When it comes to casting roles for certain characters or performances that require a small stature, there are two commonly considered options: vertically-challenged actors or mascots. Both choices have their own merits and drawbacks, and the decision ultimately depends on the specific requirements and preferences of the production. Vertically-challenged actors, who may be individuals with dwarfism or short stature, bring authenticity and representation to the role. **By casting a vertically-challenged actor, the production can ensure that the portrayal of a character is accurate and respectful**. These actors often bring personal experiences and perspectives that can enhance the character's development and allow for a more nuanced performance. Additionally, casting a vertically-challenged actor promotes inclusivity and diversity within the entertainment industry, providing opportunities for talented individuals who may otherwise face limited casting options.
Following AFI, Kayla began her journey as an Assistant Editor and worked for some of the most highly respected Film Editors around, including Dody Dorn, ACE on Casey Affleck's critically acclaimed film I'm Still Here starring Joaquin Phoenix. She then worked with another top Film Editor, John Axelrad, ACE, on Warner Bros' romantic comedy Something Borrowed starring Kate Hudson and Ginnifer Goodwin. With the help of Axelrad's vision and support, Emter earned her first Addt'l-Editing credit, on the Summit Entertainment thriller Gone. This was followed by a Co-Editing credit on James Gray's The Immigrant which was in competition at the 2013 Cannes Film Festival. And most recently, the two collaborated on Don Cheadle's Miles Davis biopic, Miles Ahead.
Together with bandmates Dhani Harrison and Paul Hicks they wrote and produced their sophomore record Thefearofmissingout and EP002, which features Regina Spektor, The RZA and Ben Harper. Lucy worked with Topher Grace and Anna Faris in Universal Pictures YOUNG AMERICANS and starred in the musical dramedy, UNTITLED alongside Adam Goldberg and Marley Shelton.
Additionally, casting a vertically-challenged actor promotes inclusivity and diversity within the entertainment industry, providing opportunities for talented individuals who may otherwise face limited casting options. On the other hand, mascots can offer a different set of advantages. **Mascots provide a level of anonymity, allowing performers to embody larger-than-life characters while concealing their true identity**.
Sexual Awakening
Sex: The center of every teenager’s life. Steven Sater and Duncan Sheik’s rock-musical interpretation of Frank Wedekind’s controversial 1892 play portrays the very true personal journeys of a group of teenagers as they grow into their sexuality and discover their “awakening.” The Melodramatics Theatre Company premiered Spring Awakening on Thursday and it will run through April 14. The musical takes on a slew of hot topics of adolescent life, from sex in general to homosexuality, masturbation, pregnancy, abortion, abuse and suicide. Although exploring such serious themes, the musical’s delicacy in transitioning from comedic, lighthearted dialogue to moments of deep reflection keeps the audience engaged and attuned to the plight of each character. It runs the gamut of emotions and situations a teenager faces with the emergence of identity. And to think that the characters’ trials and tribulations set in 1890s Germany are still applicable to teens today, makes the subject matter of the play all the more haunting.Director Amina Omari says that “90 percent of a director’s job is casting.” Well then she at least gets an A- right off the bat. The cast is comprised of students from Ithaca College and Cornell as well as adult players from the area at large. Although each performer has their own unique voice that they flaunt at different intervals of the show, they manage the difficult task of coalescing as one powerful unit. Songs like “My Junk” and “Left Behind” really accentuate this, as individuals shine while the chorus carries the whole. This holds true for the acting. Ithaca College senior, Eric Hagreen, plays the nervous Moritz Stiefel intertwining moments of sincerity and comedy with a consistent, genuine grace. And IC freshmen Coleman Hemsath and Starr Jasmine Leavitt, who play Melchior and Wendla, respectively, are also forces to be reckoned with, tackling their characters’ plot lines head-on with no hesitation. The rest of the cast cannot be overlooked; each delivers other memorable scenes that make for a true ensemble, where no one is left behind.Omari and the rest of the crew play off the rock edge in the music and apply it to other aesthetics such as costume and lighting. As the singers’ notes echoed throughout the theater, the punk influence could not only be heard but also seen. The original Broadway show only hinted at this punk style through subtle