Getting Your Start In THEATER TELEVISION MOVIES

Get Started In Acting
OVERVIEW
So, you want to be in motion pictures?
Or television? Or theater? Or any visual arts medium?
This is the dream of many. It all looks so glamorous up on stage or screen. The money seems to be ample,
the work plentiful as new stations and networks pop up every year.
The truth is that the performing arts is not only hard work, its also hard to find. There's a lot of competition
from people with the same dream you have. Much of it can be knowing the right person, securing the
important contact, even being related to someone in the business. But much of the success achieved is by
being in the right place at the right time. Some of that you don't have any control over. Other aspects of it
you do, and it is here where this booklet concentrates on pointing you in the right direction so that if you
have the desire to work hard at the craft, you can work your way up to the level you dream about.
Acting is a tough profession. The finished product may look easy up on the screen, but that's the deceptive
brilliance of the actor or actress. It takes an immense amount of work to play a role and have it look so
natural you think its easy to bring off. There are hours and hours of rehearsals, take after take of scene
shots, a lot of standing around and waiting in short, anything but what most people think. Its also not a
question of hopping aboard an airplane and flying out to Hollywood, walking into a studio and checking
the auditions list to see what parts you can try out for that day. Acting is an art and there's much to be
learned and experience to be had first! Acting isn't the only way to make money in the performing arts. If
you manage to become a contestant on a game show, you can earn a few dollars. If you can write, you
might be interested in screenwriting. Good scripts are hard to come by. Producers and actors are always
on the lookout for well written, interesting scripts with mass appeal. Performing arts is a people business.
It also has a great future. In the United States, 98% of households have a television while nearly 100%
have a radio. In a typical week, nine out of ten citizens are exposed to radio and television. The television
is on for an average of 7 hours per day; the radio 2 hours per day! With this type of demand, there will
always be a need for performers and new material which should be a source of inspiration for you.
This booklet will be a primer for some of the opportunities that exist in the performing arts business.
Reading this information will give you a head start into making a dent in this career path. If you have the
desire, you can make the effort. Wanting to do something badly enough means you're halfway to
accomplishing your task. That's the great thing about America dreams can come true if you're willing to
work for them!
The Acting Bug
From the first time you went into a movie theater or watched a television show, you immediately
identified with someone in the film or production. Perhaps you thought, Yes! I can do that, too! This idea
may have left you soon thereafter or perhaps the concept has grown larger in your mind to even
visualizing yourself walking up on stage to collect that acting Oscar!

This active thought process has occurred courtesy of being bitten by the acting bug. It happens to most
everyone at some time or the other. You look up at the big screen and think I can do that! Perhaps you
can. There's only one way to know for sure and that's to try it. You may be in the middle of another career,
though, and you should think twice about pursuing this dream. Is your present career one that you can
come back to in case it takes too long to make it? Will you be able to find other work to sustain you while
you are learning the trade and moving up the ladder of potential? Will you remain focused with your eye
on the prize? Will you take direction well?
Acting is a job everybody thinks they can do, but many discover that only a few have the patience and the
talent to see it through. Do you have this patience? The talent can be developed. But it is the willingness to
take whatever parts come up for a while to eventually put yourself in the position of being in the right
place at the right time.
If you're prepared to give acting the time and effort required, then you're ready to move on to the next step
theater! This is your best chance of building up some acting credits and learning the job. There are plenty
of local, regional, community, dinner and summer stock theaters where you can try to land a part or two.
Often, if you are good enough, you will start to hear about parts available and shows that are opening and
looking for people to try out.
Acting is primarily done by union workers. There are several organizations you can belong to that will
place you in the union, abiding by their guidelines. The most prominent of these is Actors Equity, a labor
union of actors, singers and dancers of the professional theater. Most just call it Equity. It is affiliated with
the Associated Actors and Artists of America which is a segment of the American Federation of Labor
and the Congress of Industrial Organizations.
