How Actors can find Representation - by John Essay

Let’s consider for a moment that you are “ready” for a representative. (If you don’t know if you are ready, please read my Backstage article, “Are You Ready For Representation?”)

Finding the right representative for you is a lot like dating: they come in a variety of shapes and sizes, and with various strengths and weaknesses. Representatives sign people who inspire them, who they think will make them a lot of money, or those with whom their personalities “click.” That is why there are so many representatives— because we all have different tastes. If we all had the same tastes, there would be one representative to handle everyone. 

It is up to you to find out which agent or manager represents what part of the industry, and then find out which is the best fit for your strengths and interests. How do you do that? Dive into the Internet. Look up the names of representatives and find out which clients they handle. Use IMDB, IBDB, lortel.org (the Off Broadway database), etc.  Ask your actor friends and teachers if they could make an introduction to their representative. You could also try some general meetings.  Remember, all of these ideas have a better chance at producing a representative for you as long as you are “ready” for representation.

Interviewing with a representative who doesn't know you and who hasn't seen your work is difficult, because they are only judging you on your resume and your personality, and that is, in my opinion, a waste of time. I think the best scenario is when a representative approaches you, usually because they have seen your work, or you have come highly recommended by their client or colleague. That way half your work is done. This is where your friends and fellow actors who have representation can be put to use—ask them if they would recommend you to their agent or manager. If they do that, then that is when you will send their representative your photo and resume with a cover letter. Ask your teachers and mentors in the business for ideas. You could try some meet and greets, and perhaps find a representative that will work with you. This is sometimes a good way to find a representative because most junior agents who attend these events are required to bring in new talent. Since these junior agents will have a hard time enticing more established actors, the meet and greets provide them with opportunities to discover new talent like you.

Obtaining representation by an agent or manager isn’t the be-all and end-all. There is so much that you can do on your own without a representative—and plenty to do even with representation—that can help further your career. I encourage you to find opportunities for yourself, and I wish you success!

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4 Steps to Taking Criticism as an Actor - by John Essay

As a manager, I advise clients on career choices, groom them for the industry with guidance on new headshots, resumes, classes, and type choices. I also make professional introductions, and personally advise them on every step of their business, which includes some aspects of life coaching. 

Presumably, actors know this—and want this—when they are seeking a personal manager, or other forms of representation. Yet some actors come into my office thinking I am going to be amazed at how talented, professional, and on top of things they are, and they seem to think I will simply agree to represent them with no advice to offer. When they hear my suggestions, they look stunned and uncomfortable. I can't tell you how many times I have met with an actor for the first time—for our "interview"—and started to tell them something they didn't want to hear—that I was unable to represent them, or that they needed to get new pictures—and watched them "tune out." I can watch it happen before my eyes. Their eyes glaze over. They nod like they are listening, but I can tell they just want to get out of my office as soon as they can.

I wonder how well these actors take direction on stage or on screen. I wonder what is going to happen if we decide to work together and we encounter a crisis. How can I help someone who can't listen to my advice, or accept anything they feel is critical of them?

A happy life and a fulfilling career require personal growth, and understanding criticism is essential to personal growth. Criticism is everywhere so try to use it to your advantage.

Here are some simple steps to constructively deal with criticism: Hear it, evaluate it, learn from it, and take action.

1. Hear the criticism. Just listen. Resist the urge to justify, excuse, or defend yourself. If you're not ready to analyze the critique, analyze it later.

2. Evaluate the criticism. Does this criticism apply to you? Is the critic speaking truth or are they off the mark? If you are unsure if the critique is true, ask someone close to you that you trust.

3. Learn from it. If the criticism is justified, you have been made aware of something you need to adjust, change, or do. Accept this knowledge.

4. Take action. Once you have figured out what action you should take, do it. This is a typical time for procrastination, but I urge you to make the changes instead.

This process of handling with criticism will be a tremendous advantage to you as an actor. I wish you much success!
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How to Know Which Showcases to Do as an Actor - by John Essay

I have been asked many times over the years what kinds of showcases actors should do. I have been to hundreds—if not thousands—of showcases in the nearly 30 years I have been a manager, and I can count on both hands those I actually enjoyed and benefited from. The rest were quickly forgotten—mainly because they were uninventive, un-stimulating, or downright BORING. If you are thinking of developing or participating in a showcase, make sure it is exciting, unique, and has a great selling point!

Showcases come in many "types"—scenes, monologues, one-acts—and "styles"—improve, acting, musical theatre—but the "type" or "style" is the least important thing to consider when thinking of developing or participating in a showcase. The most important element is the overall way the showcase is packaged, or the "wow factor."

