Pr0ne follows Jessica Harrison, an aspiring film actress, and her family as the country discovers her secret: that she is the unnamed, possibly exploited, young woman in an adult “casting couch” video at the heart of a highly-publicized legal battle.
When CAR Theater Researcher John Carnwath went to the Nasty, Brutish & Short Puppet Cabaret at Links Hall, he was blown away by the variety of performance styles and the creativity, thought, and meticulous preparation that went into each of the ten-minute puppet pieces.
I’m in the Hollywood home of William Fraker, the six-time Oscar-nominated cinematographer of such legendary movies as Rosemary’s Baby, Bullitt, and WarGames. My crew is shooting our conversation for Old School New School, a documentary on the nature of creativity.
Kathryn V. Lamkey, Assistant Executive Director and Central Regional Director of Actors’ Equity Association, explains what non-Equity actors and non-Equity theatres should know about the union that represents more than 48,000 actors and stage managers in the United States. Contrary to many struggling actors’ belief that Equity’s primary goal is to prevent them from fulfilling their dreams of becoming fully professional working artists, the aim of Equity, shares Lamkey, is to help actors get jobs