Meet and Get to Know Top Agent David Doan

Joining me today is David Doan. David is the Vice President of Young Talent in the Theatrical Department at CESD Talent Agency in NYC. He has been in the industry for over 20 years and been recognized for his work specifically with developing breakout youth talent. When he worked in casting he was  nominated for a 2012 Daytime Emmy Award for Outstanding Casting for an Animated Series or Special for Nick Jr.’s Bubble Guppies.

I have received so many questions about representation and bringing the right people alongside you in your career journey. So I’m thrilled to have David with us today. He is a long time colleague of mine and  one of the most trusted agents in the business. He will answer many of your questions. Questions that people are often left to figure out on their own. By the end of this episode you won’t be left wondering about anything. David, thank you so much for taking time out of your busy schedule to chat with me today.

Denise: David, thank you so much for taking time out of your busy schedule to chat with me today

David: Thank you, Denise. Thank you so much for having me

Denise: First and foremost, people really want to know, what are you looking for in signing talent

David: The answer to that question changes as different time periods go by.

“The main thing that I look for is confidence in young talent. Obviously we want to see a personality. Someone that is comfortable in their skin and not overly nervous. A sense of fearlessness and commitment. And a support system around them.”

David: We want kids that are well rounded. It’s not like we are looking for kids that eat, sleep, and breath only performing. It is a combination and variety of things…So much of it is about personality off the camera and when you aren’t performing. 

Denise: That was a great explanation. I hear that term “it” factor quite a bit. I use it myself. I have to imagine that parents know what that means or maybe all parents think their child has the it factor.

David: I think maybe the latter. I don’t know if everyone can actually tell… I have to believe that every parent believes that their child is special and I think that’s great and you need that kind of support to succeed anywhere in life. 

Denise: Working with younger talent, obviously you are dealing with the parents… I am wondering if you can speak about how the parent can help or how they sometimes might hurt their child’s career.

David: Yes, I can speak on that. You know there’s this whole mommy board world where people get so much disinformation. And sometimes it makes our job difficult when everyone gets alerted when auditions go out… and sometimes we get the calls like “Why didn’t my daughter didn’t get an audition for this?” “Did you submit so and so for this.”  We see the breakdowns, it is in our best interest to procure work for you so  anything that your child is right for, we are pitching and trying to get the appoint because this is a business after all and we want to make money and we want to book your child or we wouldn’t represent them if we didn’t think they were competitive. I guess it’s one of the small annoyances I have when there’s all this misinformation out there, wherever it’s coming from,  that it makes our job a little bit more difficult and makes us not want to deal with you as much. Depends on the parent as well of course. Another that makes our jobs easier is just following instructions. Everything right now is self tape so there’s a lot of instructions…and it just makes our job a lot easier when you follow them.

Denise: There's so much that goes into it all and I'm not sure everyone understands… you’re working so hard on your end and it’s perhaps silently and people don’t always know and they just have to trust if they’re going to sign with you that if you’re doing your job and they have to do their doing their job and that they have a job.

David: That’s exactly right. There has to be a form of trust as a client and an agent and when you sense that there isn’t that trust then it gives you a little bit more of a pause of do i want to work for this person that i constantly have to answer questions about why you’re not getting an appointment for something when it is sometimes as simple as an age range or ethnicity or hair color.

Denise: Have you had a client that was working and doing well and you had to let them know because the parent wasn’t really a team player?

David: You know I would say yes. You know, rarely. I like to think we are able to put out those fires with early warnings or signals. So I would say rarely, but I would say yes, absolutely. And I would have to say my least favorite part of my job as an agent is parting ways with clients, especially young talent that you have worked with for many years, and in some instances their whole life. 

“Having to part ways with a client for whatever reason is never fun or enjoyable. But sometimes it is appropriate to part ways whether it is because the client needs a new set of ears and eyes to see them in a new light…to pitch them in a different way. There’s a plethora of reasons.”

David: But, yeah it is never a fun thing to do. 

Denise: It is a relationship like any and if you want it to be healthy and honest and good and it has to work for both parties and if it’s not working then the two of you together might not be the best fit and the client may be better served by someone else. 

Denise: So what are some of the best ways that actors can get representation? 