Equity has two primary objectives:
1. To protect the interests of its members by establishing a specific condition of employment that is
outlined in a standard contract for each type of work to be performed; and
2. To promote the theater as a cultural and recreational institution. Equity is based in New York City and
has about 40,000 members. This is the theater based organization. Their phone number is (212) 8698530.
The Associated Actors and Artists of America phone number is (212) 8690358.
This is not the only trade organization. The Screen Actors Guild (SAG) was formed in 1935 for the film
actors. This union can be contacted at (213) 4654600. The other organization of significance is the
American Federation of Television and Radio Artists (AFTRA), an outgrowth of the American Federation
of Radio Artists. Founded in 1952, AFTRA can be reached at (212) 5320800.
Joining these organizations is not totally necessary, although it helps. And you cant join until you've
secured your first acting job. Since you will go into your first production without being a member because
of having had no experience, the production will request a waiver from Equity to hire you, if you read
well and secure a part. Equity will then be in touch to ask if you want to become a member. Its designed to
keep the competition limited to union members. Since you can still get a job without union membership,
though, if your good enough, its not a must that you join. However, in the long run, it may be best.
Equity members learn about new parts opening up very quickly and the productions know that the person
who has Equity membership has experience. The production will also have to work within Equitys
contractual guidelines as to salary, length of rehearsal, number of performances per week (usually no

more than 8), working conditions and benefits.
Since most commercial theaters, most regional and dinner theaters and many summer stock theaters are
union houses, membership will open up many doors to you vs. nonmember ship. Since your goal is to act
and accumulate work, performances and credits, joining should be a part of your new career path.
Learning the Craft in Theater
There isnt a better way to learn how to act than to well, act! The ideal starting places are in live theater.
Open up the Friday weekend entertainment section of your newspaper. Look at the number of shows
running as live theater in your area. There may be two or three. Or, if you live in a populated area, there
might be twelve, fifteen or more productions going on at any one time. That's quite a lot of theater and
potential parts you can play. Do you have a specific talent? Singing? Dancing? Or acting? The more
versatile you are, the better your chances of consistent work.
Why theater? Why not just try out for a film role?
For one, film roles arent advertised. There might be a chance to be an extra, a walkon or to play some
small role in a film or television production, but there is a better chance of landing a bigger role and thus
creating both an improved credit for yourself plus get some more useful work for furthering your career.
Local theater operations are everywhere. Some pay little or nothing and you'll work to accumulate the
experience. Many of the productions and rehearsals are at night, so you can keep (or find) a day job. You
are learning your trade and, early on, money may not be plentiful in it. There are other theater operations
which do have a budget for their actors. Initially, you'll find those highly competitive (since there is money
in it) and not having any experience will not assist you here. Some producers and directors like to know
youve paid your dues, so to speak.
The local newspaper will generally list any auditions that are being held in the Entertainment section of
your newspaper. Usually its Friday where the listing of auditions is marked. Read each carefully to see
what type of actors are being sought. Often there will be a specific indication as to gender and age, and
whether singing or dancing is required for the role.
You don't have to wait for the paper! Get a listing of all the theaters and go around to each of them,
preferably in the early evening when things are happening. Usually, there is someone responsible there for
a production that may be going on. Ask about future tryouts and then stay and watch the show. You can
learn a lot about acting from seeing how other actors perform. Watch the nuances and subtleties of their
performances. As you understand your craft better, you will be able to appreciate more the quality of
individual efforts.
The theater director will be able to tell you the approximate time of tryouts for the next production to be
rehearsed. Once you know that, get a copy of the play. Read it cover to cover. Then read it again. Try and
determine which part you have an affinity for and read only those sections. Then list your second or third
favorite role. While most people will want to read for the lead parts, only a few get them. Its best to
understand some of the backup roles, too, so you can move right into those and have a head start
understanding the importance of that role in the overall production.

