Académique Documents
Professionnel Documents
Culture Documents
ISSN 1553-6289
2014-2015
All agency listings are as accurate and completely detailed as possible. As new agencies open,
other agencies close relocate or experience staff changes, etc. For these reasons, issues of NEW YORK
AGENCIES are not to be considered, nor are they represented by us to be completely up to date beyond a
short time span. They are however, updated prior to each new issue and periodically throughout each
month as new changes occur.
Each issue also contains expert information and career guidance articles provided by this editors
friend and noted "career-building" author Lawrence Parke, designed to benefit our readers by
empowering both working actors and new talent with career details not provided as completely or as
candidly in any other publications.
Our hope is that this publication will help you more easily locate the agencies likely to be most
receptive and ideal for you. Help our readers choose wisely, avoid unproductive and unpleasant
experiences, save time and money by avoiding future mailings and phone calls with outdated information.
And last but not least to help you progress more swiftly in your career.
-1-
HENDERSON ENTERPRISES
Helping Actors since 1983
ACTOR SUPPORT SERVICES
(UP-DATED and ACCURATE)
Mailing Labels 13 Lists $7 - $19
Personal Managers Directory $15
Secrets of Successful Actors $15
Casting Directors Guide $10
CAREER CONSULTATIONS
By phone or in person with
SUE HENDERSON
Author of
SECRETS of SUCCESSFUL ACTORS
Whether your career has stalled or youre just getting started as an actor
in New York. I will help you create a workable, effective business plan utilizing the most
available up-to-date information.
OR DIRECTLY FROM
www.nyactingagents.com
www.hendersonenterprises.com
www.actormailinglabels.com
212-472-2292
-2-
IN EACH ISSUE
A SPECIAL MONTHLY ARTICLE
&
AN AGENTS VIEW
This publication obtains its information directly from the agencies and additional Industry Publications. Follow up calls
are made to those Agencies we have questions about.
The Agency Departments of SAG/AFTRA, EQUITY, ATA and NATR inform us of new franchises so we can quickly
obtain new agencies' complete information for publication. Because today's newcomers seeking agents are tomorrows
working actors and like working readers, need ''career" information from the start. In every issue we publish a Feature
Article and other information that we feel are timely and important for all our readers throughout their careers.
SAG/AFTRA
1900 Broadway 5 Fl.
New York, NY 10023
212-944-1030 Main/212-863-4270 Television Dept./212-827-1553 Theatrical Dept.
ELECTRONIC SUBMISSIONS FOR PRINCIPAL WORK
ARE TO BE DONE BY AGENTS, CDS OR MANAGER, UNLESS
PERSONALLY REQUESTED BY THE AGENCY!!!
YOU MAY ALSO ELECTRONICALLY SUBMIT ON ACTORS ACCESS
3
FOR THE MOST ACCURATE AND
CURRENT INFORMATION IN NYC USE
HENDERSON ENTERPRISES
PRODUCTS!
OUR PRODUCTS INCLUDE
CAREER CONSULTATIONS
DVDS
SUE HENDERSONS BOOK
4
CLICK, SUBMIT, WAIT.....................AND WHINE!
The Actor's Effort to be seen in Cyberspace
or How NOT to Have Fun Looking for a Job in the 21st Century
by Mari Lyn Henry, Sue Porter Henderson and Brian Vermeire
THE PAST
Years ago during my life as a casting director, the submission plan was simpler.
The now defunct Ross Reports was the main resource for finding a casting office and
sending a photo and a resume with a cover letter (hand written), placing them in a 9 x 12 manila mailer
and hoping for a phone call from the office. You didn't have to POUND the pavement and wear out the
shoe leather anymore. Perhaps the phone did ring with an appointment for an interview leading to an
audition. If that didn't happen in two weeks what next? The proverbial PHOTO postcard was sent as a
friendly reminder with subtext Remember Me? Oh well, those were the days, the days when a casting
director's nightmare might have been death by suffocation from the enormous amount of 8 x 10's that
never got opened falling from the ceiling. Postcards remain the NORM as a means of keeping agents
etc. aware of your progress and most recent work!
I wrote a poem that was published in Back Stage 20 years ago about What
Actors Will Do to Get A Foot in the Door!
TODAY
According to my friend and colleague, Sue Porter Henderson, publisher of this invaluable
resource, an actor can and does waste an entire day submitting for projects that may or may not exist.
Any casting director could get 1,000 electronic submissions a day for any role that is posted on the
Internet's principal casting websites. Truthfully both casting directors and talent agents do not welcome
unsolicited e-submissions from actors. They ignore them. One of the major reasons for the wait is that
novice actors will submit for any and all parts whether they apply to their type or not. This is akin to
going to an open call which has specific requirements for the part, e.g. beautiful ingnue in the early 20s
with blonde hair and blue eyes, a young Grace Kelly for a role on a prime time episodic series. The line
starts early in the morning and women in their 40s with red hair, mostly character types get there first. So
now you get the idea about indiscriminate click and submit.
5
You have to reassess your promotional materials. Does your current photo do you justice? Does
your photo suggest to the casting director that you are the physical description in the breakdown? That
you are the age range? That the experience on your resume lists impressive credits and training? That in
essence, you are READY for the job? If you are only going down the electronic path in your career, the
outcome is bleak.
What you have done is eliminated the very core of how to get work---networking,
taking classes where you have interaction with other actors, working on your craft and
doing selected not mass mailings. Letting these same casting directors and the agents
know when you are working no matter whereshowcases of new plays, independent
films, student films, starting your own company to develop new works and perhaps writing
material that will be performed some day as a one person show.
You have to be active and out there, not sitting at a keyboard all day with no direction. And
remember your TALENT will never be ignored.