David: You know I think the easiest way for me to find talent is through referrals. A lot of the talent we end up meeting are referrals through casting directors and a lot of managers. Referrals through current clients we have… showcases that I attend… as many as I can to see as much different talent as I can from different parts of the country. And I might have opposition to this, but blind email submissions to me, I’ve found a lot of people that way. Not that you should just start emailing everyone out of the blue, but if you have a really good professional email together with a current headshot and a professional looking resume and a link of some work. It doesn't have to be professional, but a self tape or two. And if it is a category we are looking for, I have found lots of talent through blind email submissions…You know having your materials together, and current, and strong, and not trying too hard is either going to capture someone's attention or not. 

Denise: How do people know how to email you? 

David: You know all of our emails at the agency are on our website. The amount of unsolicited emails we get is pretty large but I scroll through and if there is something that catches my eye then I open it and look further.

Denise: Are you interested in signing newbies? 

David: Absolutely, we do sign all levels of experience. Clearly if you are a six year old, we don’t expect you to have a full resume… you know the older you get the more we would like to see on a resume, but we go to college graduating showcases and meet and sign early twenties talent that have no professional experience on their resume. But it’s not a set general rule. Having something for us to see that is current that will make you pop is really what we are looking for. 

Denise: Can you speak about how you feel about your clients being trained and kids in general being trained. 

David: 

“You know I think training is important. I think it helps hone and develop young actors. Whether it’s one on one coaching… or in a class setting… that gives you a place or sanctuary or a place to feel a party of a group. I think that’s why so many young people are attracted to acting in the first place…”

David: The training goes along with starting to understand what this business is about and what it is actually like to be an actor…I think it all starts with training because that’s where you figure it all out and that’s where you figure out if you want to do this for a career…

Denise: I’d love to dive deeper into growing the best relationship with your rep. If a client is lucky enough to be repped, what is the best way to have a long and lasting relationship? Something I hear a lot from parents is they want more done so they think it’s time to add a manager to the team, maybe even without knowing what that is. 

David: Correct, I do hear that a lot. And sometimes parents think adding a manager to the team will get you more opportunities, and sometimes that is true… it depends on who that person is…It should be a team. 

Denise: What if a client comes to you and tells you that it might be time. Is that something you assist with? 

David: Oftentimes, yes. If it is a client we don’t want to lose, we want to make sure that whoever they are adding to their team is someone we can work with or hopefully that we have a previous relationship with, and if not then we want to have that relationship with them prior to entering into this partnership with them.

Denise: Something you said earlier, we were talking about clients not always knowing the work that you are doing. I’m curious, when you are working with clients…how does a client know they are submitted for projects

David: The simple answer is, most of the time they don't know, it has to come down to trusting your representation and trusting that they are trying their hardest to get opportunities for you. I have seen people in the past ask for submission reports and we don’t do that. One, it makes us feel like there is a lack of trust already by asking that question. If you’re not happy with your representation because you feel like they aren’t getting you enough opportunities… then maybe it is time to find other representation…they can certainly ask about specific projects without being too overwhelming about it… but it shouldn't feel like we are defending ourselves every time you are reaching out to us. 

Denise: I am so happy to hear you see that it is a wonderful time to be in the business and that there is lots of opportunities for kids… but it is probably more competitive than ever? 

David: Yeah, I think it definitely is more competitive now that a kid from Texas can compete for a Law and Order episode. They don’t have to be in town. Previously if you weren’t here for the actual live audition, you couldn’t even compete. And if you’re able to be a local higher, it doesn't matter where you are at the moment. 

Denise: The world is changing, it’s always changing, and it’s always going to change. I think for parents to know what was in yesterday might not be in today and it may be different tomorrow. Understanding the market a little bit. I just wonder what your thoughts are on that marketability piece. What is in right now? 

David: What makes you marketable is,,, I don't think there is one thing. Obviously having your materials together is extremely important. Social media I think falls into this question… you have to be very careful with what you put out there… does having an instagram page for the 10 year old make a difference? it definitely does start to make a difference when you get more into the teen world and the young adult world. Not only because people are looking at it, but it gives people a sense of who you are.  As a young actor, sometimes that can work against you..,so you just have to be careful and specific about what you are putting out into the world. Also, making sure that there aren’t any videos on youtube that you don’t want people to access. You have to make sure that you only have stuff that you want out there, out there because everyone is looking and anyone can.  

Denise: David, you have shared so much. I respect you and I think you are one of the best. I appreciate you being my first guest! [David] and I hope that you enjoyed the episode and that it answered some of your questions and perhaps provided some clarity about representation and how to build your team as your grow your career!

