Team Jabberwocky

The official web home of Team J, a frabjous transmedia company.

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Casting Notice – Multiple Voice Actors Wanted for Neo-Noir Audio Drama

Jabberwocky Audio Theater is looking for multiple voice actors to join our existing company members to record an action-packed, neo-noir mystery this summer for broadcast later this Fall.

The Gambler’s Tale: Outstanding Debts will be a 10-part audio mini-series written and directed by award-winning filmmaker William R. Coughlan and produced by Jabberwocky Audio Theater. Set in Las Vegas in the early 2000s, this tale follows Jimmy Harmon, a young, would-be poker pro as he stumbles into the machinations of a secretive group known as the Quorum.

Some of the characters who appear in this mini-series will reappear in other tales of the Quorum in future seasons, so we’ll be looking for actors we can work with long-term. You can also listen to our other main show, the sci-fi adventure Rogue Tyger, to get an idea of the work Jabberwocky Audio Theater produces.

This mini-series will be recorded at Arlington Independent Media on three separate Sundays in July and August for broadcast on their low-power FM station, WERA, in October. While this show will originate on non-commercial, non-profit radio, actors will receive $75 per recording session.

We are looking to collect all submissions (via Stonehenge Casting) by May 31st in order to schedule auditions at A.I.M. in June.

For further details, submission instructions, and the list of characters, check out the full casting notice on the Jabberwocky Audio Theater web site.

Jabberwocky Audio Theater: Sneak Preview of Rogue Tyger

We are very happy to announce that Jabberwocky Audio Theater, something we’ve been working on for many, many moons, is set to debut on broadcast radio this summer.

Before that happens — and to whet your appetite — we’re sharing the series premiere of our first show, Rogue Tyger, a space opera set thousands of years in the future in a far-flung corner of the galaxy.

The show will be presented in 5-part serial form, with cliffhangers at the end of each episode, but with this little sneak preview, you don’t need to wait a week to find out what happens next, all five episodes are below.


The full show notes for episode 1.

The full show notes for episode 2.

The full show notes for episode 3.

The full show notes for episode 4.

The full show notes for episode 5.

Stonehenge Auditions 2018: Videos Now Online

We’re happy to announce that the audition videos for this year’s Stonehenge Auditions are now online on our YouTube Channel.

They’re joining over 800 other videos on the channel for producers and casting folk to search.

If you’re an actor who gets work from your Stonehenge Audition video or you’re a producer who winds up using someone you first saw at Stonehenge Auditions, please let us know.

Stonehenge Auditions 2018: Session One Lottery Results Sent!

Most of you have checked your email, but for those who haven’t, lottery results for Session One of this year’s Stonehenge Auditions have been sent out.

Over half of the actors with guaranteed or standby slots have not uploaded your headshots and resumes to the Dropbox link provided. Remember, there are no physical headshots or resumes this year, so if you haven’t uploaded your materials by check-in, you will not audition.

Please take a moment to check our formatting requirements and upload your materials.

If you missed this session, good news! This year, we have a second audition session on Thursday, March 29th. Registration closes Monday, March 19th at 1pm.

DeLeon Crossing is Screening in Del Ray this Sunday

Did you miss yesterday’s message to the Team J Mailing List? DeLeon Crossing, our award-winning film from 2007 will be featured as part of new local film series sponsored by Del Ray Films.

The event will be at The Evening Star Café in the Del Ray neighborhood of Alexandria (where most of DeLeon Crossing was filmed). It’s free, starting around 5:30, with films starting at 6pm and a Q & A with the filmmakers (including Team J’s Bjorn Munson) afterwards.

You can find out more information on Del Ray Film’s event page and a Facebook event page.

We hope to see some of you there!

Bjorn Munson Speaking at WIFV Talent Roundtable, 2/26

Head Jabberwock Bjorn Munson will be speaking at this month’s Women in Film & Video (WIFV) Talent Roundtable.

WIFV has a series of monthly roundtables, we’re actually holding the Stonehenge Auditions at two of them in March: Session One on March 5th during the Narrative Directors’ Roundtable and Session Two on March 29th for that month’s talent roundtable.

He’ll go over things to keep in mind when doing a mass audition as well as follow-up steps and submitting to casting notices.

For those of you with memories like an elephant, you may remember this sounds similar to a talk he gave in 2016. It is.

But if you didn’t attend two years ago, we hope it will help you as an actor learn more about navigating the indie world. If you’re an actor who’s gotten the lottery results for Session One or are hoping to get an audition slot for Session Two, this should be particularly useful.

The event is free for WIFV members and $10 for non-members. You can learn more and register at their event link.