Brian Vermeire and Kristina Hughes founded HoldonLog.com and PerformerTrack.com over ten
years ago and created organizational software to help actors literally run their own business. Recently
Brian wrote a piece about the topic of quick fixes and e-submissions and called it Performers: Get Off
the Slots. Think of a casino. A majority of the folks in a casino are slumped behind a jackpot machine
pulling the lever hoping with each pull that the next one will make them rich. A slot machine is easy to
do. Just sit there, pull the lever, get 3 7s in a row and BAM JACKPOT! However, we know the usual
outcome is
that they will walk away broke and frustrated.
There are a TON of self-submission websites out there that promise that you will
be seen by the right people. It's so easysimply click, submit for a project, audition, get cast and you
are a star....NOT! You really have to have a strategy. It takes WORK TO WIN. The Entertainment
Industry is a Relationship Business. This is not a Click & Submit Business. There is no magic bullet
to becoming a successful performer but if you win at the Relationship Building table, you will win
bigger and faster than if you were with the rest playing the slots by clicking and submitting everyday.
Taking control of your career away from the computer will open your eyes to opportunities that
you can create for yourself. As Milton Berle once said, If opportunity isn't knocking, build a door.
6
CLICK, SUBMIT, WAIT...AND WHINE!
PART TWO
The statistics are still appalling. There are so many union members, so few jobs. Competition is
fierce. Open calls posted on Back Stage or on union bulletin boards attract hordes of hopefuls who line up
on the street hours before the session begins. When a noted film director had an open call on a bitterly
cold February day, it is estimated that 5,000 actors (some of whom had slept out on the street the night
before) turned out for their big break.
Nevertheless, actors will not be dissuaded from trying their luck in the big Apple or seeking their
glory in Tinsel town.
So many actors choose to be ignorant about the business aspect of the profession.
It may have seemed romantic in the opera La Boheme to live in a cold water garret, sacrificing everything
for art. That was an opera set in the 19th century. Today in the 21st century there is really no excuse for
seeking a career in acting without enough money saved to survive during the orientation. Actors must
consider themselves entrepreneurs, self-appointed commanders of their own Enterprise. They have to
know how to package themselves, promote their talent, organize their home office, understand the
appropriate protocols for interviews, impression management and keeping a daily journal of their
business days, notating who they met and honestly evaluating the experience.
AND they have to continue training to keep in physical, mental and emotional shape, stay alert to the
unexpected and unpredictable occurrences in the biz, and NEVER stop seeking ways to improve self-
awareness and confidence.
7
Years ago actors found work by literally pounding the pavement, snail mailing their headshots
and resumes to agents offices and those few casting directors who were just emerging as the experts who
could spot talent and open doors. Actors then were able to leave their pix in a box outside of the office
hoping an assistant would see their potential and call them for a meeting. Now agents will only see you
by appointment; casting directors will only see you through referrals. Cold submissions are rarely
successful. For security reasons there is no admission without an invitation. So the Internet, Electronic
submissions, YouTube auditions, and the Smartphone have become the new normal of doing business.
However the very first step is still sending via snail mail, an 8x10 color headshot, resume, and cover letter
to your selected agents, casting directors and personal managers. If they are interested you will be
contacted.
The chance to get employed by a self-submission on the Internet is perhaps one in a million. So
stop clicking, submitting and waiting. Thou shall not WHINE if you are prepared for that CHANCE when
you get a response from an agents or a casting directors office. Are you ready for that close-up, for that
monologue in the office, to tape a scene on YouTube? Will you clutch, freeze, let anxiety overwhelm
you? When actors are uncomfortable, nervous or frightened they cant have a successful audition because
they have blocked their creative energy.
Some professional guidelines are outlined in Sue Porter Hendersons valuable agents directory
and casting directors guide. I also must underscore the necessity to know about acting and vocal coaches
and have a list of at least five of them to call when needed. Have your professional wardrobe ready to
wear with solid colors, polished shoes, proper fit, and minimal accessories. If you are in an ongoing class,
work on the audition material there and get creative guidance from the teacher. Look rested when you
make your entrance, have a positive attitude, enjoy the experience, dont think about a callback, be in the
moment.
The road to success is strewn with frustration, naysayers, sacrifice, feelings of failure and
rejection. But if this is the career you passionately want, work hard, embrace your nerves, feel your power
and love every minute of the journey.
Oscar winner Mercedes Reuhl remembers the time in her early career when she had no concept of
how much talent she had. I believed in myself fiercely when I was receiving encouragement from Uta
Hagen and felt I was proceeding gracefully but these ill winds of rejection had thrown me way off
course. And she was packing her bags to return home when that eleventh hour call came from a
playwright who wanted her for a role. The rest is history.
8
WHAT ACTORS NEED TO KNOW
PART 4 OF 4
But there are many more modest "break-through" starring roles along the way. See the words "Be
Prepared" above? A producer waited as long as they could, while the agent couldn't find Jim. It turned
out that he was in his van on the way to Atlantic City licking his wounds about losing a different role....
without telling his agent! After waiting as long as possible for his agent to find him, they had to cast
another actor! Always be ready and available! That could happen any time! Some actors are prepared
and know what to do. Some aren't. You'll never know when the first really "Big" break is coming.
Always communicate with your agent!
When that big break, "Starring", comes suddenly, if it's a motion picture, there'll still be a long
waiting period for the release, openings in theatres and trade and daily paper reviews, a waiting period
that seems endless! When the film finally opens nationwide there will be many reviews that may or may
not think you deserve high praise. You did the role, got the best billing available and probably many
weeks of decent salary. But it can mean little, both
during the "waiting for release" period and when you're praised, unless you've known ahead of time how
to exploit it or have a manager exploiting it during that waiting period and (still better) have invested in a
publicist as soon as you are cast in that plum role. An unbelievable amount of publicity, in all print media
at least, can be gotten day in and day out by a good publicist while you're still working in that film!