The Differences Between Notes From an Acting Coach and A Director

Imagine yourself in an audition. You may be reviewing a monologue or reciting lines from a scene as you nervously wait to be called in. While preparing, you remind yourself of the notes that you were given by your acting coach. Once in the audition room, you slate and perform your monologue or scene. What happens next is the wild card. The panel of casting, film, and/or TV directors might smile and say, “Thank you, next!” Or they may give you direction and adjustments. In order to take the direction given, you need to have the foundational skills to act and the ability to understand the language and concepts. A casting director or director expects the actor to be trained and ready for the role they’re auditioning for. To succeed in your audition, you need to understand the differences between working with coaches and directors, and the notes you’ll receive from both.

If you’ve ever worked with me or another acting coach, you’ll understand what I’m about to say. A coach helps students dive deep into a character’s motivations, objectives, and struggles. It’s a collaborative process to help the actor find their truth in the character. Sometimes you’ll be playing a character similar to you. Other times a character could not be more different than you. It’s the job of the coach to help you understand the scene and character while helping you to make strong and interesting choices. 

A director may give a note that says, “Go bigger.” I often give actors notes that say “Go deeper.” A casting director may ask the actor to speak faster. I might say, “Find the urgency that makes you speak faster.” These notes help guide students to think about their character beyond a surface level. It’s not my job to tell students how to act. One of my biggest pet peeves is when actors ask me how they should say a line. I’ll never answer that. Instead, I might have them reframe the question to ask, “Why does my character say that or what do they want right now?” They will then know how to say the line.   

When an actor is brought into an audition, the casting director or director believes that they can play the role and play it well. That being said, they may still give direction to see if the actor can make the adjustment and not get stuck in one way of playing something. A casting director or director may often give notes to the actor such as “more energy please,” “incorporate more gestures,” or “speak louder or more slowly.” They may even give a line reading to get what they need from the actor quickly. It’s the actor’s job to justify these notes with why their character may do these things. 

The director looks for actors that can listen and follow direction. They’re not only looking for great actors but actors that can be flexible. Onset there is an exorbitant amount of pressure on directors to get scenes done in a timely manner. Actors that can’t incorporate style notes and adjust their performances will have more difficulty booking work. Casting directors are also looking for a level of confidence. As I always say, “only confident actors get hired.” If the actor has worked hard with their acting coach or teacher the actor will be prepared to incorporate casting director comments with ease. Also, the more auditions you do, the better you’ll understand how to interpret and apply any director’s notes.  

Working with an acting coach can be a different experience than working with a director. However, both are essential experiences for the actor to learn, grow, and work in the field. When an actor is ready to audition, they need to understand the key differences between how directors and coaches give notes. Directors give notes that should be followed while coaches give notes to help you develop your performance organically. It’s essential to train as an actor either in classes or one on one with a coach so you’re ready to audition and perform, but ultimately it will be the director that hires you and guides your final performance. 

What Makes a Good Youth Talent Representative

I’ve worked in the youth acting industry for over 30 years as an acting teacher, career consultant, and former talent manager. I know and collaborate with many youth agents and managers, and can shed some light on what makes a good agent or manager for your child. Let’s first start with the differences between the two, the roles they play, and why some are better than others.

A talent agent or agency in New York or California is licensed by the state. They find employment for clients. Most are franchised by the Actors’ Equity Association and the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) unions, and are affiliated with the Association of Talent Agents (ATA) and/or the National Association of Talent Representatives (NATR). They are usually limited to taking a 10% commission for employment contracts. Some agents prefer an exclusive agreement initially. Others freelance, getting permission to submit a client by calling or emailing.

Just as in many other businesses, agents come in all sizes with different specialties. Large agencies can have several departments including beauty (modeling and print), commercials and voiceover, and “legit,” meaning TV, film, and theater. A smaller boutique agency may be able to provide some of the services a manager provides.

I spoke with David Gilbert, director of young talent at Zuri Agency in NY, who is very selective about who he signs to their theatrical roster. David and his team watch every tape their clients submit, giving notes and adjustments as needed before submitting to casting. They recommend their clients coach whenever possible allowing them to put their best work forward as they see each audition as a chance to be remembered by another casting office.

Another sign of a good agent is one who appreciates managers and can communicate and coordinate with them. Actors with managers can be more appealing to agents, therefore more likely to gain and maintain representation.