Stonehenge Auditions 2018: Registration Open & Format Changes

If you’re signed up to the Team J mailing list, you already know this, but the 2018 Stonehenge Auditions dates are set and registration is open for both producers and actors:

  • Session One: Monday, March 5th, 6:30 – 9:30pm (during WIFV’s Narrative Directors’ Roundtable)
  • Session Two: Thursday, March 29th, 6:30 – 9:30pm (during WIFV’s Talent Roundtable)

If you’re an actor, you can check WIFV’s event pages or for the deadlines to register. Audition slots are assigned by lottery as always. For producers, space will be limited, so if you want to see the actors in person and otherwise network with your peers, you should register earlier rather than later.

If you just want to know that registration is open and where to do it, click the links above and rock on.

There are a few major format changes to the auditions this year which we hope will make Stonehenge Auditions a sustainable community resource for years to come. If you want to learn more, please read below.

A Format Change was Inevitable
This may come as a shock to actors, but the day-long event is not equally beloved by producers. Don’t get us wrong. They like to see you all audition… and they love to see the videos after the fact. It’s simply that, again and again, producers tell us they can’t set aside a whole day to watch auditions.

Combine that with the fact that, for the past few years, most of you actors tell us you’ve gotten additional work and auditions from the online videos not the in-person audition itself.

A new Stonehenge Auditions model: Multiple Sessions hosted by Area Organizations
So we have a service that both actors and producers tell us is valuable: we tape and post dozens of audition videos online.

If anything, people want more than the roughly 120 videos we get from the day-long event. Only we can’t support the day-long event. Oh, and we need a space to hold the auditions that is both inexpensive (or free) and available. And could we have more audition dates?

Enter many organizations around the area that regularly hold events in mornings, afternoons, and evenings. They already have mechanisms to register people for events. They already have spaces to hold their events. The Stonehenge event is arguably a benefit for their members and the resulting online videos are a benefit to the community as a whole…

You may see where we’re going here.

Women in Film & Video (WIFV), the organization that has partnered with us for the past few years to put on Stonehenge Auditions, has volunteered to pilot this new format in 2018. Our goal is that next year, 2019, other groups will join in. Ideally, every Spring, there will be four or five sessions of Stonehenge Auditions. There will be more videos, more producers finding actors, more actors finding work, and all the related goodness that comes from those connections.

Nevertheless, this format means changes — some more significant than others.

Non-members have to pay this year
Area organizations like to hold events to benefit their members and, not surprisingly, often charge non-members to attend those same events (or they charge members AND non-members, they just charge non-members more). Since the organization is securing the space and managing the registration for that session, we don’t mind that the event benefits their members.

Most producers, even non-member producers, will probably wind up paying less to attend Stonehenge with this new format, but actors who aren’t members could, for the first time, have to pay to attend Stonehenge Auditions.

For 2018, we’ve confirmed with WIFV that everyone that doesn’t get an audition slot will have their registration cancelled and non-members can have their fees refunded around the time we release the lottery results (a week before the session).

Actors who get guaranteed, standby, or waitlist slots will need to cancel with WIFV if they can’t attend — and non-members will need to do that 48 hours before the event to get their fee refunded.

Does this mean that mean that actors who are not WIFV members would need to pay $10 to attend the event — and thereby have their audition taped and put online?


Does this mean non-members will still want to cancel within 48 hours even though they won’t get their fee refunded  — because otherwise they get on the Mud List?


Actor registration is entirely through WIFV this year
Unlike the past few years, actors do not need to update and submit through their profile. It’s done entirely through WIFV event pages this year (see the top of this post). You’re not entirely off the hook for being tech literate, however. (see below)

There are no physical headshots and resumes this year
This makes logistics exponentially easier, but that does mean adjustments for actors and producers.

Actors will need to upload their headshot and resume to a DropBox link that will be provided when you register. Headshots should be in PDF, JPG, or PNG format — and resumes should be in PDF (preferred), DOCX, or DOC format. Plan on labeling your files YourfirstnameYourlastname_headshot.pdf (or .jpg or .png) YourfirstnameYourlastname_resume.pdf (or .docx or .doc) Your headshot file size should be 1mb or less and your resume should be 500k or less. Combined files could be 1.5mb or less and would be wonderful as a PDF (YourfirstnameYourlastname.pdf).

Producers need to have some means to view the headshots and resumes, whether it’s a tablet or laptop — and they should probably have some offline or analog method of taking notes if technology and WiFi connections act up. We’ll email out a spreadsheet list of everyone who auditioned as well for reference.

Actors must provide a signed release to audition
As should be clear at this point, we’re now doing Stonehenge Auditions to make sure we can provide the community with online audition videos. If an actor doesn’t want to be taped, they shouldn’t register. We will collect actor’s signed release when they check-in.

The usual policy for the online videos remains: the videos can be taken down from our YouTube channel at any time for any reason, usually within 24 hours of the actor’s request.

If you have additional questions, feel free to check out this year’s Stonehenge Auditions page as well as the Actor FAQ and Producer FAQ. We hope to see many of you at the henge.

