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Dear John

No agent, no work - how do I break this catch-22?

First published 5th May 2006

Question:
I've been out of drama school for about a year and now I'm stuck in that classic performer's catch-22 - can't get work without an agent, can't get an agent to look at me because I don't have work. Can you help me break out of the loop?

Answer:
It might well be a classic catch-22 but it is the kind of classic that would sit very well on a shelf with Snow White, Sleeping Beauty or Cinderella. In other words, it's probably the number one showbusiness fairytale and certainly the one this advice column hears most often - we've even had the occasional enquiry as to whether we ourselves are taking on acts at present. Although it's always been in the interests of the industry's big bad wolves and up-front fee merchants to keep the 'no agent equals no work' myth alive and kicking, it's a fairytale that reputable agents are as keen to debunk as anyone else. I would personally tend to be wary of an agent wanting to represent you if they haven't seen you work and you don't have a track record - one would have to wonder what's in it for them? A serious agent on the other hand will be aiming to put some serious time and expense into marketing you - so it follows that they will need to be sure there is something worthwhile to market. From your point of view you should be looking for someone who can take your career to the next level, not someone to take over base level promotion you could easily do yourself, or at least not until you have had a chance to see what's involved for yourself. Then, when you do employ someone to do it for you, you'll have an idea of what you're actually getting in return for the percentage of your earnings they'll be getting. So given that the process of getting a good agent takes time, what should you do in the meantime, especially if you're at the early stages of your career?

Sara Dee

As a professional actress who also works in the PR field and is frequently involved in organising and hosting industry events, Sara Dee has experience of artist promotion from both sides of the fence:

"The first thing I advise is to begin with what you can do and stop thinking of what you can't do. You can still go for jobs without having an agent - in fact that's the way most performers build up their showreels and get themselves into places that will get them seen.

"As you build up your work this way, make a point of writing (briefly and politely) to people you would like to represent you, to invite them to come and have a look.

"If you do get a job that requires you to go through an agent, it's a very good opportunity to call your best option and ask them to represent you for this one job - something which is a lot easier to agree to if you've kept them in touch with your progress along the way. This business is 80% PR, office work and networking - possibly more when you first start out - and 20% doing the job you love.

"If you have persistence and perseverance things will happen eventually. When something does happen, it's up to you to contact everyone in the business again and repeat all of the above steps armed with this new piece of experience, information and renewed confidence.

"It's that easy - or that tough. The rest is down to luck and good timing but the likelihood of both tends to increase the more hard work you put in."

John Woolvett

John Woolvett is a character actor who turned professional later in life but has made up for lost time with featured roles in shows such as Shock Treatment and The Revelation Game. John offers some further practical steps you can take right away:

"If you are absolutely new to the business you will probably have to build a CV by doing some fringe plays, student films, etc, to show your talent. Resources like PCR and Shooting People - and of course The Stage - are a good source.

If you have a CV and set of photographs that actually look like you - many don't - then be pro-active and market yourself at every opportunity by mailing to casting directors, networking with other actors, subscribing to casting services, to get your name circulating.

Focus on getting work to be seen and to get better at what you do, not on getting an agent. That will happen also but you need to show not just that you believe in yourself but also that you are willing to demonstrate that belief by investing time and hard work on the less 'exciting' administrative side of the business so that someone else may feel it's worth believing in you to that extent too.''

John

I should point out that while both Sara and John have agents - no doubt as a result of putting into practice what they suggest here - both are also still actively involved in doing their own networking and promotion work. The ideal performer/agent relationship is a partnership where both parties do their best in their own area of expertise and as well as doing your bit on stage you'll often make contacts yourself that your agent may not necessarily come across. Perhaps the most important point is to stress that while you'll be looking for a good agent who works hard for their client, you'll need to bear in mind that this means they will currently be working hard on behalf of their existing clients. So while I fully support John and Sara's 'networking and keeping people informed' advice, you need to keep your contact with potential agents brief and polite. Update when you have something of real interest to share, not every other week. Letters are better than phonecalls and often better than emails too - and instant messages are never a good idea. It's your performance power not your pester power you're aiming to bring to their attention.

* Feedback/queries are welcome to dearjohn@thestage.co.uk

* Sara Dee's website is: www.saradee.co.uk

* John Woolvett's website is: www.johnwoolvett.com

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