Agent Advice
Michael Moore of McDonald/Selznick Associates shares some tips for young dancers looking for representation on the Great White Way and beyond.
In the growing world of dance agencies, McDonald/Selznick Associates (MSA) is a company to know. The agency, based out of New York City and Los Angeles, represents big names in choreography like Hi-Hat, David Scott, Mandy Moore and Jerry Mitchell. Their agents represent professional dancers in major Broadway shows, on tour with hit artists, and in Hollywood feature films. From B-Boys to Ballet Divas, MSA carries the key to a flourishing career on the East or West Coast.
Dancer Magazine interviewed Michael Moore of MSA in New York City to find out how teachers and students can navigate their way through the world of dance agents. A passion for one’s craft and a desire to create a nurturing professional relationship can bear a great dance career.
“As a performer you only have a quick moment to make an impression and attract the correct representation,” says Moore of agency auditions. Agents want to work with someone with whom they feel a connection. This is determined almost immediately, so dancers must be ready with a humble attitude. No one likes a prima donna. Specifically, Moore looks for a well rounded dancer who has versatility and “and inner light that shines.”
If you are wondering when your student might be ready to look for a talent agent, Moore thinks that the timing varies. "Some dancers have a natural talent that allows them to excel at a faster pace. Their body, mind, and soul were meant to be [in dance] and they will be ready at a much younger age," Moore explains.
When signing an agent, students must be ready to commit fully to their career as a dancer or performer. Moore says they should be taking class regularly and studying voice weekly. "They should be constantly working on their craft and improving to be the best in all areas,” Moore articulates. It takes work to jump from pre-professional to professional. It takes maturity and a drive to succeed. If these expectations are not met, then an agent cannot build a successful relationship with their client. An agent is there to guide a dancer's career, not to build it for them from the ground up.
Teachers, be aware that agents are also auditioning you—seeing if you are ready for the task ahead. “The [adult] will need to learn how to be a manager and make the best choices for the child," remarks Moore. Agents are turned off by overly pushy parents and teachers, so find the balance between being an advocate for your student and being an overbearing presence.
For dancers seeking representation, Moore recommends being astute to certain agency scams. He says to never sign to an agency that asks for a fee up front. "However, an agent should and can make recommendations to you as far as dance schools, singing or acting lessons, and photographers, but they should not be receiving a commission or kick-back on these services," Moore advises.
An agent can be a great asset to the right dancer, but pushing a dancer who is not ready mentally or physically is never a good idea. Be objective when looking for representation and be ready for the long but exciting road ahead in your student's career.