While an agent’s focus is to secure employment for an actor, a manager is more focused on growing your career. With fewer clients than agents, they can offer more personalized attention. This doesn’t mean the manager doesn’t get involved in the audition process. Many have good relationships with casting directors themselves and get on the phone to push for their client as well as get feedback after the audition is over.

A good manager will communicate well, help you find other professionals that can benefit your career like acting coaches and photographers, and more. They also help your child and you manage success when they finally land that one job that catapults them into stardom. A manager takes a 10–20% commission on earnings, and usually offers a three-year contract with a two-year extension. 

Before signing with an agent or talent manager, make sure they share your vision of where your child’s career is headed. You must be comfortable communicating with them while being mindful that they have other clients too. Both agents and managers provide representation and support for young actors. What is most important is having a rep who believes in your child’s talent and ability, fights for them, and helps keep their spirits alive during inevitable slumps while including you as part of the team. After all, you are your child’s best advocate.

6 Benefits of Online Training for Child Actors

The world we’re living in right now is full of uncertainty, but it’s important that we try our best to maintain business as usual. Many schools have moved classes online, but for students in the arts that can be challenging. As an acting coach, I’ve been teaching on Facetime and Skype for years for students who are on the road or who don’t have access to teachers because they’re in smaller markets. In an attempt to continue regular training for my students, I’m now teaching group classes on the platform Zoom. Here are the benefits I’ve found my students experience through online learning.

1. Nothing changes. 

Just because kids aren’t physically coming to acting class doesn’t mean they stop working. They still need to log on to meetings on time, have their material memorized, and be accountable when they don’t have props or important costume pieces. This requires a discipline that few kids have when they’re attending class in their PJs and learning from the living room. But acting class is still acting class. Kids learn to be responsible for themselves in unconventional class environments and learn to implement those skills even in times of stress.

2. Can be done from anywhere. 

Whether you’re on the road, on vacation, or stuck at home with your family, you can always log onto Zoom or Skype and make it to class. Ideally, a child will be in a quiet, well-lit room so they can be seen and heard when reading a scene. When a parent is juggling schedules for all of their children, kids don’t have to miss class when a conflict arises. This assures that they won’t miss anything and can maximize their time spent working on scenes with their classmates.

3. Teaches kids to minimize distractions. 

The most difficult part of transitioning from a classroom setting to an online chat is learning to stay focused in often rowdy environments. This can be a difficult skill for young actors to develop, but is necessary for them to have when working on loud, chaotic film sets and in noisy audition rooms. Teaching a child to choose a quiet room for their meeting while their siblings are wreaking havoc and ignoring the distractions around them is a great way to help them prepare for professional work on a set. Online learning presents new challenges, but the ways a student overcomes these challenges can help them learn self-control.

4. Improves technological skills. 

With recent improvements in technology, the entertainment industry has become increasingly reliant on computers for casting and production. It’s important for an actor to have some technological savvy when communicating with others in the industry and when understanding how moviemaking works. Online learning can help teach a student to work with computers, a necessary skill for an aspiring actor, and prepare them for the adult work world. As technology evolves, it’s important for a student to be able to troubleshoot their electronic issues so they can use those skills to enter the workforce. 

5. Improves self-taping skills. 

These days more and more auditions are done through self-tapes, where a child records a video of themself performing with a reader and submits the tape to casting directors. While this may seem simple, a good self-tape is extremely reliant on technological skills that, for busy students, can often go undeveloped. Without appropriate lighting, a flattering camera angle, and adequate sound equipment, an audition will fall flat. Casting will be distracted and unable to focus on the child’s talent. Online learning can be a great way to teach a child the elements of a good self-tape. For the past few weeks I’ve been having my students submit self-tapes to me for this exact reason; having them practice taping at home is important to help them ace their auditions without adding any distractions.

 6. Kids have fun.

Let’s face it. Kids love computers. They connect with their friends from around the globe every day on Instagram, Snapchat, and social media in general. While we may be facing uncertainty with respect to social distancing and how long until they return to school, at least they can have fun using a platform they enjoy. When they learn how to use virtual backgrounds on Zoom, the younger ones won’t want to return to the classroom!

Online learning can present challenges, but there are benefits to a student being able to adapt to changing circumstances and make the most of their time spent online. While ideally, a child would be able to learn acting in a classroom setting, taking a break from the classroom and moving online can, at least momentarily, help them grow.