If its your very first play, you might choose to read for one of the lesser parts. Youll have a better chance
of getting that role and you can learn about the entire process of acting and theater just by being a part of a
production.
This is not the place to be if you have any inhibitions about speaking in public. At any time. At any place.
In front of a lot of people. You will have to forget who you are momentarily. Step outside yourself and let
the role take over your movements and voice. Become the part! Its easier to forget about all the people
who are out there at least initially. Later, youll learn how to play to the crowd especially in a comedy. But
for now, think only about the role and that it isnt necessarily you up on the stage emotingits the part youre
playing! Tryouts are generally a zoo! There are quite a few people reading for only a few parts. The
director may know some of the people and may already have cast them or discarded them in his or her
mind. The director will not know you, so this has its pluses. You will not initially be discarded from any
role simply because you are an unknown quantity. You may be an excellent actor, so you'll have the
chance to show yourself. Make it count! First impressions are everything in the acting profession when it
comes to casting.
If youre now familiar with the work, you wont be thrown by what the director tells you to do. Everyone
may be reading the same part, but when the director reaches you, you receive a different assignment. Part
of this is to gauge your response. Are you flexible? Did you expect to read only for the lead? Would you
settle for another part if youre good enough? All of these thoughts are going through the directors head.
Theyve all occurred to you already because you came prepared. You are not thrown by this change of
tactics. You simply turn to the passage requested and take over the role youre reading. Put some
enthusiasm into it! Be the part for all its worth! Even if its just the servant role with only four lines in the
whole play, act as if its the plum part in the show. This kind of teamwork attitude is going to go a long
way towards helping you secure other parts, perhaps in this same theater. You will get a reputation as a
team player and you may even receive calls to have you come to a theater to read since you would be
beneficial to the overall production.
Dont look for an immediate reaction after reading the part. The director probably wont give you one. You
will be thanked and asked to stay or thanked and asked to call back in the morning or two days from now
when casting is set. Being asked to stay likely means the director was initially impressed and wants to
hear you again. Study the book while youre waiting. Talk to others about their past credits. Start to make
friends!
If you dont get a role first time out, don't worry about it. Rejection is part of the business and youll need to
dig in and work harder at it. Keep trying out! It may be that you weren't right for any of the parts in one
play, but equally popular in the next one. Sometimes the director is seeking a specific look for a role and
this may eliminate you no matter how well you read.
Dont try to read too much into a directors choices. Simply go on to the next tryout and keep practicing
your lines in front of the mirror. Practice! Practice! Practice! This is how youll improve your chances of
being selected for a role.
We told you this was hard work!

Being chosen for a part is a high point, though. The first one is like a breakthrough, although you cant be
complacent about tryouts. You have to approach each one as if it was your first audition and do everything
you can to make a favorable impression, even if it isnt a first one.
Live theater is the ideal way to learn how to act. Theres no room for lazy performances that you can
reshoot like film or television. Here it is first time, only time and theres no better way to improve as an
actor than through live theater. For some, its the only way they make their living and they love it! Nigel
Hawthorne, the British theater actor who was nominated for Best Actor 1994 for his performance of the
title character in The Madness of King George is near 70 but had never acted in anything but live theater
until this film role. And this film was the adaptation of the stage play in which Hawthorne played the same
part. A marvelous actor, he decided long ago to stay plying his craft on the stage rather than on screen.
You may decide that, too. You can make a living going from theater to theater after paying parts. Its a
nomadic profession, but those who love it would not change places with anyone. There are touring
companies that play in a city for a night or two or perhaps a whole week, before packing it up and taking it
on the road once again. These are the barnstormers, taking the show on the road for as long as it can still
find an audience.
Still got the acting bug?
