Frustrated

All very helpful stuff, as to the technique of approach. a little annoying to think of all the stamps and 10by\'s I might as well have burned over the years, but.....

Very well timed to as the \'you may remeber\' lettters are about to go out...

Thanks, all.

• 15 years ago
• 21

And of course, at this time of year, Agents and CDs will be inundated with letters and CVs from the thousands of new graduates!

• 15 years ago
• 22

Valid point, I felt, about the reputation of the venue impacting on the agency\'s decisions as to whether or not to choose to venture forth. I think that all too often actors ignore the fact that certain venues they are playing at, styles of material they are playing *in*, and so on, do not appeal across the board to all potential agents. We seem to assume that most agents, as part of their job, should be prepared to put up with coming to see anything at all (even material that we know is not itself particularly good), because they should have the wherewithal to see through any limitations if they are on the search for talent.

But, of course, when agents receive large numbers of applications on a regular basis, they are going to have to sift through them somehow, and a method many of them will use is simply to ask: do I wish to sit through the production that this actor happens to be in? I know that I personally asked a director I know well to come and see me perform in my end of term drama school production and, with the nicest possible intention, his reply was that he judged the question on the basis of whether a) he liked the play in question b) he felt it overly \'familiar\' to him and c) how far a distance he would have to travel to come and see it. In effect, this meant that he wasn\'t intending on coming. I don\'t hold anything against him, but I wish to reiterate that this is someone I know personally, not someone I have never met. And, if he can have reservations...

I think this problem (ever present) is magnified considerably if the venue at which the performance itself is taking place has a bad industry rep (or the director does etc.). The only conslation that can be taken, I suppose, is that very often a multiple refusal from agencies has nothing to do with whether they feel you are a tempting theatrical prospect or otherwise, just that they don\'t feel the show you are in will be (rightly or wrongly).

As has been pointed out, even pieces which are winning rave reviews still find it difficult to attract interest if agents don\'t wish to take an interest. It seems to have very little to do with the *talent* involved, because if people were not talented, the reviews would never have come out favourably!

• 15 years ago
• 23

In my limited experience, and from talking to agents and CDs, the best chance you have of industry people coming to see you is to be a lead (or major character), in a newer play, preferably comedy, in a very limited number of London venues. This is, of course, in relation to Fringe venues. And the limited venues are the usual suspects - Old Red Lion, Finborough, King\'s Head (following the refurb), maybe Southwark Playhouse etc. Orange Tree and other high quality venues further out are possible but the distance to get to them will alienate a lot of people.

If you look at it this way - as an exceptionally busy agent or CD which of these two options would you go for; 1) Seeing someone playing Paris in a 3 hour Romeo and Juliet (which, incidentally, you\'ve seen 560,000 times) in a pokey venue in far flung North London, or 2) Someone playing the lead in a new, shortish, comedy play at the Old Red Lion?

As a co-op member (which is different from sole agents in that there are many more agents and therefore greater flexibility in what can be attended) I know which one I would choose to go to!

Agents and CDs tend to have very little time and therefore play choice, quality of venue and distance of venue will have a major impact. Also, there will be a multitude of personal loves/hates with individuals - one CD may love the Unicorn, another may have had a bad experience there and loathe it.

An example would be one of our clients was in a very interesting production at the King's Head for which we did a lot of marketing. It was by far the most successful play in terms of CDs attended and relationships built than any other Fringe play a client has been in.

Nick

• 15 years ago
• 24

Its also improtant to remember what else is on at the time. My girlfriend and I were in the same graduation show in '06. We had met a couple of agents who seemed very interested in both of us, and duly invited them to our show...which suprise suprise clashed with that of RADA, Guildhall and I think Central, and as an MA course in the outer part of London, we didn't have a chance. I think one agent saw our graduation show despite the hundreds of letters sent out by our cast of about 12 (all shapes, sizes and ethnicities). Said agents we had spoken to before were able to come to the other shows of our year and took on clients from both.

Considering the industry friendly casting types of a number of our cast in any other week we probably would ahve had a far better response, so timing is key. As for the Lion and Unicorn, the quality of work varies a lot (of course I was fabulous there!!), and a lot of it is either genuinely or attempting to be a bit edgy and uncomfortable (much like teh seats and bar!). That combined with its location means most industry people won't venture there unless its a show or has a cast member they have a particular interest in. In there shoes it wouldn't be taht high up my list.

Regarding casting directors, the variety of experiences, even at castings is huge. For big parts and small. Some (often those with very good reputations or those starting out) can be a joy, and others seem to be suprisingly unpleasant and cruel. But then some actors are genuinely lovely people and some are egotistical selfish bastards! The only difference is you more often find yourself wanting the approval or attention of the casting directors. Its liek aany job..some days you'll bend over backwards to be helpful and considerate and on others, you just can't be arsed unless you can see some instant return!

• 15 years ago
• 25

Thanks everybody for all your comments. It really has been very interesting, and I agree with a lot of what has been said. Strangely since starting this thread I have had two meetings with agents, and been offered representation by both...So big smiles! Now...just got to make my mind up :-)

• 15 years ago
• 26

Pittas, I was actually going to say, Don't worry, more opportunities will come your way- then I saw your last posting. When one door closes, another one opens....but you have to believe..

• 15 years ago
• 27

Well done on finding representation. I think the main thing to remember for anyone else reading this thread is, don't just send mass letters to every agent, check them out first to see if their books are open. Check them on CCP or phone them, that way you'll save yourself money, headshots and the frustration of no replies - not to mention save frustrating the agent.

• 15 years ago
• 28

you see , you are all a really smart talented bunch, you know what to do, just compare different approaches to get it done. There are only so many shows and people the agents and casting directors can see, ;-
i spent 5 years writing and waiting to be seen by Hull Truck...only to get cast in the new version of "Bouncers" , originally a 6 month job...extended to 12 months including 3wks Edinburgh festival ( sold out!) and West End run !! well worth the wait . Oh , and to learn about how to play comedy from John Godber is invaluable !

• 15 years ago
• 29