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Dear John

How do I become a lookalike or tribute act?

First published 31st August 2006

Question:
I recently went to a fancy dress event as my favourite singer. I did a few numbers and was told, not for the first time, that I should be doing a lookalike or tribute act professionally. Do you have any advice to start me on the road?

Answer:
I've always wondered if one day I'll open The Stage and discover that the latest singing or acting sensation is the spitting image of me, thereby launching a new career. Sadly as the years have progressed, this possibility has become slightly more remote, although several young performers have suggested that a lucrative future on the sci-fi convention circuit as a 'Gollum-alike' might be a possibility. As recently reported in this newspaper, the fact that confusion arose as to whether the Paul Daniels show advertised at a small theatre was a lookalike or, as it turned out, the real thing, just goes to show how prominent a part of the live circuit lookalikes and tributes have become. Whenever this happens in any entertainment field it is a double-edged sword. On the one hand there are more venues and events open to hiring lookalikes and tributes, on the other hand competition is a lot more intense, with several replicas of the hottest or most perennial personalities and groups doing the rounds. This second factor is not such a bad thing in any branch of showbusiness if it encourages higher standards. The days when a lookalike could get away with fancy dress and karaoke crooning are long gone. If you're serious about this area, here are two people who can help you look like you really know what you are doing.

What the experts say:

Susan Scott

Susan Scott started Lookalikes in 1979 with around 25 to 30 lookalikes, including Jeannette Charles as the Queen as well as Marilyn Monroe, Charlie Chaplin, Elvis and Clint Eastwood.

"While actors auditioning for parts are often advised not to overdo the period costume, look at the casting. A lookalike wanting to come on our books would be best advised to turn up in character - I often don't see all the people who contact us until I have a job for them so I'll want to see the whole picture.

"Lookalikes are often required to do more than just be looked at. They often have to mix and mingle and meet and greet at corporate parties or functions, so the more you can make yourself into the entire person that you look like the better. Hair, make-up, height, voice, costume, walk, mannerisms and background knowledge about your character, it all goes towards the whole package. If you not only look like a certain person but have the same talents - dancing, singing, presenting acting - then you have the best chance of succeeding.

"Many of our lookalikes have never had any contact with the entertainment business and so it is often quite a struggle for them to understand that contracts have to be read and understood and adhered to and that riders on a contract are there to be read as well. On the whole, once people have done a few jobs and have met up with other lookalikes, they realise they need to be professional otherwise they will not be booked.

"Sometimes, after working hard to develop your lookalike act to perfection, your character falls out of the public eye, or worse, dies (as in the case of Princess Diana for instance). Sadly it can be curtains for their lookalike also but they may be able to to wait until the character reaches iconic status and then they may work again."

Barry Steele

Barry Steele has just returned from a successful 32-date New Zealand tour with his Roy Orbison Tribute show. Barry hails from the West Midlands and has toured across the country in the show Coast to Coast Legends. He is excited to be touring the UK, Denmark, Germany and the Netherlands in 2007, and Florida in 2008.

"Research and rehearsal is the key to success. When you are doing a musical tribute act you can look as much like the person you are supposed to be as you want to but if you open your mouth and you don't sound like them, you may as well give up.

"I actually entered my first talent contest singing a Robbie Williams song but when someone told me I sounded like "Roy Orbison singing Robbie Williams" I went to work on perfecting the Roy tribute to the point where it is the best show I can make it. When you are being a legend like the Big O, you are going to get lots of his fans coming to see you and they are likely to know his voice a lot better than just the casual listener, so I have put in a lot of practise.

"I'd recommend anybody starting out as a tribute adopts the same approach whichever performer they are basing their act on, so it also goes without saying that it helps if you genuinely like and admire the person you are paying tribute to. You are going to be hearing their voice a lot as you practise and as I do with Roy, you will want to respect the talent of the original by doing the best possible show you can.

"One other tip is that although many lookalikes and tribute acts get booked by a variety of agents, you have to make doing your own promotion the main part of your marketing. Nobody is going to promote your act as well or as diligently as you do yourself."

John sums up

Professionalism, attention to detail, turning up on time - it strikes me that deciding who to be is the easy bit. Actually making your lookalike or tribute act work like any other showbusiness endeavour involves a large commitment of time and expense and even if you are temporaily adopting someone else's persona, it's the you underneath the costume who is likely to be the one doing the hard work of turning what might have been a fun fancy dress experience into something more substantial. I've heard widely diverging opinions as to whether starting as a lookalike or tribute act can hurt or help your ambitions to make it as 'yourself' later. I think ultimately you need to put so much focus into getting any one act off the ground that you'll need to make a decision fairly early on as to which path, tribute or original, you want to pursue in earnest. But even if you choose the original path, you can certainly gain a lot of useful experience while developing your tribute act.

Correction: In a recent Dear John on July 20 on the subject of stunt performers, one of the contributions included the statement that to work as a stunt actor in the UK it is necessary to join Equity and be on the JISC Stunt Register. The Stage's Legal Eagle D Michael Rose has investigated the situation and found that this is not the case. You can read his ruling online here: Is it illegal to force someone to belong to a union?

* Susan Scott can be contacted via www.lookalikes.info

* Barry Steele is available for bookings at www.royorbisontribute.com

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

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