When you land your first role, never miss a rehearsal if you can and come to them even when your part
(especially if its small) is not being rehearsed that night. Observe all the various components of the
theater. Watch the set being built. If youre handy with your hands, you might be able to get some
additional work as a set builder. There are plenty of other tasks going on. Lighting, sound, props,
costumes, makeupthese are all an essential part of the production. You may find an affinity for some of
these other tasks which may bring you some paying work even faster than acting. There are jobs for
technicians in the theater. The more you know, the better informed youll be should you choose to explore
areas other than acting in your theater career.
The stage manager is the directors assistant and is generally responsible for all of the backstage activities
from cueing the lights and sound effects to warning actors and actresses to get to their assigned positions.
Its a fulltime job on the set and one which requires an understanding of all the essential elements of a
production. It may be something youd like if you find acting isnt your thing.
Opening nights are exciting for all as the hours of rehearsals are over and its time to entertain! All of your
practice has meant to prepare you for your time on stage and when the curtain goes up, all of the work will
seem worth it. When you see and hear the audience respond to the work being performed, it will be well
worth the time you spent nurturing your role.
Congratulations! Youve finished your first production, maybe even earned a few dollars and joined Equity
while doing it. Its time to march on to the next rehearsal. You may have heard some of the other actors
talking about a new play and when tryouts were happening. Its a close knit group of people who tend to
keep each other informed about upcoming opportunities. Once youre in this little circle, theres a chance of
staying up on the best paying and prominent productions going on in your area or elsewhere.

Like joining Actors Equity, not necessarily. It helps, but for initial work its not necessary. For theater, it
may not be necessary to work at a local and regional level. After youve built up a lot of credits, youll have
something of interest to offer an agent. The agent can then have a better idea of where to place you and
where to look for places! An agent can provide a lot of assistance in getting you auditions you wouldnt
have heard of otherwise. There is an ear to the ground aptitude that the best agents have and they will try
to get you the best possible job which you never would have been able to obtain yourself. Their incentive
is that they will get a small percentage of your fee.
If youre looking for an agent, put together an acting resume. List your essential background credits where
youve acted (or stage managed or did lights, etc.), your union affiliation(s), your personal information
such as age, height, weight, etc. List any special abilities you might have such as dancing, singing,
writing, languages, etc.
Get a series of photographs done and attach the best of those to your resume. Check with your local union
office which maintains a list of recommended agents for you to contact. An agent cant hurt and might
even help.
What the agent cant do is act for you. You have to create the opportunities, too, by turning in your best
effort night after night in even the smallest of roles. Youre not likely to start at the top in film or
television, either, even though you may be an accomplished theater performer. Thats O.K.! This
profession is a one step, building block process that will eventually trace you a path to the top. Patience!
In addition to the local theater listings, you can contact a number of theater organizations around the
country which assist hundreds of theater operations everywhere. Most of these associations have their own
publications, conventions and written information which can lead you to other theater groups in your area.