7 Tips for Child Actors Who Want To Create Their Own Content

With productions shut down and theaters only now starting to open up, many of my students have been asking how they can stay sharp in their acting. The great thing about living in the digital age is that students don’t need to wait for opportunities to come knocking at their door. YouTube, Instagram, and TikTok are all great platforms for young actors to create their own content, garner some attention, and have fun doing it. Here are some pro tips for students who want to start creating their own content.

1. Know your strengths. 

Knowing the skills you want to showcase is the first step to creating engaging content that speaks to your individuality. If you’re a singer, tell your story through a one-person musical. If you’re a comedian, do some impressions. The best thing about creating content is that you can tailor your videos to highlight your greatest strengths. When you’re beginning to grow your channel and find your niche, individualized content can be a great place to try new things and test out what works for you.

2. Tell a story. 

In acting, it’s important to ground your performance in truth, so both you and the audience can have a deeper connection with the material. Creating content is no different. The most engaging material is always the most genuine. When you tell a personal story, your sincerity and interest shine through to viewers. You can tell your story in whatever way is most comfortable to you: singing, poetry, dancing, or comedy, to name a few. What’s important is that your videos have structure which helps you connect with viewers in a sincere way.

3. Know your platform. 

In the age of digital media, there are many ways such as YouTube, Instagram Live, TikTok, and Snapchat to distribute your content. It’s important to understand the platform you’re using so you know the best ways to convey your stories and messages. If you’re using TikTok, for example, you only have one minute to draw the viewer in and leave a satisfying conclusion. Alternatively, on YouTube you have the option to make videos of whatever length you like, so you have more freedom to decide how long you need to keep viewers engaged. Understanding these differences can push your content to the next level, and get your videos more attention.

4. Quality over quantity. 

One mistake I see many young students make is thinking that they need to make 10 videos per day for their content to be successful. It’s always better to make one movie you’re proud of than to bombard viewers with enough content to monopolize all of YouTube. If you have some time on your hands and you want to make three good videos, go for it. But don’t feel obligated to produce a lot of content if it means the quality of your videos will suffer.

5. Work with a pro. 

It’s always a good idea to get help from a seasoned pro when you’re just starting out. If you want to make a singing channel, consult with your voice coach to make sure your voice is on pitch. If you want a cooking channel, ask a chef. Editors can also help you stitch together your clips in a thoughtful way. While there’s no reason you can’t just jump in and get creative on your own, getting some help from a pro can always make your videos stand out and catch some attention.

6. Use the right equipment. 

If you’re a young actor submitting video auditions, chances are you already know the importance of having a good camera and microphone. The equipment you use can help viewers connect with you and become more engaged. That doesn’t mean you have to go out and buy the most expensive camera. Most smartphones these days have great cameras. What is most important is that your audience sees and hears you well.

7. Have fun. 

People enjoy watching an actor, dancer, or aspiring magician who loves what they do. If you’re not having fun making your own content, maybe it’s time to switch it up. Try a new format or a new skill. When you’re enjoying yourself it makes the whole experience worthwhile allowing  you to have more creative freedom with your work 

If Lin-Manuel Miranda has proven anything, it’s that actors don’t need to wait for a casting call to find success. By creating content, young actors can get creative with the ways they view their work and get some behind the scenes experience too.

What You Should Consider as Work Resumes for Child Actors

After months of COVID-related audition and production shutdowns, the acting world is beginning to reopen. I’m fielding many questions from my students’ parents regarding safety precautions, auditions, schooling, and on set protocols. Here’s some information that you should consider so that you can make wise choices as you think about your child actor returning to work.

Difference Between Union and Nonunion Jobs

When your child works under the SAG-AFTRA union guidelines, the production must follow stringent safety guidelines. In response to COVID, SAG-AFTRA developed specific protocols to ensure safety during auditions and on set. You can review the safety protocols here.  

If your child works in a nonunion job, the production team will develop their own safety protocols. Requirements may vary widely from job to job. Before your child auditions or accepts work in a nonunion production, inquire about safety procedures for both you and your child. If your child has an agent or manager, make sure to consult with them. Having a thorough understanding of the SAG-AFTRA guidelines will help you evaluate nonunion opportunities wisely.

Auditions

All first auditions are conducted virtually for union jobs, with scripts, rundowns, schedules, and agreements provided digitally. If your child earns a second live audition, they’ll be able to either wait in your car until their turn or in a waiting area with enough room for social distancing. Some productions may use an app for check-in and text messaging to call them in for their audition. If a live group audition is required, actors will be protected either by clear face shields or partitions provided by the producer. Again, for nonunion auditions the guidelines may be different so be sure to consult with your team first.