Without a publicist, you can do that big role and when it's finished slip back to where you were before.
9
What's lucky for still low salaried "working actors" is that, the higher the first season salary
demanded for one or two top stars, the less that's left for the other regular cast members and in the end
there isn't much budget left, so those "working actors" with the most modest established salaries will be
given their best chances, often simply for budget reasons. Whether in one performing medium or another,
such "sudden stardom" is fairly common, but more usual is that with someone creating a sudden miracle
for you after a lot of increasingly good roles, your work is broadly known and respected. Your agent calls
frequently to tell you that you've been "set" for roles without interviews, most often important roles that
appear throughout total scripts, each with the potential of some form of "guest starring" for television and
at least "featured" billing for motion pictures. If productions and casting people observe that you're really
"in demand" everywhere and rising swiftly there'll be many "offers" to your agent. Any one of those
offers can be a big break through moment for you if it's skillfully exploited. If you don't have a manager
and or a publicist to do that exploiting, those opportunities will slip quietly past, one after another.
Some "big breaks" may not seem of much importance when offered: One of the opportunities a
good agent or manager will consider in this stage because they know what it can become, but not
necessarily jump to accept for you, is one of the "recurring character" roles that are either introduced in
new series pilots or are added mid season, as many are. The frequency of being seen by the public in
many if not all of the series episodes would be enough, because of the promotion and visibility that
frequency offers (especially if its worth "guest starring" billing each time), but a good manager and a
publicist, or a career supporting agent also knows that if the character attracts some attention it often
becomes a series regular role, under series contract, with some form of special billing and a decent salary
at the start of the second season if not sooner. Either or all of those team members know how to promote
that kind of role into a series regular. Short of a series starring role from the start, its one of the quickest
manners of obtaining broad public and industry visibility and probably a billing boost.
"Recurring" roles of all ages and types are most often added mid season, when something is
envisioned as being needed for more appeal, more atmosphere, more local color, some comic relief or
whatever. You, as well as your agent and or manager, should continually concentrate your promotion
efforts on the casting and other production staff members of current television series that you feel you'd
be right for.
"Recurring" roles have one drawback. If you're brought in increasingly often, you're too often
unavailable for other starring roles when your agent is called regarding your availability. To avoid being
"laid aside for a while" by other productions, the best agent, when those "Recurring" calls come will ask
to have the scripts delivered to you quickly so you can decide and let the agent get back to them quickly.
That indication of respect for your choices and the fact that you require the privilege is in its own way
excellent promotion with those who call. Recurring roles aren't "contract" roles and if an actor is
sufficiently valued by the production he or she is forgiven for being "unavailable" because of a choice
starring role elsewhere. Whether film, television or theatre is involved, with your agent and manager
always stressing it, is that the role and billing are what matter to you. Of course the role first, but
"Separate Card, Main Titles" should always be at least asked for television guest appearances and at least
billing position requested for film. No less than "Share Card, Main Titles" should be accepted. If they
want you badly enough, even if at first they say it's not possible, it can be arranged.
10
Although a new agent may really believe they can help you achieve a bigger career leap swiftly, he
or she might fail because of not knowing the structure on which the upward progress thus far has been
based. There may be too many details not known about you, about your special talents, special qualities,
special contacts and especially deals already in early development. Salary and billing boost requests of the
new agent are often suddenly ridiculous, because the new agent is anxious to fulfill his or her promises.
You might simply not work at all for a while. If you do decide to leave an agency, do it gracefully. Have a
reason that doesn't hurt the feelings of the agent you're leaving. An agency you leave without good
feelings can hurt you! Unless a top, top agency comes to you with a firm offer depending upon your
signing with them, usually a television series starring role or motion picture they are "packaging", stick
with your current agent who's brought you this far. If their series or film really needs you, you'll be cast
without changing agents.
There have been cases where a top agent at one of the giants signed a "new star" because he was
beginning to steal top roles from one of their own male stars. Their reason for stealing him away with one
project was to reduce his threat to their other client!
When a series salary and other starring roles are assured of becoming continuous into the foreseeable
future, a Business Manager can be obtained for a modest annual retainer fee if the contract or
understanding includes the agreement that expenses for special services "as needed" throughout the year
will be paid in addition. Business Managers can save you hundreds of thousands of dollars (or in these
days more likely millions!) from your burgeoning income! And as fan mail begins and grows, you must
have a Secretary to handle that mail and pick up all phone calls and refer them to the appropriate
members of your team. If becoming a public celebrity of any noteworthiness, you should never pick up
your own phone. There are so many details in this new career level that other people can and should
handle more expertly for you. Doing it yourself will distract from your concentration on preparation of
your performances.
(1) At top left, print "From:" with a company name, an address below it, and below that, "Contact:" and a
name and phone number. No date.
(2) Drop down a few lines and at the right margin print in capital letters,
(3) Drop down a couple of lines, centered, print in capital letters (no
(4) Drop down two or three lines again and begin your first paragraph. Double space the story, keep left
and right margins one inch wide. That first paragraph must tell in the fewest words possible, the whole
story. WHO (you) is doing or just did WHAT (the "story" in just a few to the point words), WHEN and
WHERE. Editors scan that first paragraph swiftly to decide whether it's for them. If the total story isn't
11
condensed in that first paragraph's brief and attention grabbing wording, the release is thrown away
(5) A following paragraph (or two at the most) should contain the elaborating details. WHY the item is
newsworthy will challenge your mental resources. Something about it must be one of the following: a
big break, something obviously of broad human interest, or amusing, or of personal (maybe comic)
disaster nature or something that applies to the individual Editor's special field. A following paragraph
(or two at the most) should contain the elaborating details. WHY the item is newsworthy will challenge
your mental resources. Something about it must be one of the following: a big break, something
obviously of broad human interest, or amusing, or of personal (maybe comic) disaster nature or
something that applies to the individual Editor's special field.