The column on the right is left blank to take notes on these listings. The listing of these groups follows:
National and International Groups
American Community Theater Association (ACTA) 815 17th Street, N.W. Washington, DC 20006
American National Theater and Academy (ANTA) 245 West 52nd Street New York, NY 10019
American Theater Association (ATA) 815 7th Street, N.W. Washington, DC 20006
Childrens Theater Association c/o American Theater Association 815 7th Street, N.W. Washington, DC
20006
International Theater Institute (ITI) 245 West 52nd Street New York, NY 10019
International Thespian Society 1610 Marlowe Avenue Cincinnati, OH 45224
National Association of Dramatic and Speech Arts Fort Valley State College Georgia, 31030
National Association of Schools of Theater c/o ATA 815 17th Street, N.W. Washington, DC 20006
National Theater Arts Conference Attn: Executive Director 3333 Chippewa Street Columbus, OH 43204

National Theater Conference (publications only) Attn: Secretary, Library for the Performing Arts Lincoln
Center New York, NY 10023
Society of Stage Directors and Choreographers 1619 Broadway New York, NY 10019 Regional and State
Groups
American Community Theater Regional Offices c/o ATA 815 17th Street, N.W. Washington, DC 20006
Arkansas Community Theater Association Meyer Building Hot Springs, AR 71901
Carolina Dramatic Association Graham Memorial University of North Carolina Chapel Hill, NC 27514
Central States Speech Association Secretary, Department of Speech University of Michigan Ann Arbor,
MI 48104
Community Theater Association of Michigan C/o Sydell Teachout, Secretary, #3 Portland, MI 48867
Delaware Dramatic Association 3334 Centerville Road Wilmington, DE 19807
Eastern States Theater Association Attn: Secretary 5 Hazelwood Drive Jericho, NY 11753
Florida Theater Conference 35 Flynn Drive Pensacola, FL 32507
Georgia Theater Conference Attn: Secretary P.O. Box 552 Albany, GA 31702
Illinois Community Theater Assoc. 1103 Hillcrest Avenue Highland Park, IL 60035
Indiana Theater League Attn: President 1935 Fairhaven Drive Indianapolis, IN 46229
Iowa Community Theater Association 1434 Idaho Street Des Moines, IA 50300
Kansas Community Theater Conference Attn: Secretary 1016 1/2 Baker Great Bend, KS 67530
Kentucky Theater Association Western Kentucky University Bowling Green, KY. 42101
Midwest Theater Conference c/o Drama Advisory Council 320 Westbrook Hall University of Minnesota
Minneapolis, MN 55455
Mississippi Theater Association Attn: President 833 S. Main Street Greenville, MS 38701
New England Theater Conference Attn: Executive Secretary 50 Exchange Street Waltham, MA 02154
New Jersey Theater League, Inc. Attn: Secretary 54 Westro Road West Orange, NJ 07052
New York State Community Theater Association Attn: Secretary 42 Garfield Street Glens Falls, NY
12801
New York State Speech Association Attn: President Administration Building, State University of New
York Oneonta, NY 13820
North Carolina Theatre Conference 310 Irving Place Greensboro, NC 27408
Northwest Drama Conference University of Oregon Eugene, OR 97403
Ohio Community Theater Association Attn: Secretary 6672 Mallard Court Orient, OH 43145
Oklahoma Community Theater Association Attn: Secretary 1622 7th Avenue, S.W. Ardmore, OK 73401
Rocky Mountain Theater Conference Attn: President Colorado State College Fort Collins, CO 80521
South Carolina Theater Association Greenwood Little Theater Greenwood, SC 29646
South Dakota Theater Association Community Playhouse West 33rd Street Sioux Falls, SD 57105
Southeastern Theater Conference Executive Secretary Department of Drama Furman University
Greenville, SC 29613
Southern Speech Association Executive Secretary Wake Forest University WinstonSalem, NC 27109
Southwest Theater Conference Attn: Secretary 106 Fairfield Oaks Shreveport, LA 71104
Speech Association of Eastern States Executive Secretary, Department of Speech St. Johns University
Jamaica, NY 11432
Tennessee Theatre Association Attn: President T101 McClung Tower Knoxville, TN 37916
Theater Association of Pennsylvania Attn: Secretary P.O. Box M Pleasant Gap PA 16823
Western Speech Association Attn: Executive Secretary, Department of Speech Washington State
University Pullman, WA 99163
Wisconsin Community Theater Association Attn: Secretary 314 W. Sugar Lane Milwaukee, WI 53217
Television Game Shows
Interested in other fields in show business other than acting? One way to appear on television and possibly
win some cash or merchandise is by being a contestant on a game show. Even if youve never really
watched them, youve certainly heard of them. Jeopardy is rolling along in its second television life. Wheel
of Fortune has become part of the cultural landscape. Others like The Price Is Right and Hollywood
Squares have been around from what seems like the beginning of television.
