BACK STAGE WEST
June 05, 2003
by Rob Kendt
Agents never come
to the theatre in Los Angeles, right? John Lyons of the Austin Agency does--indeed,
it's where he's found most of the clients in his roster, including young Damien
Midkiff, a pale, lanky actor from New Orleans who appeared in Sharon and Billy at the Open Fist Theatre in fall 2000 and
landed both Lyons as his agent and Michael Kaliski of Omniquest as his manager.
"He's pretty
astonishing," raved Lyons of Midkiff, currently appearing at the Stella
Adler Theatre in Syzygy Theatre's production of Trestle at Pope Lick Creek. "He has such artistic maturity for
a 21 year old it's scary. He's very clear about what he's doing, but it's not
the over-eagerness you see in some young actors that has to do with ambition;
it's a single-mindedness about what he's doing as an actor. It's too much for
some people."
Lyons and Kaliski
have been knocking down doors for Midkiff, whose unconventional, almost albino
looks may mark him for disturbed characters and geek roles. It hasn't been
easy, but there's been enough buzz, according to Lyons, that director Mimi
Leder (John Doe, Deep
Impact) has considered
him for roles "numerous times," and casting directors have
"loved him so much, they started calling around to other CDs saying,
'You've got to see this kid.'" At press time Midkiff was in consideration
for a major role in Lars Von Trier's new Manderlay, scheduled to shoot this summer.
When Midkiff
arrived in L.A. in 1999 after studying in New York, he figured he would
continue to do plays, even as he sought film and TV work, "because what
else would I do? Sit on my butt and do nothing while I wait for people to cast
me?" When he got in a play, he sent out postcards to agents after combing
the lists provided by Screen Actors Guild and in Ross Reports. He didn't do
repeated mass mailings, though: His strategy was to "target a few and keep
sending them rather than sending 1,000."
When Lyons
dropped off his card after Sharon and Billy, Midkiff was impressed by Lyons' passion
for the theatre. As soon as Midkiff signed, he had four auditions in the first
week. The work hasn't stayed at that level since, but Midkiff remains loyal:
"I call [Lyons] the actor's agent. He really works closely with you. I
think you have to go with your instinct about the person; my instinct told me
he'd work really hard for me, and I could talk to him."
Midkiff's advice
for actors? Don't obsess on things you can't control, like your look or your
type or the politics of the audition room. "What you can do is work hard,
and work hard on yourself. I've found the desperation starts to leave. Now when
I meet with a director it feels like a rehearsal, not an audition." He
advised actors doing theatre "to do things for the right reasons, then
invite people."
Said Lyons of his
young charge: "He's going to have a career, but it's not going to be
handed to him. He'll get it the hard way, by earning it."
Proof that strong
college ties can be your salvation is Laurel Green, a thirtysomething actor
best known for originating roles in several plays by the popular local
playwright Justin Tanner, most of them at Hollywood's Cast Theatre in the early
and mid-1990s. Green and Tanner originally met at Los Angeles City College and
have been close ever since, with Green functioning as Tanner's muse for such
long-running hits as Zombie Attack!, Pot Mom,
Bitter Women, and Teen
Girl. Her exposure in
those plays--all of them comedies, but most with dark edges and finely shaded
characters--won her fans in many agencies and casting offices, which nabbed her
roles on Murphy Brown
and Home Improvement.
But after Green
took a break from acting to deal with a family tragedy a few years back, she
had some trouble reentering the business. Green's longtime
agent-turned-manager, Jim Weissenbach, had stayed with her during her hiatus
but was preoccupied with theatrical producing. She appeared in Hot Property, another Tanner play, at the Evidence
Room last year, and in his contribution to the late-night madness of The
Strip (still ongoing),
but she took a lot of agency meetings that ended with no deal.
"What I was
finding was that some of the mid-sized or boutique agencies I thought I would
be right for me were hard to get into," Green recounted. "A lot of
them said, 'We will not take anyone who isn't already on a series or isn't a
name.' " And, Green said, her type might be tough to place: "I'm a
Caucasian comedic woman in my 30s. I'm not a geek, but I'm not a bathing
beauty. I fall between the cracks."
It was the Tanner
association, yet again, that broke the ice: Casting director Jeff Greenberg ran
into the playwright at a theatre opening, and the chance meeting reminded
Greenberg of Green, whom he tracked down for a co-star on Frasier. And that led her to page, yet again,
through her well-worn copy of The Agencies guide. She stopped on the listing
for Angel City Talent, where agent Mimi Mayer had formerly repped her
commercially. "I always liked [Mimi], so I called her, and she said, 'I
was just thinking, Whatever happened to Laurel Green?' "
Green met with
Mayer and they hit it off again. "She seemed to get me," said Green
of Mayer. "She would say things to me like, 'You play really gullible
characters.' She knows what I'm good at, what my strengths are. I used to get
sent out for roles looking for a 'Janeane Garofalo type.' But I'm much softer,
I've got big, sad eyes, I'm not caustic, I'm kind of neurotic. I'm not Janeane
Garofalo. [Mimi] has a good idea of where I fit in."
Once signed with
Angel City, Green didn't kick back and wait for the phone to ring. She got new
headshots and sent out postcards to all the casting directors around town--and,
to Mayer's amazement, got a job that way--and put herself "all over"
the Internet, including on nowcasting.com and lacasting.com, which she said has
increased her commercial bookings (she's repped commercially by Sutton/Barth/Vennari).
"All the money I made on Frasier is basically gone," she said of these marketing expenses.
She and Mayer are hoping these steps will do the trick, not only for comedic
work but for one-hour dramas. It's been quiet so far, but Mayer's eyeing the
fall season.
"It hasn't
been extremely easy to walk back in and go, 'Here I am,'" said Mayer, who
tends to rep character actors (Pamela Gordon is also a client). "But
[Laurel's] terrific and people really love her. When TV season picks up, I hope
things will pick up."
Either way, it's
clear that Green is willing to work as hard as her representation to make it
happen. Apologizing in advance for the pun, she said, "I'm not resting on
my laurels."