(6) Name names of others involved, recognized name, mention the producer, the star, the director, even a
studio or theatre name, will grab attention and may cause the item to be printed. Those names are
currently more newsworthy than your own may still be.
(7) At the bottom of the first page, if there are more than one, two spaces down from the last line, in the
center, print "---1---" if an additional page is necessary, at the bottom of the second page print "---2---",
at the end of the release, drop down two lines and print "---3---".
(8) To send a theatre production photo with any other cast member in it, get permission from that other
person and also from the theatre before mailing the release. The same applies for any photo of any actual
performance in any medium.
Since the story is about you, behind the release include a Photo of yourself, with a narrow "caption" strip
with your name on it, use double sided tape and tape it at the bottom. Be sure to tape the top of the
caption to the back of the photo bottom, not the front, so the total photo can be printed.
12
QUOTES
I work with several different agents for commercials, industrials and print including Abrams Artists,
Prestige, Bella, Rick Miller and Ramona's Models and Talent. It's because of Sue Hendersons help and
advice that I continue to do well in this, ever changing industry. It is also why I continue to recommend
my fellow actors both experienced and new to seek your advice and services. Thank you, Sue!
Everything started for me after I met with Sue Henderson, with her guidance and advice, I signed with
a major commercial agent within two months and began freelancing with several film and television
agents on a regular basis. Casting Directors regularly call me directly. I have been a principal in Sprint,
Chevy, Cheerios, IKEA, MasterCard, and several major print jobs. I have also appeared as a principal in,
Wall Street 2, 30 Rock, Gravity and Boardwalk Empire.
Sue Henderson gave me the inside track on reaching current and important casting directors in the
NYC area. At first, I thought it was monotonous but she said to stick with it because they will get to
know you! So I post carded casting directors every time I got a principal gig and it worked BIG TIME!
Thats how I booked the pivotal supporting role of Lou Gold in The Fighter.
Its part of an actors homework and investment in your brand, no matter what level you are at to know
whos casting what. Agents and CD's tend to move around and Henderson Publications give you a birds-
eye view of the playing field. It also focuses my energy on where it needs to be and the perfect fit for
my goals. Do what you need to do, but I find in my conversations I know whos been doing their
homework. Thanks for doing the hard work Sue; you are my rock star!
Shawn Michael
(SAG-AFTRA, AEA)
Co-Star "Blue Bloods" CBS
Thank you so much for your label service! I booked a major role as Tommy for Luc Bessons
Malovita (Robert DeNiro, Michelle Pfeiffer, Tommy Lee Jones), which took me to France for a month
of filming! Im convinced that the recent heads-up postcard to Mackey Sandrich Casting prompted
them to bring me in. Like you saidYou get in their face with credits and you get called in.
13
AN AGENTS VIEW
Josh Pultz
14
How can a trained actor get a MP/TV Agent?
In New York these days there really is no such thing as a MP/TV Agent. New York
is, without question, a Theatre town. We have eight episodic TV shows shooting here and a
smattering of Feature Film work, but a walk through Times Square makes it very clear that
Theatre is the bread and butter of New York based talent Agencies. Broadway, Off
Broadway and Regional Theatre are the basis for Professional Acting Careers in New York
and the roots of many MP/TV names on the West Coast are here as well. Do not make the
decision to obtain training and become an actor on the notion of vaulting to Stardom on
Network Television or becoming the next Julia Roberts overnight. It is all about creating a
solid foundation of work on your resume that can aid you in reaching the next level in your
career. Telling an Agent in NY, that you are only interested in film and television is, more
often than not, a turnoff.
How has the Actor/Agent relationship changed over the past few years?
Communication and the way Actors and Agents communicate has changed very
dramatically in recent years. Developments in technology, like the use on-line sources to
send clients audition materials and appointment information and the ease and speed of e-
mail as a communication tool, has diminished the need for office visits and face-to-face
contact. That is why I encourage clients to stop by from time to time and why basic and
unimportant conversations transpire via e-mail. E-mail is useful for disseminating
information that does not require a telephone call. Agents are also more closely examining
their clients career paths and Actors have to reconsider the types of projects that interest
them. The need for work weeks as they relate to Health Insurance and the surge of star
driven casting, both in Theatre and recent television projects means more clients pursuing
the Independent film market and regional theatre.
What is required by me once an Agent decides to represent me?
Agents all like different things from their clients. For me, having clear
communication with my clients, is the important component. No need to call me to ask if,
anything is going on. Trust that if an agent has something to speak to you about, you will
get a call. However, if there is a project that you are interested in, if you are experiencing
some frustrations either with the business or in your Agent relationship or if you have some
business or even a personal matter to discuss call or e-mail me. I work with my clients and
other Agents in my office as a member of a team and communication with all of the
members of that team is vital. I like my clients to be proactive and well connected. Meet as
many industry people as you possibly can, know whats going on in the business an keep
you ear to the ground. So much of what goes on in this business comes first through the
Actor grape vine. Cast replacements, readings and workshops sometimes happen under
the radar of an Agent. Thats where you come in. Of course there are also the basics. Agents
want their clients to be prepared, go to auditions prepared, be accessible (that means letting
me know when you are out of town or booked out on a commercial), deliver headshots in a
timely fashion when asked and I cant say it enough, communicate.