If youve watched the shows, then you know how to send for contestant application requirements. Theres
an address to write to and youll receive an application which youll need to complete. You cant be related
or even know people on the show or the shows sponsors. You cant have already been a participant on the
show and you must tell about other shows (and your results) where you have already been a contestant.
And, if you get by those requirements, and arent running for any federal political office at the time of your
entry (and the time during which the show would be taped and then run), youll be eligible.
There are also specific contestant searches across the country that could stop in your area. If you hear
about this trip to your city or region, call and see if you can get a contestant interview. Sound as excited as
they want you to be on the show! Your fervor and enthusiasm will be felt by the people on the other end
of the phone. Getting on these shows is more a matter of excitement than anything else. The producers
want enthusiastic people who act like they wouldnt want to be anywhere else on earth at the time theyre
on the show.
Thats your job! You just cant get away from some acting in this business! But your vivacity may well
open the doors for you. If you cant talk to anyone in person, when you write in to request a contestant
form, put your eagerness down on paper so theyll share your excitement with you.
If the show likes your entry form (and exhilaration), youll be sent some questionnairetype forms to
complete. Youve made it through step one but step two is just as important. Here, the show is looking to
substantiate your delight for the game, but also to be sure you understand the game and all its rules and
regulations. They cant put you on if you dont know the first thing about how the game is played. Watch
these games so you understand not only the basic rules but the best players strategies.
Finally, no game show likes a bad loser. There will be winners and losers and no matter how much you
want to win the game, you must clearly be able to demonstrate good sportsmanship if you come up short
in your quest.
If youre selected, you will be advised as to the taping day(s) involved, given instructions on what to do
and whether you will make appropriate reservations or be told, more likely, the show will make them for
you. Legal contracts must be signed before you appear. You will probably participate in rehearsals so you
can get the feel of the studio, the game, the other players.
Youll see where the cameras are, how the equipment (if appropriate) works, and similar details. Relax
during the rehearsals. If your mind goes blank, get your wits about you as quickly as you can. If your
performance (read: appearance) is weak, you can still be dropped from the actual taping.
If you win, the game show will file with the Internal Revenue Service an inventory of your cash and
merchandise winnings. You will have to pay taxes on all of it, so be sure you keep track of it and tell your
CPA about it.
The only magic to being on a game show is to show a dedicated fervor to the show youre applying to and
understand how its played. You cant make a career out of this, but some contestants do quite well, picking
up some astonishing amounts of cash and merchandise.
Mark Goodson Productions
6430 Sunset Blvd.
Hollywood, CA 90028
(213) 965-6500
Jeopardy
Merv Griffin Productions
1541 N. Vine Street
Hollywood, CA 90028
(310) 288-1017
Tickets, NBC
Burbank, CA 91523
(818) 8404444
Wheel of Fortune
Merv Griffin Enterprises
1541 N. Vine Street
Hollywood, CA 90028
(213) 5205555
The Price Is Right
CBS
7800 Beverly Road
Los Angeles, CA 90036
(213) 460-3000
Chuck Barris Productions
Sunset-Gower Studios
1420 N . Beachwood Drive
Hollywood, CA 90028
(310) 2756407
Screenwriting
Listen to nearly anyone near a big studio production center and they will universally lament the lack of
good scripts to work with in planning new productions. Scripts are plentiful to come by but very few of
them are of high quality. Somewhere, somehow, the script loses its momentum, story line, a character or
two or turns into a clinched mess. Thats not to say good screenwriters dont exist! Not true! There are some
excellent ones laboring away, but the demand is high! There are two new television stations from Warner
Brothers and Paramount that have just opened up to compete with CBS, ABC, NBC and FOX and that
means more shows and the need for more scripts.