Let me explain. You will draw more flies to the honey if your showcase has an interesting "gimmick." You could present your showcase in a fascinating venue—a park, an old gutted warehouse, an ice cream parlor, a bus, a train, even a theater—as long as the show is of interest. Try hiring a director of note to help add legitimacy and some industry “buzz” around your showcase. How about scenes interspersed with music from a well-known or up-and-coming composer? Or start a play contest by soliciting 10-minute plays from playwrights. Choose six of the best, cast them with great talent, and spread the word. People attending would not only benefit from seeing new talent but also the work of some new playwrights. You could even serve interesting snacks or beverages before or after the performance. How about a fondue party? Or frozen summer blender drinks? Be creative—the list of ideas is endless.

Above all, do not participate in a showcase for the sole reason of getting casting directors and agents to come to advance your career. Of course, you will invite industry folk to come and see it, but it should not be the only reason to participate in it. Your main reasons to do a showcase should be that you like and admire the other people involved; you want to perform in something sooner rather than later; you like the concept; it promises to be a learning experience; and, most importantly, it should be fun!

Putting on a great showcase only takes a group of talented people working together. I hope this article empowers you to collaborate with others and produce your own compelling showcase.

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What Kinds of Showcases should I do? What form?

Showcases come in many "types" (scenes, monologues, one-acts) and "styles" (improv, acting, musical theatre). The "type" or "style" is the LEAST important thing to consider when thinking of developing or participating in a showcase. The MOST important element is the overall way the showcase is packaged, or the "WOW factor", if you will.  I have been to hundreds, if not thousands, of showcases over the time I have been a manager - more than 25 years - and I can count on one hand those I actually enjoyed and benefited from.  The rest were quickly forgotten, mainly because they were uninventive, unstimulating and downright BORING. 

Let me explain.  You will draw more flies to the honey if your "showcase" has an interesting "gimmick".  This can be in the form of a fascinating venue: a park, an old gutted warehouse, an ice cream parlor, on a bus, on a train, in a public restroom (oh people, PLEASE - I am KIDDING...but only partly.  Come on, do you mean you wouldn't be a little interested if you were invited to a showcase presented in a public restroom?).  OK, even a theatre will do, AS LONG AS the show is of interest.  Try hiring a director of note to help add legitimacy and buzz around your showcase.  How about scenes interspersed with music from a well known or up-and-coming composer?  I have always wanted to start a play contest by soliciting plays from playwrights that are no more than 10 minutes long.  I'd choose 6 of the best, cast them with great talent, and spread the word.  People attending would not only benefit from seeing new talent but also the work of some new playwrights.

If you are thinking of developing or participating in a showcase, make sure it is exciting, unique, and has a great selling point!  Above all, DO NOT participate in a showcase for the sole reason of getting casting directors and agents to come to advance your career.  Your main reasons to do a showcase should be because you like and admire the other people involved, you like the concept, it promises to be a learning experience, and (IMPORTANT) it should be FUN!  Of course you will invite industry folk to come and see it, but it WILL NOT be the ONLY reason to participate in it. 

Right now a client of mine and I are developing a "showcase" of a new play we found, which my client would direct (she is primarily an actress but we are beginning to explore directing opportunities for her). This play we found is perfect for high schools and community theatres across the country, and getting it up in public will help in getting this play produced elsewhere. I will cast the roles with many of my clients to give them more exposure, and to provide them with a creatively fulfilling project.  Those are three excellent reasons for us to do this showcase. 

Understand? Good - now go start a showcase of your own!

Should actors pay for industry reps 2 drink minimum at their invited showcases?

This is part of an actors "budget".  It is hard enough to get ANYONE to come see you in a show, let alone expect them to pay for drinks that are enforced by the club. All of these kinds of "clubs" have a two drink MINIMUM!  You must pay it regardless if you drink or not. This is only for a very small niche industry: Comedy Clubs, Cabaret Clubs, Dinner Theatre (although the theatre is usually gracious enough to comp the meals...sometimes).

Remember, most representatives that go to see showcases/cabarets/comedy acts are young adults just starting out in their agencies, looking for clients to bring into their agency in order to move up the ranks.  Young agents barely make enough to eat (most of their money comes from who they bring to the agency).  Some may go every weekend to scout new talent or more often.  That is a lot of money out of pocket for an agent who is basically working overtime, wouldn't have necessarily been at this show if not invited AND may not even drink alcohol.

The only exception is if the representative was there on his/her own without an invitation.  Then, of course, you wouldn't pay for anything - EVEN if the representative asked. Here's a handy saying: "If you extend an invitation you must pay for their libation".  LOL!  Just made that up.  Anyway, if you invited an agent to dinner (or even a friend, for that matter) you would still pay.   

To make it a bit easier to afford, try to spread the cost around among the rest of the performers/comedians in the show (if there were any); ask them to pitch in and help pay for any and all invited representatives, casting directors etc.