15
WHAT SOME AGENTS ARE SEEKING
This is a standard section in each edition. The information is obtained directly from the
agents themselves and should apply for a while. All agents are looking for ethnically
ambiguous talent.
ABOUT ARTISTS AGENCY seeks strong leading men, women and character types for television, film and
theatre also dancers.
ABRAMS ARTISTS Mark Turner seeks experienced Hosts and Young types 20-25 yrs. old. Tracey Goldblum
is seeking trained commercial types, all ages and ethnicities.
ACCESS TALENT, INC. wants Voice-Over Tapes from Union and Non-Union People 18 and Older.
ANDREADIS TALENT AGENCY is seeking Attractive Young Soap Opera AND Bi-lingual Types.
BLOC AGENCY is seeking Dancers, Choreographers and All Types for All Areas.
JUDY BOALS, INC. is seeking on and Off-Broadway Working Actors, also Ethnics. No Children.
BOOKING ENTERTAINMENT.COM seeks comedians, singers, musicians, film and television actors.
MARY ANNE CLARO AGENCY (Philadelphia) wants Kids and Teens (Union Members), from 10 yrs. old
and up.
CARSON KOLKER AGENCY seeking men and women, all types, all areas.
CLEAR TALENT GROUP is seeking experienced Actors 18+, all types and ethnicities.
CESD INC. Seeking Seniors, Blue Collar, Children, Dancers. New Legit. Dept. for all types.
FLAUNT MODEL MANAGEMENT Seeking Shoe Models Size 6 & 7, Experienced Models, Female, Sizes 14
to 22, also Seniors, 50 Plus and Ethnic Actors, M/F, from 30 Up. Also Adult Commercial types. Especially
seeking Asian and Hispanic talent.
JIM FLYNN AGENCY wants Experienced Musical Theatre Performers and Actors. No Children.
GARBER TALENT AGENCY is now seeking Dancers all areas and Actors who dance.
JORDAN, GILL & DORNBAUM is now seeking Children, Actors 18+ and Hip or Edgy types for
Commercials.
KAZARIAN, MEASURES, RUSKIN & ASSOC. seeks Established Actors Union Member Singers,
Choreographers, Variety People and Musicians.
16
CHARLES KERIN AND ASSOCIATES is seeking experienced actors for film, theatre and television.
MODELS ON THE MOVE will now consider Both Union & Non-Union and Children. Still considering
Mature Ethnic Males/Females; Native Americans.
PLAZA 7 (NY) is seeking trained actors, age 18+, all types, all ethnicities and VO talent.
TAYLOR ROYALL (Baltimore) is seeking ages 18+ for all areas. No Children.
HANNS WOLTERS now wants Asians (M/F) & French (M/F) 40 & Above, Portuguese (M/F) who speak
Portuguese and German talent. Especially seeking Brazilian talent.
ANN WRIGHT REP. is seeking young talent, 18+ for all areas including VO.
17
AGENTS THAT REPRESENT
SPECIAL CATEGORIES OF TALENT
Although most of the following agencies represent other types of talents as well, they maintain
special lists of the talents indicated or in fact specialize exclusively in those types. This list is
provided to help actors and others find more quickly the agents that may be especially inter-
ested to receive their submissions. Also, there's an obvious benefit for new people especially to
be with or at least known for freelancing calls by an agency that's customarily first called by
Casting for small, beginning role suggestions of people the Casting Offices don't yet know who
have some of these special skills.
All Ethnicities (All agents, casting directors and managers are in need of ETHNIC TALENTS)
Unlike Hollywood, no agencies here specialize in single Ethnicities. But those with medium Commercial, Modeling and
Print Departments maintain large lists of most Ethnic Groups.
Athletes & Sports Celebrities
Don Buchwald ICM WMA
Babies
Frontier Carson Kolker Org.
Bands & Musical Groups
Associated Booking
Character Types
Hanns Wolters FunnyFace Today
Children
Abrams Artists Carson/Adler Carson Kolker Org. Mary Anne Claro Agency CESD Fresh Faces Frontier
Innovative Artists Jordan, Gill & Dornbaum Meredith Model Models On The Move Fifi Oscard Talent Works
Don Buchwald Paradigm
Club Acts & Variety
Bethel Carry Co. Innovative Models on The Move WMA
Comedy
About Artists (Renee Glicker) Abrams Artists Artists Grp. E. Bethel Don Buchwald Carry Co. Frontier Gersh
Agency Headline Talent ICM Innovative Radioactive Talent House WMA Agency for the Performing Arts
Composers & Songwriters
Associated Booking Kerin & Associates Radioactive Talent Talent House
Dancers & Choreographers
About Artists Agency Bret Adams Bethel Bloc Inc. Carson Org. (Under 30) Clear Talent Group DDO
DGRW Garber Talent Hartig/Hilepo Kerin & Associates Nouvelle Professional Artists CESD The Mine
MacDonald/Selznick
Designers (Scenic)
DGRW
Disc Jockeys
ICM WMA Radioactive
Ethnic
All Agencies
Hosts(Talk Show), etc.
Abrams Artists Atlas Don Buchwald CESD ICM WMA Professional Artists Radioactive Headline Talent
Industrial & Trade Shows
Atlas Talent Agency CESD Ingber & Assoc. Nouvelle Ann Steele
Internationals Speaking Native Tongues
Ginger Dicce Hanns Wolters
Models (additional agencies / managers are available from www.nyactingagents.com)
High Fashion CESD Meredith Models on the Move Nouvelle Fifi Oscard
18
Beauty Arcieri & Assoc. CESD Meredith Nouvelle Fifi Oscard Innovative Don Buchwald
Musical Artists
About Artists Agency Bret Adams Associated Booking Bethel DGRW Lally Talent Paradigm Entertainment
Ann Steele Talent House WMA The Mine Agency for the Performing Arts Jim Flynn Agency Group Ltd.