Think of all the shows you watch and how some of them are good from week to week consistently and
others are hit and miss with great potential but not enough script ideas to carry them more than a season or
two. Have you ever thought I can write better than that? Maybe you can. If you are not necessarily into
acting or game shows, you can certainly try your hand at screenwriting if you enjoy the practice of writing
and you have some genuinely sound script ideas. With television, its more a question of understanding the
shows repeating characters and how they interact. Youll need to successfully intertwine a couple of story
ideas in and amongst those relationships that already exist. They arent your original characters, youre
borrowing them!
Its what you do with them that count now. Write about a show you like and that you know. As a writer,
certain ideas have occurred to you as youve watched each episode. This is the time to put these ideas
down on paper and see if you can make a coherent story out of it.

What you need to write first is a treatment of the script. A treatment is a narrative description of the story
line and could run anywhere from 10 to 25 pages in length. It details all of the action without dialogue and
generally lets a producer (or, more likely, an agent) understand the plot without having to spend an entire
evening reading the script. In a way, its less demanding then the dialogue since you must concentrate on
all of the action and interrelated events. Be sure the story has a beginning, middle and end that go together
and make sense. Coherence is what the agent or producer wants to see.
Once youve written the treatment, its probably time to look for an agent if you dont have one already. The
big studios would much rather work through an agent than deal directly with the writer. There have been a
few very public lawsuits about writers who claim the studios filmed their scripts without their permission;
indeed, they claim the studio turned down their script and filmed a similar version of it. Some of these
lawsuits have ruled in the writers favor; others have dismissed the lawsuit as bogus.
Either way, studios would rather work with an agent/writer since there is an extra party involved in the
transaction who can attest to the scripts authenticity and the studios decisions about it. An agent can
usually get you in the front door if youre careful about your agent selection.
Some agents charge fees to read your treatments/scripts; others dont. You find this out by sending a query
letter, much as you would do to a magazine when you have a work you think they may be interested in
publishing. Like a query letter to a magazine, or a letter asking for a game show contestant entry form,
your mission with the agent query is to make it look so good it practically places itself on the top of the
pile. The letter must have excitement oozing out of the envelope with your story idea; so good the agent
cant resist scheduling an interview with you.
It should be a one page letter detailing your credentials as both a writer and (perhaps) an authority on the
subject matter of your script, if appropriate. You should also be able to sum up your script idea in one
paragraph two, at the most. If you cant, you need to rethink it. Producers understand concepts in terms of
two or three sentences. If you cant easily sum it up, the script is probably of poor quality or too complex
to film.
You dont have to give away a surprise ending (if your script has one) in the query letter, but the summary
of the story should leave the agent wanting to know more if youre not going to reveal the entire bag of
tricks. Your identification with the show and its characters is also important, so tell the agent in the letter
why you picked this show to write about.
Of course, you dont have to write about an existing show. You can script for a television pilot or a new
film. Thats up to you! There are a lot of opportunities for dedicated writers.
Include a selfaddressed, stamped envelope with the query to allow agents to respond to you. They may,
anyway, but inclusion of the SASE shows that you are both a professional and one familiar with the
particulars of the query process.
Here is a list of agents that you can contact if youve written either a script or treatment, or both. At the
time of this publication, these agents did not charge fees.

Agency for the Performing Arts The Mary Beal Agency
Contact: Stuart M. Miller 144 North Pass Avenue
9000 Sunset Blvd. Suite 1200 Burbank, CA 91505
(310) 275-0744
Brody Agency Don Buchwald Agency
Attn: Ms. Berk Attn: Don Buchwald
P.O. Box 291423 10 E. 44th Street
Davie, FL 33329–1423 New York, NY 10017
Cinema Talent International Circle of Confusion, Ltd.
Attn: George Kriton Attn: Rajeev K. Agarwal
8033 Sunset Blvd. Suite 808 131 Country Village Lane
W. Hollywood, CA 90046 New Hyde Park, NY 11040
(213) 656–1937 (212) 969–0653
Coconut Grove Talent Agency Farber & Freeman
Attn: Cathy Tully Pearson Attn: Ann Farber
3525 Vista Court 14 E. 75th Street
Miami, FL 331133 New York, NY 10021
(212) 861–7075
Robert A. Freedman Dramatic Agcy. Samuel French, Inc.