Casting Notes #16: Making the Final Casting Decisions (For Filmmakers)

This 20-part series, written by Team J’s Bjorn Munson, covers the lessons learned during the casting of The Broken Continent web series pilot in 2012. You can find the full Table of Contents in Part 1.

This series is meant to help other independent filmmakers, primarily those who are casting a large ensemble (10+ speaking parts, multiple background actors, etc.). Individual articles may be useful to production companies looking to cast other work such as commercials. There are also a number of articles specifically for actors on how to better submit for auditions, do the auditions, and deal with the statistically inevitable rejections.

The lessons learned have been applied to Team J’s Stonehenge Casting service, an online tool for producers to find actors and actors to find work.

Previous Casting Notes Article | Next Casting Notes Article

Making the Final Casting Decisions

Now comes the moment of truth.

By the way, “final casting decisions” may be a misnomer. As you’ll see in Part 17, your first choice may suddenly be unavailable, which leads to your second choice.

But this is still decision time. You can do it. And by ‘you,’ I mean the same creative team who was behind the callback decisions.

As before, the director or showrunner should get the deciding vote. However, the decision may not be obvious. The director may appreciate some perspective from the rest of the creative team.

Before meeting, all of you should try narrowing actors down with these questions:

Who’s the top choice for each role?
Yeah, this is the question some of you have been wanting to put off for the longest time — especially if the the casting director has given you a lot of choices.

What does ‘top choice’ mean? Ask yourself who’s going to be best at that particular role.

Remember any role has some essential attributes an actor needs to sell. That’s what you were testing in your auditions. Among all the contenders, you had the “green, yellow, and red” candidates, but like as not, there were one of two “green” candidates that you and your creative partners raved about. [1]

Sometimes you’re aided by the fact that one actor was good in Role A, but great in Role B, and you can’t see anyone else in Role B.

This realization is critical to building your cast — and one of the reasons you often don’t get the cast you were expecting, yet all your hard work results in a strong cast at the end of the process.

If you’re truly stuck on two different actors for one role, it’s probably because you found both actors were very strong at selling those essential attributes. [2] Now’s the time to step back and consider not just that character’s essential attributes, but how they relate and must relate to other characters. Understanding those key relationships and how the two actors sell that relationship can be crucial, which also leads to:

Will the top choices work with each other?
Don’t ignore this question! This is more than chemistry, though that’s a big part of “working with each other.” One of the biggest issues I find consistently arise in indie film productions and smaller theater productions is uneven casting. By this, I mean that it’s clear some actors are more experienced than others — or their acting styles are remarkably different and aren’t meshing.

A veteran actor can be generous and give younger actors a great deal to work with in a scene, but that sometimes depends on the temperament of the actor and skills of the director.

Who are the next choices?
You won’t want to do this and it hopefully won’t be important, but it’s all part of risk planning.  You want to think about other actors now versus when you suddenly need a replacement for your lead.

The reasons for this are multi-fold. Not only may your preferred actor be unavailable when you first contact them, they also may suddenly need to bow out because of an emergency.

Will those choices work with one another?
Don’t worry about figuring out every iteration of who will work with whom. There’s no reason to go through a neverending thought experiment on this. However, if you have a key relationship, especially between leads, it’s worth while to spend a moment considering if the new match will be uneven in any way (for the same reasons mentioned above).

Is everyone happy, or at least comfortable, with these choices?
If you’ve gone through all questions above diligently, this particular question should be answered. Nevertheless, it’s good to ask yourselves this question at the end. Nagging doubts and tingling spider senses should be voiced and addressed (though perhaps not always resolvable in that same meeting). Does one of your creative team really feel you need to call in more actors for one role? Do you all agree that you have the strongest cast you can have? [3]

Once you’ve answered these questions, you can move on to who will be contacting actors and what information to be conveyed, but that’s the focus of the next article.


Previous Casting Notes Article | Next Casting Notes Article

FOOTNOTE # 1: If you recall in part 11 about running the auditions themselves, I recommend always taking a minute after each audition to discuss the actor who just left the room. This is because, yes, you can remember the actor’s audition and, yes, you can review the tape — but you absolutely remember if you raved about a particular actor to your creative comrades. This happened for various actors for all of us while casting The Broken Continent. Enthusiasm counts.

FOOTNOTE # 2: It’s not uncommon for an actor to discover something about the character that you –even as the writer/director– may not have realized that still rings true to what you intended. You may find that actors sell a character’s essential attributes in much the same way OR you may find two actors find two ways to play a character that are different, but you find equally compelling. So long as the chosen actor’s approach meshes with the other actors and their approach, that’s fine.

FOOTNOTE # 3: Every project has a different timeline, so answering the question of if you have the strongest cast you can have is constrained by how soon you need to move into production. There have been many projects where I would have loved to have audition or outright cast certain actors and the schedules didn’t work out. You need to be prepared for that unhappy possibility.

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