Agency Group Booking Entertainment Universal Attractions
Musical Directors & Conductors
Bret Adams DGRW Agency Group Ltd.
News & Anchors
Abrams Artists N. S. Bienstock ICM WMA Professional Artists Radioactive Talent
Packaging
ICM WMA
Personal Appearances
ICM WMA
Physically Challenged, Handicapped, Disabled
Abrams Artists Andreadis Bethel Carry Co. ICM Hanns Wolters
Print
Most Agencies representing Models also represent for Print Advertising
Soap Opera Talents (for work in LA)
Frontier Innovative Artists Meg Pantera Paradigm Ann Steele Talent Reps Abrams Artists
Andreadis Talent WMA
Teenagers
Abrams Artists Bret Adams Andreadis Talent Carson/Adler Carson Kolker Org. CESD Dulcina Eisen
Frontier Hartig/Hilepo Henderson/Hogan Innovative Artists Jordan, Gill & Dornbaum Meredith Meg Pantera
Variety Performers
Bret Adams Bethel Carry Co. Kerin & Associates ICM Innovative Artists WMA Brad Simon Org.
Voiceovers
Access Talent, Inc. Abrams Artists Andreadis Atlas Talent Agency CED
Writers (Listed for those seeking Agencies with both Talent And Literary Departments)
Abrams Artists Bret Adams Artists Agcy Artists Grp. East Judy Boals, Inc. Don Buchwald DGRW Gersh
Agcy Harden/Curtis Innovative Artists ICM Kerin & Associates Fifi Oscard Talent Rep's Phoenix Artists
Paradigm William Morris / Endeavor Talent Agency
19
THE DIFFERENCES IN SOME AGENCY LISTS
Talent Agencies open, close and relocate their offices. Staff members are added, or depart to join other
agencies or open their own. Some glossy-cover publications must go to press too far ahead of their issue month,
therefore contain none of the end of the previous month's and none of the current month's early weeks' changes until
their next issue. Our new issues are published the last day or each month for the coming month, and we revise listings
with late-breaking changes during the month as we reprint for bookstores' reorders.
Some publications lists continually omit a number of agencies for their own reasons (we do not include Model
Mgmt. Companies in this publication. They are in our Personal Managers Directory & Models Mailing Labels on
our website www.nyactingagents.com). Even the Union lists, issued once a month or even less often, may not contain
the latest changes. Use this publication for the latest information available.
Our publication and Hendersons mailing labels are usually very dependable. But for explicit details of the
agencies, their current staff names, their different departments, the areas for which they represent, information about
their longevity and industry history, and what talents they're currently seeking. We strongly recommend this
publication, as many other industry people and publications do.
Most mailing lists printed in hard or soft cover books will be woefully out of date because they sit on store
shelves for long periods. Some are already out of date when printed due to manufacturing time spans. This publication
is self published to make more frequent update revisions possible.
20
NEW ACTIVITY INFORMATION
The following symbol appears before agencies' titles, for quick locating of new information for mailing list or
follow-up purposes. Agencies' new information will bear the following graphic symbol:
21
AGENCY LISTINGS
X 9MUSE S/A Pending, E
356 Broadway #2 New York, NY 10013
646-801-6873 info@9muse.org
Michael Imbimbo is the agent and they represent actors for theatre, musical theatre, commercials,
film and television. All types are considered.
22
Bret Adams S/A, E, ATA, NATR, W
448 W. 44 St. New York, NY 10036
212-765-5630 bretadamsltd@bretadamsltd.net
This long established, top agency, formed in 1971 represents mostly adult (very few young adult and
teenage) actors, writers, directors, variety and musical artists, dancers, choreographers, musical directors,
designers, below the line artists, for MP/TV, equity and literary. Agents here are Bruce Ostler (Partner)
(writers & directors), Mark Orsini (literary), Margi Rountree (Partner) (MP/TV and theatre), Ken Melamed
(Partner) and Michael Golden (MP/TV and theatre) rep actors. Interviews are by appointment only. They
don't handle talent for commercials or VO and don't handle children. MAIL material and request an
interview. No phone calls!
23
Arcieri & Associates S/A
305 Madison Ave. Ste. 2315 New York, NY 10165
212-286-1700 www.arcieritalent.com talent@arcieritalent.com
Steven Arcieri, Katie Bucco and Diana Lote are the agents here, representing actors, commercial actors,
VO artists. They will consider photos and resumes and VO demos. SUBMIT BY MAIL ONLY. No
personal drop offs or phone inquiries. Primarily a voice work agency.
24
X Avalon Artists Group NY S/A, E
242 W. 30 St. #903 New York, NY 10001
212-868-3200 /323-692-1700 bernadette@avalonartists.com craig@avalonartists.com
melinda@avalonartists.com
Accepting new talent for all areas including print. This is a bi-coastal agency. Craig Holzberg is the owner.
Melinda Brown is the commercial & print agent in NY, Bernadette McBrinn represents Youth and Legit.
talent. BMG Models is a Division of Avalon Artists. (bmgnewyork@gmail.com).
Bloc NY S/A, E
630 9th Ave. Ste. 702 New York, NY 10036
212-924-6200 info@blocnyc.com www.nyc.blocagency.com
Brendan Filuk and Laney Filuk (Owners) from LA. Fatima Wilson is the agent for commercials and Jim
Daly handles MP/TV. Maegan Mishico is a junior agent. The Dance & Choreography Dept. represents
professionals only, for commercials, music videos, musical theatre and industrials. No visits, interviews by
appointment only. They consider headshot, resume SUBMISSION BY MAIL ONLY.
