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[0:41] Kerry Butler: Together you and I are breaking Broadway.

[0:55] Kerry Butler: Everybody wants to know how to get representation. This is part two of an episode on that. So if you missed the last episode, go back, listen to that one, and then come back and tune into this one. And here's the rest of my conversation with RJ on finding representation.

[1:11] Kerry Butler: I just want to backtrack to Actors Access. So do actors have to put themselves on there, or is that something that the agents do? Like, does my audience need to start working on Actors Access now?

[1:23] RJ Magee: There are some agents that make them for the actor, but we ask the actor to make it themselves. And then they add us through Actors Access. You go to, like, Tools, Manage My Representation, Add Representation, Jamie Baker Management. Then it goes to us. We say, it says Margo Plum or Kerry Butler is trying to add you as their representative. We click Accept. And then that links your Actors Access profile to our system. So this is very important. And another piece a lot of people miss. That means that your Actors Access is all we have to submit to casting. OK, so a lot of people put very little time and effort into their Actors Access profile. OK, they put a lot of time into their physical hard copy resume, headshot and resume.

But they don't put a lot of thought into their Actors Access profile. When actually, when it comes to procuring you an audition, your Actors Access profile is the primary tool that we use. OK, so if you're not someone that's super well known to people, you need to have a very fleshed out Actors Access page. Minimum four photos. You get two for free. After that, they're $10 apiece. So you do have to put some money into this, too. Multiple videos help as well. Putting videos in Actors Access can be very expensive, but it does make a big difference. So those help us get you appointments because that is what gets sent to casting. So if I'm submitting on the Mean Girls tour for Katie and I submit Margo, it's really just a click, click on my end.

And then what goes to the casting director is Margo's Actors Access page under all the Katie submissions. And so if Margo's Actors Access page has very little on it, which it doesn't, hers is really good, but I'm just using her as an example, then what would be the impetus for that casting director to schedule her or solicit a self-tape if there's not really any useful information on it? You know, so that's something that actors really need to be cognizant of. And even if you don't have representation or if you do, Actors Access still has auditions on them that you can submit yourself for. They tend to be on the higher end of the echelon than like backstage or some of the other platforms that actors can use to submit themselves for things.

So I'm a huge proponent of everyone should be on Actors Access and be checking in, checking it regularly and submitting it regularly. Sometimes casting directors, and I've seen this more and more, will specifically say, I want my breakdown sent to the agents and managers. But I also want them sent to Actors Access so that any actor can submit on my breakdowns. And then they look at both. They look at the submissions from the agents and managers, and they also look at the submissions that are specifically from actors. OK, so everybody better get their Actors Access.

[4:42] Kerry Butler: So you mentioned that people can just cold email you. Where would people find other agents and managers to do that? Like you just gave everybody your address, but where would they find that information?

[4:56] RJ Magee: I've coached people on doing this for over 10 years. Actually, there are ways of procuring email addresses of agents and managers. Right. And I'll sort of leave it at that. But we all have the Internet. So do your homework. Let's put it this way. Actors have websites. Many times on their websites, there is contact information. Many agents and managers will say, I do not accept cold email submissions from actors. Many times I have coached actors who have submitted their materials to those agents and managers via email and have gotten meetings. So I'm not saying to not honor the rules that someone has established or the boundaries that someone has established. We know that rules are, you know, sometimes meant to be broken a little bit.

That is what I recommend to people. But when you are contacting these representatives, there's a couple of things that I think you should be focusing on when you are crafting a cover letter. One is where do you fit in today's theatrical market? Meaning what are some roles or tracks in Broadway shows that you could do right now that can be both ensemble cover? You know, Wicked has a Glinda Nessa Rose cover in some of the companies that they are often posting breakdowns for. I guess it's a track that they have difficulty finding the right person for. So if you feel like that is something that you would be able to nail to me, that would be very useful information for an agent or a manager. So you just write a letter like I would be.

Yeah. Also, who are you similar to in terms of your marketability? Are you a mix of, and trust me, I've had clients do this, a mix of Kerry Butler and Reese Witherspoon and maybe a little bit of Jennifer Lawrence sprinkled in there? Yeah. Who could play Kerry Butler's daughter in the next plot project? That is always, to me, very useful information in a cover letter to an agent or manager as well. So what could you do now? Could you be Carole King in Beautiful? Could you be Elsa in Frozen? Yeah. If somebody contacted me and said that that's something that they would be right for and interested in doing, that would certainly be of interest to me. All those things, I think, need to be in information that you send to an agent or manager with your headshot and resume and with footage of you singing.