Quarantining 

Recently one of my students booked a guest role on a television episodic. He was asked to quarantine in a hotel for two weeks before starting work. Since his mom couldn’t leave her full-time job he was accompanied by his aunt, Broadway actor Michelle Aravena. They had no idea what to expect but were excited for the experience. This is how Aravena described it: “The rules of our ‘hard’ quarantine were much stricter than I had anticipated. We were only allowed out of our hotel room for two 30 minute sessions a day which were supervised by a personal assistant in order to make sure that our quarantine was not compromised. We were tested every other day. The most important thing to me was keeping Jordan active and motivated. I can’t imagine what it would be like to be cooped up in a hotel room for 12 days and then be thrown on set expected to be ready and focused. I needed to be sure that he stayed stimulated.”

Make sure the production staff reviews any isolation requirements with you and your child when offering a part. 

On Set Protocols

Safety is essential on set. In union jobs, the SAG-AFTRA guidelines outline requirements for testing, screening, zoning, and the use of personal protective equipment. Aravena says one of Jordan’s favorite parts that made him feel like a movie star was when they were escorted from their trailer to the set and some shouted, “Zone A coming through. Please clear.” Jordan’s biggest disappointment was no craft services!

Schooling 

If your child is working three days or more on set, they’re required to have an on set tutor. I spoke to Alan Simon, president of On Location Education, an educational consulting service for young performers, to hear what he had to say: “The COVID-19 Return to Work Agreement signed by a consortium of unions with the major studios, amends the SAG-AFTRA Codified Basic Agreement Section 50.D ‘to provide that [onset] teachers may instruct minors remotely to the extent permitted by law or the applicable governmental authority. The key wording in this sentence is ‘to the extent permitted by law or applicable governmental authority.’ In California, for example, its Department of Labor yields to remote shoots that allow for a studio teacher to be on call virtually. However, live tapings, rehearsals, etc., require the physical presence of the studio teacher. Additionally, parents should also be clear that virtual teaching is not necessarily a panacea. Virtual teaching is best one-on-one, especially onset, where every student comes to the table with a specific curriculum. More than one or two students may not get the focus of a virtual teacher, and so a hybrid of physical and virtual teaching may have to be discussed with production.”  

On Location Education has also compiled a list of resources for on set schooling and industry updates here. 

Managing Anxiety 

With so much uncertainty as virus cases are still on the rise, your child may have many concerns about taking a job right now. Rather than skirt the issue, talk openly and honestly about realities. The worry of imagining circumstances can be worse than what is actually happening. Stress self-care and assure them safety protocols are in place for everyone's benefit.  

You are your child’s best role model, so do your best to stay calm and reassuring. Remember, you are your child’s best advocate. If you don’t feel an audition or role is safe for you or your child, decline it and wait for a better opportunity. 

Because we don’t know when the virus will subside, aim to stay flexible, maintain your regular family routines, and work with your child to evaluate each opportunity with an eye on safety as well as how the job will delight and challenge your young actor.

How to Know When a Child Actor Needs a New Reel

Kids grow and change quickly. New heights, haircuts, styles, and skills appear daily as they mature. In the entertainment industry, your image, age, and type all play a part in determining what jobs you’ll be right for. Just as you need to update your headshot regularly to stay current, the same needs to be done with a demo reel. Here are the signs your child actor needs a new reel.

Old FootageIf your child is 15 but their reel is still using footage from when they were 8 years old, it’s time to update the reel. Even if the acting is good in the clips, the reel no longer reflects who your child actor is today. Casting directors need to get a sense of who they are now. They’ve grown and matured and it’s time for the reel to showcase that. 

New Style and Type 
In entertainment, an actor’s type is the role they’re most likely to play based on their personality and physical appearance. This can range from the bratty little brother to the girl next door to the bookworm. Your type is important for casting directors to decide where you best fit and what roles you exemplify. So, if your child’s reel was shot when they were an awkward middle schooler, it’s not going to reflect who they are after they dyed their hair blue or became the prom queen. Current footage will help them get the roles that fit their style and personality.

Skill Kids
Don’t just change physically. As they age they also improve their craft and learn new skills. If your child’s reel isn’t an accurate reflection of where they are in their abilities, it’s time for new footage that showcases that. If they’re a stronger actor now than they were when they filmed their reel, get new footage that showcases that. If they’ve learned a new talent that they can use to get cast, they can add that too.

