casting notices when you began your acting career?

Patrick Wilson: I started pre-internet! Absolutely, my first job was from Back Stage, though.

Do you remember what that first gig was?

I used to get Back Stage when I was in college – well, I had friends who got it and would tell me about it, and my friends and I would drive up from Pittsburgh [to auditions in New York]. I auditioned for so many things then, let me think… My first job was “Miss Saigon,” which I got out of Back Stage West.

But even though I had an agent, I would still go to open calls or EPAs, you know. It’s what I tell young actors now: Just because you get an agent doesn’t mean the work stops, or the pursuit stops. A couple times you’ll get cross-referenced, like “Yeah, so I got you an appointment,” and you’re like “Oh yeah, I already went in for that.” And they’re like, “What?”

At the Artios Awards with Janeane Garofalo

Janeane Garofalo

Comedian and actress Janeane Garofalo (“Reality Bites,” “The Truth About Cats & Dogs,” “24″)  hosted the Artios Awards in New York City on Monday night, where CSA-member casting directors are recognized annually for their work casting film, theater, and television projects. I was there before the ceremony to speak candidly with Garofalo about past auditions, the ups and downs of her long career, and why acting is always personal.

Do you have relationships with any of the casting directors being honored here tonight?

Janeane Garofalo: I mean, I know some of them. I don’t know them know them, but I’ve met some over the years. But I don’t even know if they know who’s hosting. (laughs)

What does it mean to you to be hosting the awards tonight? As an actor, these casting directors kind of control your destiny, right?

Yeah. So they’re getting rewarded for controlling the destiny of millions of young – and middle-aged – actors.

Speaking of casting directors, do you remember your best – or worst – audition experience?

My worst audition was for Oliver Stone, many years ago. He walked out of the room while I was auditioning for “Natural Born Killers.” That’s the only time I remember that happening. And I was told by others that that was not unusual. That was his behavior back in those days.

Casting Directors Feted at Artios Awards

Michael Shannon and Elizabeth Reaser congratulate the winners at the Artios Awards.

Casting directors came out from behind the curtain to be honored by their peers last night at the 25th Annual Artios Awards.

The bi-coastal awards, which were held simultaneously at the new Times Center in New York City and the Hyatt Regency Century Plaza Hotel in Los Angeles, are presented yearly for outstanding achievement in casting in theater, film, and television categories on the criteria of originality, creativity, and contribution of casting to the overall quality of a project.

Celebrity awards presenters in New York were Patrick Wilson (“Little Children,” “Angels in America”), Carrie Preston (“True Blood”), Michael Shannon (“Revolutionary Road”), Jennifer Morrison (“House”), Bill Pullman (“Oleanna”), Christine Ebersole (“Grey Gardens”), Vincent Kartheiser (“Mad Men”), and Elizabeth Reaser (“Twilight”). Stanley Tucci and producer Daryl Roth presented the New York Big Apple Award to Nora Ephron and Delia Ephron, whose “Love, Loss and What I Wore” recently opened Off-Broadway to rave reviews.

The event was hosted in New York by comedian Janeane Garofalo, who admitted the stakes are a little higher when you’re responsible for honoring your potential employers. “One would hope I don’t fail,” Garofalo said before the ceremony. “I can’t imagine it would be helpful if I do poorly tonight — unless they were casting for somebody who was failing at something. So hopefully I will not embarrass myself.”

But on this night, the actors were happy to step out of the spotlight, as they were given a rare opportunity to celebrate many of the behind-the-scenes heroes who have secretly shaped their careers. These A-listers seemed genuinely thrilled to attend and show their support for the CSA members being recognized.

“The director’s not going to know everybody out there,” Shannon said while speaking with Pullman and Artios Award-nominated casting director Ellen Lewis (“Revolutionary Road”) before the ceremony. “I mean, they’re very busy doing all the things they have to do, so it’s up to the casting directors to bring in the stack of photos and say, ‘Think about it.’ Without casting directors like Ellen, I’d just be sitting at home. It’s a big deal.”

Who Got the Part? Jeff Asbell

Role: Ensemble member of the Grown Up’s Playground Theater Company for improv comedy.

Jeff Asbell

Jeff Asbell calls himself a novice performer, but in reality he had been practicing improv for decades before being cast as a member of the New York City improv troupe the Grown Up’s Playground Theater Company last year.

Asbell had abandoned an early childhood love of the performing arts in favor of a more practical career. While working toward a master’s degree in counseling psychology in 1968, he realized that before he could become a guidance counselor in the New York school system, he would have to be observed working with students. Asbell felt self-conscious about “performing” in front of his peers and professors, so to prepare himself for his time in the spotlight, he enrolled in a year of improv and scene study classes at HB Studio.

“To me, people who did improv were able to mentally fly by the seat of their pants and do verbal acrobatics,” he says. “And I thought, ‘If they can do it, I can do it.’ But I just needed a little teaching and coaching, an opportunity to interact.”

Building the Virtual Audition Room

Companies like AuditionHost and MyStudio are taking casting to the Web, but are users following?

MyStudio at Scottsdale Fashion Square in Scottsdale, AZ

If a tree falls in the forest and no one hears it, does it make a sound? If you invent a brilliant new technology but no one uses it, how can it make people’s lives easier?

That’s what Scott Weiss must be wondering. Weiss is co-founder and president of AuditionHost, a new website designed to simplify casting by allowing casting directors to manage audition videos online and share them with their clients. The goal is “to automate the first round of the audition process,” Weiss says. “It’s a business tool. There’s an emerging trend: How can we use the Internet to make things easier and faster, to focus on more stuff? For a casting director, maybe they can take the few hours this would save them sitting in an audition room and put it toward the next project.”

One obstacle for start-ups like AuditionHost, which launched in February, is that in order to become viable, it must first be widely adopted by casting directors. The service costs CDs $299 for one 30-day online casting call (prices for long-term plans vary). For casting offices without their own studios, Weiss notes, that’s cheaper than renting audition space. The service is free for actors, who can also get feedback from casting directors on the site.

Cast It Systems is another online management tool for casting, and after five years in business it boasts more than 400 clients, including major studios and networks such as 20th Century Fox and HBO and producers like Bad Robot, Happy Madison, and the Weinstein Co. Producers post casting needs and production details, CDs upload audition videos and actor profiles, and both sides interact, comment on the material, and make decisions faster.

“I think you’ll always have those smaller projects that take YouTube auditions,” says Cast It co-founder Eric Hayes. “But for it to be a viable system, it has to be standardized for the big studios. That’s kind of the advantage of Cast It. Casting directors know that if they use Cast It, they can work with any studio or network.”