Navigating the Commercial World

For competition dancer Shanti Lowry, breaking into the commercial world seemed like a long shot. “Everybody told her that she couldn’t do it,” says her former teacher, Lynne Patton, of the Rocky Mountain School of Dance in Arvada, Colorado. But after a few trips to Los Angeles and encouragement from her mother and Patton, Lowry now boasts a long resumé of commercial work, including, most recently, the lead role in Bolden!, a multimillion-dollar biopic about African-American cornet player Buddy Bolden that will be released in 2008. As Patton insists, “It can happen.”

Starting from the bottom can seem overwhelming to students, but paving the path for them is not as difficult as you may think. Here, we take a look at some simple steps you can take to help dancers make the transition.

Starting from Scratch
It’s easy to dismiss commercial work as an opportunity available only to those in the New York or Los Angeles areas. Not true! You can find it anywhere, from dancing in music videos, commercials and industrials, to making appearances on television programs or in movies, modeling and printwork. Not only do these jobs provide great professional experience and exposure, but they also result in a paycheck for your students. But if you don’t know what’s out there, chances are that they don’t either.

The first thing you’ll need to do is generate awareness. Schedule a meeting for interested students and their parents, and outline what commercial dance includes and what it could mean for them. Highlight the fact that dancers who have a lot of personality, theatrical skills or a special talent for hip hop can thrive in this industry. “In the commercial dance world, it’s not necessarily about how good you are,” explains Jim Keith, director of dance and choreography at DDO Artists Agency. “It has a lot to do with your image, how well you perform and how well you sell products. The dancer is used as a tool to showcase a person, place or thing. Twelve pirouettes are great, but that doesn’t show me if you’re able to sell a can of Pepsi or a Gap jean jacket.”

Calling All Agents!
Now that you’ve drummed up some interest, it’s time to get down to business—your students need an agent. Don’t worry if you don’t live near NYC or L.A. As Patton suggests, “If you live in Iowa, see what’s happening in Des Moines!” Look to local big cities and start making phone calls. The internet can be a great tool for researching nearby agents, agencies and auditions. If you are having trouble finding representation near you, conventions are always a great place to look, as agencies frequently send representatives to network with studio owners. Veda Burton, owner and director of The Rage Entertainment Complex in Granada Hills, California, puts on free weekly showcases of her students during the summer and invites casting directors and agents to scout her kids. Now, when her students walk into an audition, the casting director often already knows them.

Burton also suggests calling the Screen Actors Guild. “Ask them for an agency list, and they will send you all the union agencies. Those are legitimate,” she says. “Anybody who asks you for money upfront is not. The only way agencies make money is by getting a percentage of what you make, so that’s a red flag.” XCEL Talent Agency, located in Nashville, Tennessee, and Atlanta, Georgia, for example, charges 10 percent per job from its clients in its Kid’s Dance Department. As XCEL President and Founder Aris Golemi says, “It’s not just about sending kids to auditions and collecting an agency fee. We give them the opportunity not only for exposure but also to make money. We are trying to educate them about what it takes to be an artist in this industry and to make a living as a dancer.”

Golemi recognizes that studio owners may be reluctant to send students elsewhere for fear they won’t return, but he insists that for legitimate agencies, this is not the goal. “I think it is very important to maintain a strong relationship with every studio owner, because they are the ones working hard year after year and without them there would be no dance agency,” he maintains.

Practice Makes Perfect
Once you’ve found representation for your students, the next step is to begin preparing them for this new world. They will need headshots, a resumé and a firm grasp of what to expect and how to behave at an audition. You can help them prepare by holding a resumé-writing seminar. Patton provides blank resumé templates for her students and demonstrates how to write them. Her husband is a photographer, so she also takes care of their headshots for free. If doing headshots yourself isn’t an option, call a professional and inquire about a group rate.

Patton also holds a Triple Threat class, in which she works on vocals and acting, as well as how to audition and work on set. “We say, ‘Today is a cruise line audition,’ and they have to dress appropriately. We have a whole mock audition,” she explains. “We started it because we knew there was a need.” Take a cue from Patton and try adding an extra class to your schedule that focuses on real-world training for auditions. Don’t know the first thing about acting? Look to local community theaters or a nearby performing arts high school for possible guest instructors.

Making the Cut
When a student does land an audition, give him or her the best chance possible to succeed by making sure you know what the casting directors are looking for. Burton stresses that in commercial work, you need to go for the “kid-next-door” look. “They want a real kid,” she insists. “They don’t want a red lipstick, rhinestone earring, booty short, competition-looking kid.” That’s not to say competition dancers can’t be successful—they often are. “But they do have to be directed not to be made up to look like they’re going to competition.” Keith agrees that less is more. “Stay away from harsh, heavy makeup, and any child younger than 13 shouldn’t be wearing makeup at all,” he says. “And hair has to be natural, never put up unless specified. Dancers should learn how to dance with their hair down.”

Burton also places a great deal of emphasis on learning quickly at an audition. “You need to walk in, freestyle and pick up the choreography,” she says. “If you’re not put in that position on a regular basis at your studio, that’s going to be a challenge.” With that in mind, try changing your combinations frequently to keep students on their toes.

Don’t Get Bent Out of Shape
So what happens when your student lands a national commercial—on the same day as your regional competition? Patton and Burton both agree that booking a job takes precedence over the studio, even though that can be frustrating. “Studio teachers have to be willing to let their kids miss,” says Patton. “[A student] called me and said, ‘Miss Lynne, I know I’m supposed to go to Nationals, but I just got cast in Hairspray with John Travolta. What should I do?’ and I laughed at her and said, ‘Are you kidding me?’”

Burton also reminds everyone that one reason they are training is to land a job, so it can’t be held against them if they have a conflict. “It is frustrating to have a show, and our top two dancers just booked a commercial and we have to restage the whole piece,” she admits. “But we make it clear from the beginning that our philosophy is to give opportunities in any venue, and therefore we can’t be angry when they do what we’ve trained so hard for.” It’s also important to be open to traveling, especially if you live somewhere remote. Patton chaperoned a trip to Los Angeles for her students and as a result, 14 of them were booked in High School Musical 2. “Most competition schools travel for Nationals anyway,” she adds.

Even if your students are having trouble at first, don’t throw in the towel. “Always know that if an agency doesn’t take you on, it doesn’t mean you didn’t do something right,” says Keith. “They just may already have your look—so keep going even if you hear ‘no,’ and be patient.” So while at first glance the commercial world may seem daunting, it is just another aspect of the dance world. Get your students involved in this industry and you can open countless doors for them. DT