25
Judy Boals, Inc. S/A, E, W, NATR
307 W. 38 St. Ste. 812 New York, NY 10018
212-500-1424 info@judyboals.com jenna@judyboals.com
A combined Talent and Literary Agency, equally involved in representing both. Judy Boals represents a
select list of writers, playwrights, directors, composers, book authors and mostly adult actors (no children),
for literary, theatre, voice-over and MP/TV. She considers SUBMISSIONS BY MAIL ONLY. She's
currently seeking on and off Broadway working actors (without agents) as well as ethnic actors. Ann Kelly
and Jenna Winnett are also agents here.
26
Carson Adler Agency, Inc. S/A, NATR, E
250 W. 57 St. Ste. 2030 New York, NY 10107
212-307-1882 www.carsonadler.com
Agents Nancy Carson (Owner), Bonnie Deroski and Shirley Faison, representing children, teens and young
adults up to early 20's, All types and ethnicities, for theatre, MP/TV and commercials. They have young
clients in series, film and television roles. Nancy is a warm and caring agent. She was with Jan J. for a time
then formed Carson/Adler with the late Marion Adler in 1982. Bonnie handles commercials. Shirley
handles both children and young adults. They consider union and non-union talent, STRICTLY BY MAIL.
Snapshots are okay.
27
Creative Artists Agency S/A, E, ATA, W, D
405 Lexington Ave. 19 Fl. New York, NY 10174
212-277-9000 www.caa.com
Accepting all types and ethnicities. Teens through adults for MP/TV, commercial and print work. They
represents actors, broadcasters, musicians, recording artists, singers and spokespersons. They also have a
Literary Dept. Their LA office is one of the largest, "star studded" agencies. SUBMISSIONS BY MAIL
ONLY. Industry only referrals.
28
X Douglas, Gorman, Rothacker & Wilhelm, Inc. (DGRW) S/A, NATR, E
1501 Broadway Ste. 703 New York, NY 10036
212-382-2000 info@dgrwinc.com
This leading agency opened in 1988 with the coming together of its founders, including current Agency
Head Jim Wilhelm. The other agents are Josh Pultz and Kate Santa. Nicole Wichinsky is a junior
agent.They represent mostly stars and well established actors, musical artists, conductors, choreographers,
directors and designers for theatre. Now signing some clients (very selectively) to represent them for
commercials and VO. No children or freelance talent. They have affiliations on the west coast with
prestigious LA agencies. Photos, resumes for acting talent BY MAIL ONLY. No phone inquiries or
personal drop offs.
29
Jim Flynn Agency S/A, E
225 W. 23 St. #5P New York, NY 10011
212-868-1068
Jim Flynn represents a select list of mostly adult actors (no children) for theatre and MP/TV. He will
consider SUBMISSIONS BY MAIL ONLY. Jim is currently seeking actors with strong credits and musical
theatre performers with legitimate experience. Don't phone or drop-in.
30
Generation TV S/A, E
20 W. 20 St. Ste. 1008 New York, NY 10011
646-230-9491 info@generationmm.com
Patricia Fleischer (Owner), represents children (babies and up), teens and young adults (up to 21 yrs. old)
for MP/TV, commercials and VO. Dina Torre is the other agent here. This Agency handles MP/TV, theatre
and print. This is a liked and highly respected childrens agency. Children can submit snapshots. SUBMIT
BY MAIL ONLY. No phone calls or drop-ins without appointment.
31
Eileen Haves Talent Representative S/A, NATR, E
P. O. Box 677 New York, NY 10028
212-249-0033
Eileen Haves, a long time popular agent, has opened her own office. She represents adults and young adults
for commercials, industrials and VO. SUBMIT 8X10's BY MAIL ONLY.
32
International Creative Management S/A, E, W, D, V, ATA
730 5th Ave. 3 fl. New York, NY 10019
212-556-5600 www.icmtalent.com
This mammoth agency, one of the three largest, with offices in NY, LA and London, represents stars and
celebrities in many fields, including acting talent, musical artists, commercial and VO talent, top directors,
writers, producers, comedians, newscasters, hosts, sports celebrities, etc. Amanda Urban heads the Lit.
Dept. other literary agents are Richard Abate, Lisa Bankoff, Kristine Dahl, Mitch Douglas, Sloan Harris,
Jennifer Joel, Heather Schroder, Amy Williams. Sean Liebowitz is a Jr. agent. This agency is mostly for
celebrity talent. When the time is right, it will find you. NY AGENCY EXECUTIVES are Boaty
Boatwright (theatre, motion pictures), Bonnie Bernstein (film), Adam Schweitzer (theatre, motion pictures),
Joshua Pearl (motion pictures).
Los Angeles address: 11969 Ventura Blvd. 3 Fl. Box 7409 Studio City, CA. 91604. 818-769-9111
33
The Krasny Office, Inc. S/A, E
1501 Broadway Ste. 1507 New York, NY 10036
212-730-8160
This important, highly respected agency was opened by Gary Krasny (Owner) in 1991 after he had worked
for other agencies since the mid 80's. From the start, he has handled a client list of primarily top established
talent and working actors. Currently he and agent Lynne Jebens handle approximately 80-100 legitimate
theatre and MP/TV talent. Gary handles mostly adults and young adults (no talent under 18yrs. old) for
commercials. Mikey Nagy reps. musical theatre. They represent all types and ethnicities. SUBMIT BY
MAIL ONLY. No drop in or phone inquiries.
