To get an acting agent in New York, build materials that show both your screen work and any stage training, shortlist agents whose clients look like you a few steps ahead, check they are licensed and SAG-AFTRA franchised, and send each one a short, personal pitch. Many actors sign with a commercial agent first. We drew on 18 casting directors' answers about unrepresented actors, plus Chris Roe and Kym Jackson.
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The basic system is the same. Kym Jackson explains that in the US, breakdowns for professional film and TV roles go out through Breakdown Services to agencies and management companies everywhere, so a New York agent sees the same kind of breakdowns as an LA agent. What differs is the mix. New York has a big theatre scene alongside its screen work, and casting people use it: casting director Kerry Barden told us he sees far more theatre in New York than in LA, and finds actors that way.
LA has more volume. Kym calls LA a free-for-all, with many independent films reachable without representation. If your goal is mostly screen work, compare our guide to acting agents in LA.
It can get you seen. Chris Roe, who reviews representation requests himself, told us he spends most of his time in London and New York going to the theatre, and that in his view the best actors are theatre actors because they know their craft. He has also picked up clients from comedy shows. A strong stage performance is one more place a rep might find you, and something concrete to invite them to.
Put your theatre credits and training on your resume, and get on tape too: agents still need footage or a self-tape to pitch you for screen roles. Our guide to becoming a theatre actor covers the stage side.
You may hear that New York actors often freelance with an agent before signing. We couldn't confirm how common that is today, so ask each agent how they work. What we can tell you: Kym explains that agents sometimes "hip pocket" a newer actor, submitting them without a formal contract until they land a credit or two. Commercial agents, she says, almost always use a contract.
Shaan Sharma told us commercial contracts can be one year, two years or a handshake, and any you sign should have a clear way out. Be careful about working with several agents in one region: Kym warns that casting sees duplicate submissions and each agent may claim commission. Our acting agent contracts guide covers terms.
Yes, but it's harder. Of the 18 casting directors we asked whether unrepresented actors can submit on their projects, none ruled it out. Ricki Maslar always releases her projects on Actors Access, and Rachel Sutton said some of her best finds were unrepresented. But several, including Kerry Barden, said agent and manager submissions come first, and some only open a role to actors when they need a wider search.
So self-submit while you look for representation, and choose roles you genuinely fit. Ricki Maslar's warning: submitting far outside a role's age range won't catch her attention, it will annoy her.
It's often the easiest first step. Kym calls a commercial agent the first and easiest agent to get and the most open to non-union actors. You don't have to use the same agency for commercials and film and TV: Shaan Sharma advises against one person handling both. SAS members can download our New York Commercial Agents 2026 list, which names 22 commercial agents across 13 New York agencies, from the representation hub.
Treat each agent as a person, not a logo. Kym's IMDbPro method works in any city: open a recent episode of a current show, find the co-stars and guest stars, and look up who represents them. Then check that agent's top clients have TV or recognisable film credits from this year or last. Check the roster for actors of your type too, so you aren't the third person they pitch for the same role.
For a head start, SAS members can download our New York Acting Agents list: 273 named film and TV agents across 42 agencies. It sits on the representation hub with the classes on how to use it.
Email a specific person, keep it short and lead them to your best footage. Chris Roe reads every cold email and has signed clients who found him by checking who represented actors they admired. What he wants is you, real: your training, your preparation, your vision, not a claim to be the next big star. A referral helps, but let your friend make the introduction rather than dropping their name. Our pitch template has the structure.
Showcases are another way in. Kym explains there are three kinds: paid agent and manager showcases, school showcases and graduate showcases. Chris attends a few each year and has signed actors from them. Ajarae Coleman's rule: don't corner agents afterwards; follow up the way they prefer.
In New York City, a business whose main work is finding engagements for artists is a "theatrical employment agency" and needs an Employment Agency licence from the city's Department of Consumer and Worker Protection, as of November 2026. Managers whose job-finding is only incidental generally don't. Contact the department to confirm a licence.
Then check SAG-AFTRA's franchised agents list. The union's agent FAQ says members must use franchised agents, who may not charge more than 10% commission or any up-front fees. The FTC is blunt: never pay an agency up front. This is general information, not legal advice; see our guide to spotting a fake agency.
Choose the city that fits your goals and your life. Jess Orcsik's advice for anyone weighing LA works for New York too: not every actor suits every city, so live there for a few months first and see whether your career gains momentum. Kym notes it's normal to have agents in different regions, just not several in the same one, so a New York agent doesn't stop you adding representation elsewhere later.
Get your headshots, resume and footage or a strong self-tape ready, shortlist licensed, SAG-AFTRA franchised agents whose clients look like you a few steps ahead, and email each a short, personal pitch. Many actors start with a commercial agent.
It helps you get seen. Casting director Kerry Barden told us he finds actors at New York theatre, and Chris Roe goes often, but agents still need footage or a self-tape to pitch you for screen roles.
Some actors work with an agent before signing, but we couldn't confirm how common freelancing is today, so ask each agent. Kym Jackson says agents sometimes hip pocket newer actors without a contract.
In New York City, a business whose main work is finding engagements for artists needs an Employment Agency licence from the Department of Consumer and Worker Protection, as of November 2026. Union members must also use SAG-AFTRA franchised agents.
SAG-AFTRA says franchised agents may not charge more than 10% commission or any up-front fees. A legitimate agent is paid only when you are.
Your New York shortlist only works if the email gets opened. Download Your Free Agent Pitch Guide before you pitch your first agent.
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