Contact: Selma Luttinger Contact: William Talbot
1501 Broadway Suite 2310 45 W. 25th Street
New York, NY 10036 New York, NY 10010
(212) 840–5760 (212) 206–8990
The Gersh Agency Graham Agency
Attn: Nancy Nigrosh Attn: Earl Graham
232 N. Canyon Drive 311 W. 43rd Street
Beverly Hills, CA 90210 New York, NY 10036
International Artists International Leonards Corp.
Contact: Guy Robin Custer Contact: David Leonards
P.O. Box 29000175 3612 N. Washington Blvd.
San Antonio, TX 78229 Indianapolis, IN 46205–3534
(210) 521-4514 (317) 926–7566
Helen Merrill, Ltd. Southeastern Entertain. Agency
Contact: Helen Merrill Attn: Louis A. Jassin
435 W. 23rd St. Suite 1A 4847 NE 12th Avenue
New York, NY 10011 Ft. Lauderdale, FL 33334
(212) 691–5326 (954) 537–3457
Charles Stewart The Talent Bank Agency
Attn: Charles Stewart Attn: Douglas J. Nigh
953 E. Sahara Ave. Suite 260 1834 S. Grammercy Place
Las Vegas, NV 89104 Los Angeles, CA 90019
The Tantleff Office Third Millenium Productions
Attn: Jack Tantleff Contact: John Gandor
375 Greenwich St. Suite 700 301 Exhibition St.
New York, NY 10013 Guelph, Ontario, N1H 4R8
(212) 941–3939 Canada (519) 821–3701
Peregrine Whittlesey Agcy. Ann Wright Representatives
Contact: Peregrine Whittlesey Contact: Dan Wright
345 E. 80th Street 136 E. 56th St. Suite 2C
New York, NY 10021 New York, NY 10022
(212) 737–0153 (212) 764-6770
Additional Sources & Contacts
There are a couple of government agencies and contacts from whom you can obtain some additional
information on the subject of the performing arts.
Additional Sources & Contacts
There are a couple of government agencies and contacts from whom you can obtain some additional
information on the subject of the performing arts.
Promotion of the Arts— Media Arts
Film, Radio, Television
Attn: Cliff Whitham
Media Arts Program
National Endowment for the Arts
1100 Pennsylvania Avenue, N.W.
Washington, DC 20506
(202) 682–5452
Promotion of the Arts–– Theater
Director, Theater Program
National Endowment for the Arts
1100 Pennsylvania Avenue, N.W.
Washington, DC 20506
(202) 682–5425
Actors, Mimes and Playwright Grants
Theater Program
National Endowment for the Arts
1100 Pennsylvania Ave. NW Room 608
Washington, DC 20506
(202) 682–5425
Performing Arts Clearinghouse
John F. Kennedy Center for the Performing Arts
2700 F. Street N.W.
Washington, DC 20566
(202) 416–8780
Library of Congress Reading Rooms
Performing Arts
Library of Congress
Washington, DC 20540
(202) 707–5507
Performing Arts Education
Kennedy Center for the Performing Arts
New Hampshire Ave. at Rock Creek Pkwy.
Washington, DC 20566
(202) 416–8800
Summary
There is no easy, clear path to success in the field of performing arts. However, with the desire to succeed
and accomplish your personal goals, you can make it to a high level of success in this career. Its hard but
very enjoyable work. And, especially with live theater, you can be the recipient of instant feedback on
your efforts. If you follow some of the leads in this book, you will shorten the time frame to success
simply by avoiding the pitfalls of a bad start or unpreparedness. This book can assist you in taking the best
early course of action. The rest is up to you!
Good Luck!
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