Quality
Whenever you’re constructing a demo reel, the quality of the footage is important to show professionalism. If a reel is made up of home movies that you shot with your phone, it’s time to upgrade. Even phones have been updated and the camera quality has improved. If your child doesn’t have footage from a professional project, it may be time to invest a bit to get better quality footage. I work with a professional demo reel company that writes original scenes for my students to film on a professional set. Just as a professional athlete needs the best equipment like shoes and gear, so does the actor need good quality footage to showcase them properly. 

Getting Called for Ill-Fitting Roles
This is the most common result of a child outgrowing their reel. When a child’s agent or manager sends them on calls, oftentimes they’ll be called for younger roles because their reel footage isn’t up to date. It can also result from footage that just doesn’t capture who they really are, regardless of how much they’ve grown. If you notice your child being called for roles that aren’t right for them, it’s time to get new footage. Remember, a demo reel is meant to market their personality to casting directors. If they’re being called for parts that just aren’t right for them, it’s time to try again.

Rep Request
It’s not uncommon for a child’s agent or manager to request new reel material because they aren’t getting the results they want when they submit the child for auditions. This could be for any number of reasons like poor quality footage, the child looking younger in the reel than they do in real life, or the child not showing their full range. If your child’s agent or manager asks for new footage, be sure to get it to them. Your rep works hard for your child to get them seen by casting directors in the audition room A good quality reel can be instrumental for them to market a young actor and get them auditions. 

Since child actors grow and change quickly, assess their footage twice a year to make sure it accurately portrays them currently. As long as it accomplishes that they should be in good shape as you look for opportunities on your own or through your child’s rep.

How the Onscreen Casting Process Works for Child Actors

While many think that children have to be a specific type to be cast in TV and film, or that there isn’t any work for teens, that’s untrue. TV and film are actually very accessible, provided you know how it all works. The first step to getting your child into the business is understanding the casting process. Here’s what you need to know.

How does your child get an appointment?A big difference between auditioning for theater and auditioning for on screen work is the availability of open calls. Open calls, or auditions where anyone can attend and will be seen on a first-come first-serve basis, are common for theatrical projects, but less available for film and television. Backstage and other such platforms can be really helpful in finding auditions for student films, independent films, and web series without an agent or manager. These can be especially helpful for filling up their demo reel. But if your child is looking to get cast in bigger, more professional projects, they really do need an agent or manager to get those appointments.

Does your child need to join the union? There are union and nonunion projects. For television and film, the actors union is known as SAG-AFTRA. All children able to provide proof of employment either as a principal actor or in three union-covered background roles are eligible to join. Currently, the initiation fee is $3,000 and the annual membership dues are a few hundred dollars, plus 1.575 percent of all earnings made under union contracts between $1 and $500,000. SAG-AFTRA does wonders in making sure your child is safe, being educated while on set, and receiving just compensation.

In that sense, it can be helpful to join the union and receive union perks, like pension and health care. However, membership in the union doesn’t grant your child special treatment or preference in casting, and there is more work available to nonunion actors than union. I don’t recommend joining the union until it is absolutely necessary, but it is best to talk to your child’s agent or manager about when joining SAG-AFTRA would be right.

How do auditions work?This is the fun part. When auditioning for television or film the process isn’t very different from theater. Your child will receive sides, or pages from the script, ahead of time and be expected to memorize them. There’s also the possibility that the audition will be a self-tape, which means they’ll record the audition from home and send it to the casting team. If the casting director thinks they’re a good fit for the role, they may have your child retape the audition or call them in for an in-person audition. If things progress well, they may fly your child out to the filming location to have them meet the production team. The same thing can happen if they don’t have representation however you’ll be the go-between with the casting team. Make sure your child is prepared by working on their script with what they have learned from their training or with their acting coach. 

Does your child need to have their lines memorized?In film and television, it’s highly recommended for the child to memorize their lines. Why? Because they’re on tape! If they have their eyes glued to a page, the only thing anyone will be able to see is the top of their heads! It’ll also make it easier for your child to connect with the reader and give a more authentic performance. There’s not much wiggle-room here. Memorize memorize memorize!