nods, like the unorthodox male hairstyles for instance. In Omari’s re-imagining, all characters receive a makeover. The males sport interesting hairstyles and bright, neon shoelaces that clash with the traditional late 19th century wardrobe. The girls wear bright leggings, strong makeup and hard braids, no longer innocent bystanders to the punk undertones of the play. Lighting is also key to reaching a more rocking vibe. The use of more vibrant colors and different techniques made the show as visually rock-infused as the music and subject matter.Overall, the Melodramatics Theatre Company displays excellent showmanship and vision to Spring Awakening, making the most of Risley Theater and the talent of each individual. But hopefully the show transcends simple entertainment. The fact that the show’s many plots remain relevant for young adults in general is a cause of concern. Sexuality is a core truth of any individual and should not remain a taboo but an accepted reality. The show urges for proper sex education for young people, so they make better decisions instead of succumbing to foolish misunderstandings and unnecessary accidents. So that when one reaches their “spring awakening,” he or she is not blinded by ignorance and fear, but guided and armed with the proper tools. It should be a policy that all parents and educators should adopt so that we evolve from our ancient rhetoric on sexuality that stumps our societal growth. Hopefully, this musical will seem anachronistic one day instead of hitting so close to home. And if nothing else, at least there are still catchy tunes to enjoy.
Original Author: Natalia Fallas
Summer 2008 had McKean originate Tracy Letts' play 'Superior Donuts" at Chicago's famed Steppenwolf Theatre which went on to Broadway the following year. Michael starred in the Barrow Street Theatre production of Our Town, King Lear at The Public, and the Randy Newman musical Harps And Angels at LA's Mark Taper and Yes, Prime Minister at The Geffen Playhouse. McKean was back on Broadway in Gore Vidal's The Best Man along with Angela Lansbury, James Earl Jones; and most recently appeared in All The Way starring Bryan Cranston.
This can be particularly appealing for characters that are meant to be whimsical, fantastical, or unidentifiable. Mascots also offer a greater level of physicality and mobility, as they are designed to be highly expressive and acrobatic. Furthermore, mascots are often associated with entertainment and amusement parks, bringing a sense of familiarity and nostalgia to audiences. However, there can be disadvantages to casting mascots as well. **Mascot costumes can be physically demanding and require significant stamina to wear for extended periods**. The limited visibility and restricted movement can also hinder the performer's ability to fully engage with the audience or convey subtle emotions. Additionally, using mascots instead of casting vertically-challenged actors may miss an opportunity to promote diversity and representation within the industry. In conclusion, the choice between vertically-challenged actors and mascots for certain roles depends on the specific needs of the production. Both options offer unique advantages and drawbacks, and it is essential to consider factors such as authenticity, representation, physicality, and the overall vision of the performance. Ultimately, by prioritizing the **accurate representation and respecting the experiences of the characters being portrayed**, the production can create a more inclusive and immersive experience for the audience..
Reviews for "Invisible performers: The unsung heroes of vertically challenged actors"
1. Sarah - 2 stars - I really didn't enjoy "Vertically challenged actors vs mascots cast". I found the humor to be crude and offensive, especially towards vertically challenged individuals. It felt like the filmmakers were just trying to make fun of them rather than create a genuine comedy. The plot was weak and the acting was subpar. Overall, I was disappointed and wouldn't recommend this movie to others.
2. John - 1 star - This movie was a complete waste of time. The concept of pitting vertically challenged actors against mascots seemed interesting at first, but the execution was terrible. It resorted to cheap jokes and offensive stereotypes instead of delivering any meaningful humor. The performances were lackluster, and I couldn't connect with any of the characters. I was left feeling disappointed and regretful for sitting through this film.
3. Emily - 1 star - I found "Vertically challenged actors vs mascots cast" to be highly offensive and unfunny. The movie relied heavily on derogatory stereotypes and failed to explore any depth in its characters or story. The humor was juvenile and cringe-worthy, making me uncomfortable rather than entertained. I was extremely disappointed with this film and would advise others to steer clear of it.