I believe that everyone can live their dream and their passion, and that people can inspire and make a difference for others when they fully express themselves. I am committed to creating projects and performances where people see what's possible for them and step in action towards what's important for them. I see doing that through my self-expression, which is acting and later directing the stories I write, possibly producing. I have not yet looked for representation; a manager found me through a friend. I do think it's time for me to move on and I'd like to know what you think is the best way to get representation: Showcases and mailings? Referrals? Any tips or advice would be appreciated.
Most emails I receive are from actors wanting to know the best way to get representation. They make impassioned pleas about how important acting is to them, implying that integrity and passion entitle them to having an agent. While an agent may be impressed with these qualities, the decision of whether to represent an actor will have more to do with the possibility of making business together than upholding ideals. Is the actor ready to be sent out on professional calls? Will he or she beat out the competition and book jobs? Is there a place within the agency's client roster for them? Answers to these questions help an agent make the decision to represent an actor. To get to that point, however, an actor must first attract the attention of an agent. What follows is a detailed look from this agent's perspective at the three methods for seeking representation mentioned in the above email.
1.) Mailings: Mailings are necessary introductions. Actors can send photos and resumes to commercial agents anytime. These agents are always looking for new faces, since they work in such volume, and will call in an actor for an interview based on look, type, special skill, or whether the actor happens to fit the requirements of the particular breakdown the agent is working on that day. Actors should keep in touch with these agents through postcards when they change their look, acquire new special skills, or make a jump in the business. Inform the agents of any significant bookings, callbacks, classes, or upcoming showcases. This is called relationship building.
Mailings to legit agents rarely lead to interviews unless they come with top-notch credits or professional recommendations. Top-notch means Broadway, Off-Broadway, A-list regional theatres, contract/recurring roles on daytime TV, and guest star or featured roles on television shows or in films.
The first thing I do when an actor mentions in his cover letter that he is seeking new representation is to look at his credits to assess his place in the business. If the credits are impressive, my curiosity is piqued. Perhaps he'll give the reason in the cover letter. His agent is retiring, closing offices, moving to another city. One time I opened an envelope and saw the photo of an actress I had just seen be brilliant in an independent feature film. She said she was seeking representation because her former agency had closed offices. I was thrilled and immediately picked up the phone to set up a meeting.
2.) Referrals: First of all, make sure your referrals are accurate. Agents pay close attention to referrals from casting directors and will always track down a recommendation mentioned in a cover letter. One reason is the assurance that the casting director who is a fan will call the actor in for auditions, which is half the battle for an agent. Dropping names of casting directors an agent doesn't even know will seem suspicious. Those resumes will go directly into the "circular file" without investigation.
Agents take client referrals seriously. Be aware, however, that actors share agents for all sorts of reasons. The best reason is out of genuine interest and concern for another actor's career. If a client of mine has worked with an actor or has an extensive knowledge of the actor's work, I will strongly consider the referral and probably meet the actor. If it is merely a gesture of good will, I will receive it as such and take action according to my interest and availability. In the end, no matter how strong the referral, I will still want to see the actor's work. Recently, a client of the office recommended one of his best friends, an actor who was seeking new representation. This actor had excellent credits and had recently worked with another of our clients. He had been with the same reputable agent for many years and, when his agent retired, had never felt truly comfortable with the other agents in the office. He decided to make a change and, since we came so highly recommended through two sources, decided to approach us. We met with him and decided to take a leap of faith. There were enough "sure things" in the mixture to make this a calculated risk—good credits, experience, casting director recognition, realistic expectations as opposed to fantasy dreams. In a matter of weeks, this actor booked a very good job.
One final note: If someone gives you contacts, you have every right to use them and then, if your action gets no response, to ask your "benefactor" to follow up for you.
3.) Showcases: For agents needing to see talent perform live, showcases fit the bill. Preferably, they should be at a Midtown location, a reasonable hour, and at no cost. Avoid inviting agents to see you be great in a mediocre showcase. Remember that agents put in a solid day at work before going out at night to see theatre. Seeing a showcase, while it might be free entertainment, is still work for an agent. So they probably won't go to see your 10 minutes at Carolines at 2 am.
Showcases featuring a number of actors are preferable to those featuring only one or two. It helps an agent justify his investment of time. And if you must do classical theatre, never a favorite of agents, why not include music, since agents are always looking for musical talent.
An agent never expects to pay for tickets. That goes for Broadway and Off-Broadway shows, films, and regional theatre. It is assumed that the word "invite" means complimentary tickets, but make sure to clarify this in your cover letters. The best way to get agents to see your work if you're performing out of town is to take care of everything. That means transportation, housing, and tickets. How could an agent refuse such a generous offer? It might sound like a lot, but remember that the investment is tax deductible and puts you in the driver's seat up front in the relationship.
Margaret Emory is an agent for Dulcina Eisen Associates and a member of New York Women in Film and Television. She welcomes your questions or comments via email at askanagent@hotmail.com. Back Stage reserves the right to edit them, and not all received will necessarily be used. Please do not phone or visit Ms. Emory at Dulcina Eisen Associates.