What do casting directors want?  It’s difficult to anticipate exactly what a casting director is looking for in an actor, and their criteria change from production to production. It’s best for the child to just be their authentic, unique self rather than play to what they think casting is looking for. That said, there are a few differences in how to audition for TV and film because the audition space is more confined. Smaller, more precise movements are better than larger ones so the actor can stay in frame. Naturalness on-camera is the most important aspect when acting in this medium. The camera picks up everything the theater can hide, so mastering on-camera technique is essential to good film and television acting. Your child should develop artistry through which they can let their personality shine without revealing their technique. 

What’s in your control is finding out about casting opportunities, learning lines and having an understanding of what is being asked. What’s out of your control is getting the part. Remind your child to have fun, do the best they can, let it go, and buy them an ice cream on their way home.

How the Theater Casting Process Works for Child Actors

What do shows like “Harry Potter and the Cursed Child,” “Waitress,” “Frozen,” “Dear Evan Hansen,” and “The Lion King” all have in common? They’re all running on Broadway and employ child actors. 

There are many roles for children and teens on and Off-Broadway, as well as in regional theater. While good actors make acting look easy, getting cast in a live theater production is no easy feat. It takes hard work, discipline, and persistence. It also requires an understanding of the audition process.Here are five things you need to know. 

Appointments

There are two types of auditions held in theater: the agent appointments and the open calls. For an agent appointment, the child will usually receive audition material ahead of time and only has to make an appearance for their specified time slot (a time slot scheduled by their agent or manager). For an open call, performers audition on a first-come, first-serve basis without an appointment. UnionIn theater, most productions are union productions, which means that the actors’ union, Actors’ Equity Association, helps to control the audition process. Equity productions are required to hold Equity Principal Auditions (EPAs), meaning auditions that prioritize union actors over nonunion. Nonunion actors can still attend EPAs. They will generally audition after the union actors have auditioned. There are not many children in the Actors’ Equity Association, so it’s likely that a nonunion child who shows up at an EPA will be seen. There are also nonunion auditions, which provide opportunities only for nonunion performers. 

Deciding whether or not to have your son or daughter join the Actors’ Equity Association requires careful consideration. Membership may give them priority in EPA auditions, but it would prevent them from participating in any nonunion auditions for the same production. The critical thing to remember is that it doesn’t matter if your child is union or nonunion, going to an open call or going to an appointment. Everyone has an equal shot at getting the part. It all depends on what happens in the audition room, not on the union status of the child.

Auditions
Theater auditions have several rounds of auditions, especially for musicals. The first will include singing a 16–32 bar cut of a song and perhaps a request to dance. If a child or teen gets a callback, they will perform for a group of people from the production team, reading a scene from the show generally with another person. The other reader may be the casting director, casting assistant, or an actor hired to assist in auditions. Young actors often struggle with where to focus during these auditions. When singing, a child should gaze at an imaginary focal point directly above the casting director. When reading a scene, actors must engage with the person reading with them just like during a live performance.

Receiving a callback after a first audition is a cause for celebration! Whether or not your child is selected for a role, having additional auditions helps to create confidence. It also gives young actors exposure to casting directors and producers who will see their talent and, hopefully, remember them for future productions.

Casting Directors
In the entertainment world, the most talented actor doesn’t always get the part. The person selected for a role will be the one who is a good match for the material and who also fits sometimes unknown criteria. Maybe the child needs to be strong enough to help move a set piece or look a certain age next to the girl playing his sister. Either way, it won’t help to try to play to what you think casting directors want. Instead, concentrate on being authentic, unique, skilled, and focused during the audition process.   

Memorization
Is it absolutely necessary to memorize lines for a theater audition? No. Or at least not as important as it would be for TV and film. But often, stumbling over their words and having their eyes glued to a page, prevents a kid from connecting with their reader. Memorization can help free them from the pages of a script.

Because it is impossible to predict exactly what the casting director will ask for during auditions, it’s essential to stay on your toes. A few years ago, I was coaching a student for the touring production of “Annie.” The girls reading for the title role were given 12 pages to memorize before final callbacks. When they finally got to the audition, with that long script memorized, pumped up, and ready to go, the casting director asked them to read for the role of the Warden. Why? To make sure they could improvise and adapt, rather than being stuck in a single mindset. Make sure when your child memorizes their lines, they’re learning the words, not the emotion behind the words.

Now that you understand more about the casting process for live theater, you’ll be able to guide your child to navigate the process with professionalism and enthusiasm. Remind your child to have fun and enjoy the process!