If you sing or doing monologues, if you act to me, I'm not big on real footage. I'm more interested in seeing audition pieces like in a studio environment with just pre-recorded accompaniment or whatever, because that's what I would be sending you out to do.

[7:54] Kerry Butler: I wanted to ask you about self-tape. So now you watch a ton of self-tapes. What do you notice, mistakes people make with the self-tape?

[8:01] RJ Magee: Well, not that much anymore because people are so used to it now. There are teachers out there that really encourage people to do the self-tape thing that's like be as creative and unique as possible. I mean, there's people who, if they can't get a reader, you're able to record yourself reading the lines and play that as your reader. So you see everything. And a lot of it has to do with how much time you have. And most of the time, they don't have a lot of time. They almost have no time usually. People do the best they can. And you just, as an agent or manager, you just support them in it. Most of the time, you're just happy if they submit it, they get it done. You hope that whoever's on the receiving end knows enough about technique and artistry, and obviously what the needs of the project are that they're able to evaluate sort of regardless.

[8:54] Kerry Butler: Hey, everyone. I have some exciting news. I am revamping my YouTube channel, Kerry Butler Official. And my first episode is all about Beetlejuice. And I know so many schools are doing Beetlejuice now. So I'm focusing in on the creation of Beetlejuice and what you need to think about for each of those characters, if you're auditioning for them or if you're working on them and kind of what our backstory was in creating those characters. And a fun little thing I'm doing on the YouTube channel is people can submit their auditions to me, and I will give you feedback at the end of my YouTube videos. So if you would like to be included on my YouTube channel, then on Kerry Butler Coach at Instagram, I put a form for you to fill out and I have an email address for specifically for submission.

[10:14] Kerry Butler: Welcome back to Breaking Broadway. Today, we're continuing our conversation with RJ Magee about how to get representation in the industry.

[10:44] RJ Magee: It's important to remember that the relationship with your agent is a partnership. You want to find someone who believes in you and your talent. When you're looking for representation, think about what you want in an agent. Do you want someone who specializes in theater, film, or television? Make sure their focus aligns with your career goals.

[11:14] Kerry Butler: That's a great point. So, how do you actually approach an agent?

[11:44] RJ Magee: One of the best ways to approach an agent is through a referral. If you have a connection in the industry, ask them to introduce you. If not, you can send a well-crafted email or a physical submission. Make sure to include your headshot, resume, and a brief cover letter that highlights your experience and what you're looking for.

[12:04] Kerry Butler: And what should you avoid in that initial contact?

[12:24] RJ Magee: Avoid being overly aggressive or desperate. Agents are busy, and they receive a lot of submissions. Keep your communication professional and concise. Also, don’t follow up too soon; give them time to review your materials.

[12:44] Kerry Butler: That makes sense. Once you get a meeting, what should you prepare for?

[13:04] RJ Magee: Be ready to discuss your career goals and what you hope to achieve with their help. Prepare to showcase your talent, whether that’s through a monologue, song, or any other performance piece. It's also important to have questions ready for them about their approach to representation.

[13:24] Kerry Butler: What kind of questions should actors ask during that meeting?

[13:44] RJ Magee: Ask about their client roster and how they see you fitting into it. Inquire about their communication style and how often they check in with their clients. You want to ensure that their approach aligns with your expectations.

[14:04] Kerry Butler: Great advice! Now, what if you don’t get signed right away?

[14:24] RJ Magee: Rejection is part of the process. If you don’t get signed, don’t take it personally. Use it as a learning experience. Ask for feedback if possible, and keep honing your craft. Stay proactive by continuing to audition and build your network.

[14:44] Kerry Butler: That's such a healthy mindset. How important is networking in this industry?

[15:04] RJ Magee: Networking is crucial. Attend industry events, workshops, and showcases. The more people you meet, the more opportunities you create for yourself. Remember, it's not just about who you know, but also about building genuine relationships.

[15:24] Kerry Butler: Absolutely! And what about social media? How can it play a role in getting representation?

[15:44] RJ Magee: Social media can be a powerful tool for showcasing your work and personality. Use platforms like Instagram and TikTok to share your performances, behind-the-scenes content, and engage with your audience. Agents often look at social media presence when considering new clients.

[16:04] Kerry Butler: That's a great tip! So, what final advice do you have for aspiring actors looking for representation?

[16:24] RJ Magee: Stay persistent and patient. The journey can be long, but if you keep working on your craft and building your network, you'll increase your chances of finding the right representation. Trust the process and believe in yourself.

[16:44] Kerry Butler: Thank you, RJ! This has been incredibly insightful.

[17:04] RJ Magee: Thank you for having me, Kerry!

[17:24] Kerry Butler: And thank you to our listeners for tuning in to Breaking Broadway. We'll see you next time!