Chicago is known nationwide for its prolific theatre and acting community. And it’s the job of Chicago’s casting directors to put forth the best of this deep talent pool. To help actors help their casting directors, PerformInk presents profiles of some of Chicago’s major casting directors. Together, these casting directors sport more than 125 years of experience in the business, ranging from casting newcomer Bob Mason (3 years) to Janet Louer (25 years).
Some issues continue to be important across the board. For example, casting directors unanimously hate it when actors come in unprepared. It makes everyone look bad, and they would rather you call and cancel the audition than come in and try to wing it. However, it is also important to note that casting directors really do want you to perform well. When you look good, they look good. Janet Louer of O’Brien/Louer Casting (formerly Chicago Casting Center) says, “We want you to be good. Every person that walks in that door I’m praying will be wonderful.”

Casting directors agree that on-camera acting is a different skill—a different way of utilizing your acting technique already in place. Since Chicago does not afford many opportunities for actors to gain on-camera experience, on-camera classes can help actors get used to being…well…on camera. Classes can help ease the fear and provide instant feedback on what works and what doesn’t. This is also where actors learn basic protocol of what happens in an on-camera audition.

With regard to actors’ headshots, they should be professional looking, but not necessarily expensive. It is more important to work with a photographer with whom you have a good rapport than the one who charges the most. Beyond that, the only requirement is that the photo looks like you.

Finally, casting directors like to be kept informed of projects you are working on, but they do not need another headshot and resume every single time. A postcard will suffice, or a note on letterhead with your photo scanned onto it. It helps them to have a visual reminder of who you are without the clutter that comes with a pile of photos and resumes. Annual updates of your complete photo/resume are fine.

The Players

Jane Alderman of Jane Alderman Casting has spent 23 years in the business casting everything from commercials to theatre. She now mainly casts for film and television, such as “ER” and HBO’s “Normal.” Alderman is a member of the Casting Society of America (CSA) and the television academy. It is also worth noting that she maintains her membership in SAG, AFTRA and Equity.

Alderman says that her “great pride is finding new people. I go to theatre and showcases as much as I feasibly can.” Agents also introduce her to new actors. “If an agent is smart and knows me they know my taste...I love people who fascinate me in some way.”

Nothing really bothers her: “If somebody is not professional, I just won’t deal with them anymore.” The one thing she will not tolerate, though, is a liar. “I don’t want anyone to ever lie to me—why you were late, why you are unprepared. I won’t tolerate it,” she says.

Her strongest advice for actors is to “attend to the inner strength that forces you to do this. Nurse that strength because it is the most crushing business I know.”

Erica Daniels handles casting for Steppenwolf as well as side jobs with About Face and Lookingglass

Erica Daniels of Steppenwolf Theatre has been in the business since 1991. While she is the full-time casting director for Steppenwolf, she also helps out smaller companies such as About Face and Lookingglass with their casting needs.
Daniels does not get peeved too easily, but actors should know that it is not appropriate to keep calling her for auditions. If you have been around the Chicago theatre scene, chances are she knows your work. If you are right for a role, she will call you. However, Daniels does say it is helpful to keep sending in your headshots, especially if you have new credits. “Right now I’m doing non-Equity generals and I got, like, 4,000 headshots. Just when I thought I knew everybody!”

In final casting decisions, Daniels sees herself as a guide more than an influencer. “I can help retain all the information over the long run,” she says. “I can help the director remember things or remind them of things over the course of the audition process that they may have forgotten.”

Her advice to actors: “There are a lot of you. Given the numbers, there is only so much you can do to get the job, so do what you can and then let it go.” She says that what happens in the decision making process is so far removed from the actors that there is no point in worrying about the minutia of your audition.

Bob Mason of Chicago Shakespeare Theatre has spent only three years in casting, and the previous 15 years as an Equity actor. He specializes not only in Shakespeare but also in musicals, particularly Sondheim. Recent projects include King John and A Little Night Music. He has also been consulting with the Goodman Theatre to cast the new Sondheim premiere Bounce. Mason gets annoyed in auditions when actors do a British accent for their Shakespeare monologue. He also doesn’t like it when actors don’t have a second piece prepared.

When looking at resumes, he notices education, and places and productions he may know. “One thing I find helpful, and wish I had done when I was acting, is to reference as many people as possible on the resume.” That way he can easily check with people he knows you have worked with. The special skill you can leave off your resume is belching. It is absolutely not helpful.

Mason reminds actors that “Your reputation and your work ethic are your career more than your talent. Word gets around.”

