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CHRISTOPHER FREER
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Christopher Freer
Director of Clear Talent Group - NYC
A former dancer, Christopher opened CTG NYC in part to establish a commercial dance presence in the city. His clients can be seen in shows like Wicked, In the Heights, The Color Purple, The Little Mermaid, and Equus; television shows like Ugly Betty, Lipstick Jungle, Gossip Girl and 30 Rock as well as major commercial campaigns, corporate events and artists' tours. Christopher’s clients have been nominated for numerous awards and honors such as Tony Awards and Theatre World Awards.
| Q: | If a performer is auditioning for ensemble and not principal roles do you think it's necessary that they have an agent? | | A: | Necessary, no, but an agent is about developing and guiding performers over the course of their career, not just a particular job. Additionally, agents do get calls from casting directors about short term and quick replacements that do not get posted in Backstage or on the AEA website due to the short turn around. Further than that, there are times when I get feedback after an audition and pointers for my clients before an audition that would not happen otherwise. |
| Q: | What is the best way for a dancer/singer to go about approaching an agent for representation? Do you sign clients through mail submissions? | | A: | We don’t sign clients through mail submissions, but we have set up meetings or set up auditions from mail submissions. Look for auditions posted on the CTG website, ask a friend who may be represented by us to refer you, send us information on upcoming performances. We may already be attending to see another client. If you are comfortable with having a Casting Director refer you that is also extremely valuable. We also attend showcases, do master classes, and attend networking events around the city. If you put in the time, you will find there are ample opportunities to get exposure to the agents you want to meet. |
| Q: | If a performer joins a large agency how do they keep from getting lost amongst all the other artists in the agency? | | A: | Be proactive about building a relationship with the agents in the office. If you get resistance, they may not be the right office for you. You also need to do your job by trying to attend auditions with the casting directors you want to meet, or taking classes to strengthen your craft. It’s got to be a team effort to be successful. |
| Q: | Should a performer contact their agent for feedback after an audition? | | A: | The first audition, probably not. There may not be a lot to say other than you weren’t right, or to tall or the myriad of reasons that people don’t get callback’s or jobs. If after a callback or two there is something to learn or talk about, then yes. Again, a good agent will have an open dialogue with you and the casting director or creative team about what they are looking for so you can deliver. When you don’t deliver, that should be a part of the conversation. It’s hard to have an insightful conversation when the creative team hasn’t seen that much of you. |
| Q: | What is one thing or a piece of advice you wish every performer knew walking into an audition? | | A: | Don’t take it personally. Put your best foot forward and believe in your abilities. It’s not always about booking the job, but about building and deepening your relationship with the casting office and the creative team of the show. |
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