Menu
Interviews

How Alison Fowler & Stephanie Pringle Are Bringing Diversity to Australian Screens

Alison Fowler and Stephanie Pringle, founders of Chicken and Chips Casting, are reshaping the future of casting in Australia with their innovative approach and strong commitment to inclusivity. 

Since launching their Sydney-based full-service casting agency in 2015, the duo has worked on numerous high-profile projects, casting feature films like A Savage Christmas and Birdeater, which have gained recognition at prestigious film festivals. They’ve also built a reputation for discovering emerging talent and championing diversity, making sure that underrepresented voices are part of the storytelling landscape. 

In this interview, Alison and Stephanie share their journey, their philosophy on inclusive casting, and what it takes to balance a busy career with their personal lives.

Alison and Stephanie, you’ve both been credited with driving real change in the Australian entertainment industry. What inspired you to break down traditional casting barriers and champion ‘conscious casting’?

S: We were in a really unique position when we broke out back in 2015 – we were the first Casting Directors to launch a new company in the market for about a decade. We had some insight that in order to be completely inclusive, we needed to shift outside of traditional casting methods as not all actors are afforded a level playing field. We really set out to provide grassroots opportunities for actors of all backgrounds and abilities and really champion them. At the time, we didn’t realise it, but we really disrupted the market and have continued to do so ever since.

A: We’ve always been really passionate about how we can change the perception surrounding Casting Directors and the audition room; we want actors to feel comforted and supported by us. It’s been really critical to the ethos of Chicken and Chips that we advocate for actors, and that they feel they can come to a safe and creative environment to bring their best work to the audition room. 

Chicken and Chips Casting has made waves by advocating for emerging talent and fresh faces. What’s been one of the most rewarding moments you’ve experienced working with new artists?

S: We have hundreds of actors pinned, waiting for the right role or project to land. I think the biggest moment for me was seeing emerging artist Shabana Azeez land a role in a US Medical Procedural after casting her in a string of roles here – including Blood Sisters, Metro Sexual and most notably in the leading role in indie feature Birdeater. I do a little happy dance every time I see a Variety presser announcing a breakout Aussie actor.

A: It’s the moments when everyone else sees what we see in an actor, when after countless auditions and sometimes multiple roles something big finally sticks and they’re given wider recognition. The times that we really push for an actor and encourage our creative partners to take a risk on the unknown, we really back our instincts and when it pays off it’s an incredibly rewarding part of the job!

Your work emphasises inclusivity and representation without it being just a checkbox. How do you ensure that diversity in casting becomes the norm and not the exception?

S: Truly inclusive casting means looking under every nook and cranny, reaching out to community networks and groups, going to see amateur theatre, connecting with emerging talent agencies, putting open call outs into the social media ether and seeing what happens. I love getting in the trenches and doing the discovery work because it’s the stuff that is really rewarding. Normalising it means we need to rewrite and reconsider what the Art of Casting is and what that actually means in a digital world.

A: It’s important to normalise the non-traditional processes in Casting, and make that the norm. With a little more open mindedness to the way we cast, the outcome will naturally become more inclusive and ultimately become the new ‘normal’ process. We need to be comfortable with having open conversations with our creative and producing partners to ensure we’re not falling into the old way of things and keeping every avenue open! 

Between your podcast ‘The Sauce’ and The Audition Academy Collective, you’ve gone beyond casting to empower actors through education. What led you to launch these initiatives, and how do they fit into your mission of demystifying the casting process?

S: We thought there was something missing in the education space. There’s the traditional method of education via the usual Drama School suspects and then there are exxy private options. We just wanted to bridge the gap, so that’s when the Audition Academy was born. Again, levelling the playing field and providing an inclusive option for those that may not be able to afford the traditional route OR those looking to find their community and undo some of the things that drama school taught them. It’s a little more real world stuff. The kind of thing you don’t learn from your 3 year degree. The podcast is something we started in Covid – the aim with that was to add value and provide information freely to not only actors but other creatives in our industry so that we can all learn from each other (Al and I included).

A: We genuinely love actors and we have a lot of fun collaborating with them! We have a lot to learn from them and their experiences in the industry. We strongly believe in a sense of community for actors and the industry as a whole, and we understand it can be hard to find, leaving a lot of actors feeling isolated and confused in a rapidly changing landscape. It seems like a no brainer to us to initiate this community and provide platforms where actors feel seen, understood and build their network. 

With such a busy schedule managing casting for films, commercials, and running your educational programs, how do you both balance work and personal life? Do you have any daily habits or routines that help you stay grounded?

S: The age old adage of ‘balance’. I think as a single mum, I have previously bought into this ideal of having perfect structure and balance. It’s just not something that is realistic for me 100% of the time (and I have been in really dark places with my mental health trying to achieve it). At the very least, I get up every morning before my 7 year old and shower. At best, I also meditate for 20 minutes and drink my coffee in silence. I love journaling and I’ve recently discovered the Struthless VOMIT method (a style of journaling), which is really handy for all sorts of crises I’m facing, on an excellent day that happens. It’s important for me to get some separation between work and family life and the Do Not Disturb function on my phone is a great tool for limiting phone use and stopping the doom scroll.

A: Balance is yet to be achieved, and I think constantly a work in progress. Running a business and as a single Mum of a 6 year old, everything is always changing and balance always needs reworking. I am good for a consistent early morning wake up to get in exercise and me time before my daughter is up, and will prioritise getting a jump in the ocean or swim wherever possible for a reset. Flexibility with the work day is also crucial for me, where I know I can step outside for a walk or swim between the to-do list, but also still be productive after the bed time routine.  

You’ve worked on projects that have gained recognition at prestigious festivals like ‘A Savage Christmas’ and ‘Birdeater’. What’s the process like casting for these high-profile projects, and what excites you the most about finding the right talent?

S&A: A Savage Christmas was a bloody dream to work on – a Christmas Comedy about a dysfunctional family directed by a powerhouse emerging female director? Sign us up. The best thing about this project was creating that synergy between really experienced artists and emerging artists which is really an art form in itself. High profilers like Helen Thompson, David Roberts, Darren Gilshenan and Gary Sweet paired with amazing emerging artists like Max Jahufer (it’s his first role and he was one of the writers), Thea Ravenou (it’s Thea’s break out role straight out of drama school!), Rekha Ryan, Ryan Morgan – when you’re an emerging artist, films like this provide a really important training ground in the ecosystem of our industry. Arguably, Birdeater’s cast has been the most talked about in the last year for us – that process was very much about the ensemble and the dynamics that exist within toxic friendship groups. It was a lengthy audition process and success really did hinge on the chemistry testing process which was a lot of fun during Covid!

For aspiring actors who may feel intimidated by the audition process, what advice would you give to help them feel more confident and prepared as they step into the room?

S: You can’t control most of the casting process. The thing you can control is how you show up, the character you pitch us and your unique point of view on the material. If you lean into this and let the rest go, you’ll feel more at ease. Oh and unless you truly don’t resonate with the project / role, put the tape down or show up for the audition – there’s always a method in the madness of a Casting Director’s choices.

A: The Casting Director is on your side. We’re on your team, and we’re there to help you deliver the best possible outcome, because ultimately we want the final decision to be a tough one. We want to present several cracking options, so I’d love for actors to look to us for that safety, guidance and support to get the best performance, and not feel anxious that they need to figure out what’s in our head, or try to identify something we’re looking for from them. 

About Author

Hey there! I'm Hao, the Editor-in-Chief at Balance the Grind. We’re on a mission to showcase healthy work-life balance through interesting stories from people all over the world, in different careers and lifestyles.