O’Brien/Louer Casting consists of Tina O’Brien and Janet Louer. Louer has been in the business for 25 years and O’Brien for over a decade. O’Brien ran the children’s division of Harrise Davidson for many years, and recently cast Nickelodeon’s “All That” (like “SNL” for kids). Louer’s career has included being an agent and a manager (her last client was Heather Headley, who won a Tony Award for her role in Aida).

Although their casting credits are varied, the team now spreads their energy at what could be considered the extreme ends of the entertainment spectrum, casting for both Broadway shows and reality TV. Louer’s recent projects include The Lion King and The Little Princess for Disney. For reality TV, she’s done “Fear Factor” and “Elimidate,” among others.

“At first I thought I was going to hate it—you know, street casting.” But Louer soon started having fun people-watching and approaching people she finds interesting.

On the subject of unprepared actors, Louer cited their work on HBO’s Project Greenlight. The film had a lot of small roles that needed filling, which apparently incited some arrogance on the part of actors auditioning. “A lot of actors would come in being so unprepared, not even having read the script because it was 'only for one line.’” This reflected badly on Chicago actors because the process was on HBO as a documentary.

Mickie Paskal and Jennifer Rudnicke of Tenner, Paskal & Rudnicke Casting have each spent about 10 years in the business. They’ve done a little of everything from Road to Perdition and the new Robert Altman film, The Company, to the NBC pilot season and commercials for McDonalds. Rudnicke specializes in casting kids. Paskal and Rachel Tenner, who heads up their LA office, are both members of CSA.

Paskal and Rudnicke get annoyed when actors don’t treat this as a profession. “I wouldn’t go to a session without my cameras,” says Paskal. “Why would an actor show up without their sides or headshots?”

When sending them your photo/resume, Rudnicke notes that unless they’ve asked for it immediately, don’t waste your money on FedEx or a courier. “It does not make them more special in my eyes,” she says. On your resume, they like to see that you’ve had other bookings and theatre work. If you have just started acting and have no credits, then classes show you at least are able to train.

Agents are influential in getting Paskal to see new talent. This is far preferable to her than general auditions. “I’m not big on monologue sessions. I’ve done one and I wanted to kill myself.”

Paskal’s advice: Empower yourself. “I know everyone says this, but I don’t exist without the actors. I am as nervous as they are the night before a big audition.”

Rudnicke would like actors to have more confidence in what they’ve done in their audition. “They walk out thinking they haven’t done a good job if we’ve only had them read once. Eight-five percent of the time it’s because it was so good they don’t need to do it again.”

Cree Rankin of the Court Theatre has spent 25 years in the business, with nearly half of those devoted to various aspects of casting. The Court Theatre is known for producing classical plays or well-known, established plays in new ways. Rankin’s recent projects include James Joyce’s The Dead, some roles for The Romance Cycle, and currently next season’s Cyrano. He gets annoyed when actors don’t show for an audition and don’t call to cancel.
Rankin feels actors should “ask more questions about what is expected of them so they know what to bring in.”

Monologues presented with strong choices really stand out. He notes, “It is easier to direct somebody who approaches the material from a point of view.”

He recommends actors not to get too discouraged with how much self-marketing they need to do. It can be very effective to keep casting directors informed about what you’re doing. “I may see a show because 5 people have sent me something and they’re in the same show.”

The ladies at Claire Simon Casting tackle everything from film/television to regional theatre.

Claire Simon of Simon Casting has been in the industry for more than a dozen years, and it’s hard to pin her down to a specialty. “I guess I specialize in really, really good actors,” she says. Simon feels that her “full circle view” uniquely qualifies her to judge talent. Prior to casting, she spent many years in advertising as a creative. She has also been a struggling actress and an agent for several years.

Currently Simon is casting a lot of regional theatre, including Tom Stoppard’s Arcadia for Indiana Rep and Eurydice for Madison Rep. She is a member of CSA with a degree in theatre.

Simon says that she has a lot of influence over the final casting decision. “Clients have respect for you and your decisions. In commercials, it probably does not matter as much because it comes down to type. In theatre and film, clients rely on us having seen actors in shows.”

She notes that actors often come in having already decided they aren’t right for the role. “Always be prepared and have in your head that there is a possibility that you can get this job. They don’t know that we’ve already talked with the writer or director and already made a change to the character. Everyone wants you to be great.”

“Who you are and your work ethic is as important as your talent. People want to work with people they like and are fun to be around. They will choose someone less talented but fun to work with over more talented people who are not good to work with.”

These are just a few of the people who help Chicago actors get work. Armed with this knowledge, everyone should be able to sail through their next audition, knowing that the people on the other side of the table are just as nervous as you are.