34
The Luedtke Agency S/A, E, W, V, ATA
1674 Broadway Ste. 7A New York, NY 10019
212-765-9564
Penny Luedtke is the (Owner / Agent), representing adults and young adults, all ages, all types and all
ethnicities for MP/TV, theatre and literary. No children. Alaina Feehan is an associate here.
35
Models On The Move S/A
1200 Route 70, Barclay Towers PO Box 4037 Ste. 6 Ground Fl. Cherry Hill, NJ 08034
856-667-1060(NJ) / 212-946-1347(NY) lucyking37@earthlink.net
Owner / Agency Director Lucille King represents actors, commercial talent, models, VO talent, athletes,
broadcasters and dancers. All ages from babies to mature adults. All types and ethnicities, union and non-
union talent. Also models, club entertainers, musical artists, foreign speaking children and adults for All
areas of representation, stage, MP/TV, soaps, commercials, commercial print and music videos. Send
several head shots and resumes and or comp cards. They will accept VO and video tapes. Send sase for
response. Talent must MAIL SUBMISSIONS. Interviews by appointment only. All talent must be willing
to travel for auditions. Print models should send comp cards.
36
X Meg Pantera The Agency Inc. S/A, E
138 W. 15 St. 1 fl. New York, NY 10011
212-219-9330 www.megpanteratheagency.com theagencysubmissions@gmail.com
Meg Pantera represents actors, male and female, all ages 17 yrs. old and up and all ethnicities, for theatre,
MP/TV and soaps. She attends Showcases and personally considers all submissions. SUBMIT BY MAIL
ONLY. No phone calls, please.
X Plaza 7 S/A, E
1350 6th Ave. #386 New York, NY 10019
646-688-2705 ffg@plaza7talent.com
234 Mall Blvd. Atrium #110 King of Prussia, PA 19406
610-337-2693 www.plaza7talent.com
Francesca Francois-Grimaldi (managing partner/agent)(NY) for MP/TV. Kim Walsh (Commercials & VO),
Sharon Parker & RJ Murphy (MP/TV/Comedy), Karen Parks (MP/TV/Theatre), Jodie Stiller (Children) are
the other NY agents. Linda Wisch is Agency Director here (PA), representing models and actors. All ages
(including children from 6 mos. to seniors). All types, all ethnicities, commercial and VO talents. Also
talent with disabilities for MP/TV, commercials, VO, modeling, infomercials, television programs, promos
and industrials. Cassia Valuikas is the other agent. Their specialty in voice talent has a great, 25 year
reputation and their hand and parts modeling department is equally exceptional. They accept VO demo
tapes, but do not return them. They are continuously receptive to VO talent with credits. They interview by
appointment only. Call for an appointment. At this time they are welcoming SUBMISSIONS BY MAIL
ONLY from actors, all ages, especially hispanic and asian talent.
37
Professional Artists S/A, E, W
321 W. 44 St. Ste. 605 New York, NY 10036
212-247-8770 agents@professionalartists.net
Sheldon Lubliner, a former producer, then an agent from the early 1980's on, and Marilynn Scott Murphy, a
former actress, are Owners / Agents at this respected agency. Ashley Williams Landay is the agent for
MP/TV. They represent a top list of usually about 100, including many stars, well established talent, adult
and young adult acting talent. All types and ethnicities, also hosts, writers, directors and choreographers.
MAILED photos, resumes are considered and if interested the agents will call for interview. No personal
delivery of materials or phone inquiries.
38
SW Artists E
676-A 9th Ave. Box 164 New York, NY 10036
646-246-8853 www.sw-artists.com www.sheplinwinikartists.com sw.artists@yahoo.com
Sue Winik (Owner/Agent). Margaret Emory handles the commercial division and assists in other areas.
They represent union and non-union for all areas. No children. All submissions are to be by MAIL only.
39
Take 3 Talent / Product Model Mgmt. S/A, E
555 8th Ave. #710 New York, NY 10018
646-289-3915 / 212-563-6444 www.productmodelmgmt.com info@take3talent.com
info@productmodelmgmt.com
Alyson Gaspin, handles commercials and print talent for all types including children. Stephanie Clarke
handles adults for MP/TV and Eddie Rabon handles their new theatre division. Dariana Sub and Nathan
Stolldorf handle print for children, Tracey Jackson handles adult print for PMM. Natasha Matallana handles
children for T3T.
40
X The Talent Mine S/A, E, ATA, NATR
420 Lexington Ave. #628 New York, NY 10170
212-612-3200 talent@the-mine.com
David Crombie (owner / agent), Dustin Flores, Paula Poeta and Haley Holmes are the agents for MP/TV,
theatre, soaps, industrials and advertising. Patrick Mediate is a junior agent. SUBMIT photo, resume via E-
MAIL OR MAIL ONLY. Do not phone, fax or visit. Interviews are by appointment only.
END OF LIST
41
Editors Note
Unfortunately scams have been involved in our industry for years and will in all
likelihood continue to be. In todays economy especially, the number of scams has increased
significantly, not only in the tri-state area but throughout major cities in the US.
The intelligent actor should always be aware that the only time any up front money
should be paid is for training and to have your picture and resume on your agents website.
The investment we have discovered that fully explains and provides the best information
to help actors avoid scams is the DVDs available on our website. View the free previews at
www.nyactingagents.com, or www.hendersonenterprises.com
Remember that it is your career and your responsibility to protect yourself and insure that
you are not victimized by a waste of time and money scam. If it sounds too good to be true, it
probably is! The most expensive is not necessarily the best; you should always check everything
out and ask around before investing your hard earned money and valuable time!
www.nyactingagents.com
www.hendersonenterprises.com
212-472-2292
42