A theatrical agent submits you for film and TV (theatrical does not mean theatre), while a commercial agent submits you for ads. In the US they are usually separate agencies or departments, you can have both, and most actors sign with a commercial agent first because it is the easiest rep to get. We drew on 30 answers from SAS founder Kym Jackson and commercial expert Shaan Sharma, among others.
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A theatrical agent gets you auditions for film and television, and negotiates those contracts. "Theatrical" doesn't mean theatre, Kym Jackson explains; it's the industry word for film and TV. A commercial agent gets you auditions for ads.
Outside the US, one agent often handles everything. In the States, Kym says they're usually separate agencies, and where one agency does both, they're separate departments with separate relationships. SAG-AFTRA's franchised agents list even lets agencies flag their specialities (commercials, voiceover, theatrical), so you can target the right ones.
Shaan Sharma, a working actor, educator and casting professional, puts it this way. Theatrical auditions are for storytellers: writers, directors and producers want to see the choices you bring. Commercial auditions are judged by brand and ad-agency people, so casting gives very specific direction about where to stand and how to say the line.
Your type shifts too. Kym says her commercial casting is broader (young professional, mum, blue collar) where theatrical roles are more specific. Branding expert Ryan Basham describes it as the same you, with different parts dialled up for each medium.
Usually the commercial agent. Kym calls it "the first and easiest agent to get". Commercial agencies often sign people with no commercial credits and no reel: many hold open days or meetings where you do a mock commercial audition with dummy sides, and decide from that and a short chat. Headshots need to be up to standard, not perfect.
In LA, our list of commercial agents in LA links every agency with a commercial department. Theatrical agents tend to weigh credits and footage more heavily; our guide to getting an acting agent covers that path. Shaan's three routes work for both: personalised outreach, showcases, and referrals from people who are genuine fans of your work.
Yes, and many working actors do. Kym says it's normal to have a theatrical agent, a commercial agent, a voice agent and agents in other regions. What isn't normal is two or three theatrical agents in the same city: casting would get the same submission several times, and you'd owe each of them commission.
You can be with one agency for both, which is called being "across the board", but you're not obliged to. Shaan Sharma says an agency representing you theatrically may not want you commercially, and vice versa, so ask. His advice is that the same individual shouldn't handle both your commercial and theatrical careers; his own commercial agency has a dedicated commercial team and a separate theatrical department.
Signed commercially and hoping to move to the theatrical side? Shaan says to ask that department what it's looking for, then come back when you meet the bar. One practical note from SAG-AFTRA: for across-the-board clients, the theatrical termination rules decide when you can leave.
Usually, yes. Shaan sorts commercial looks into four buckets: casual, upscale casual, business casual and business professional. Theatrical shots are more story-specific to the shows you're targeting. Kym finds commercial headshots bright, big and smiley, and her advice is to trust your commercial agent's picks even when they make no sense to you, while you and your theatrical rep choose the theatrical ones.
Reels are the bigger difference. Shaan warns never to post a public reel of commercials you've done, because other brands may assume you still hold a conflict. Give your commercial agent comedic or dramatic scenes from theatrical work instead.
Yes. As of November 2026, SAG-AFTRA caps any franchised agent at 10%. Its Los Angeles commission bulletin adds a split: for theatrical, TV and streaming work, an agent must negotiate above scale (generally scale plus 10) to commission your session fee, while a commercial may be commissioned at scale in the worst case.
Kym says Hollywood theatrical agents take 10% across the board. Non-union commercial work is different: Kym and Shaan both said 20% is standard there. Your theatrical agent doesn't take commission on your commercials, Kym adds, but a manager usually does. For the full picture, see how much acting agents take.
Our experts see it from different sides. Kym says commercial agents are more open to non-union actors than theatrical agents. Shaan, who is active in SAG-AFTRA, says most commercial work is now non-union and many agencies run non-union departments, but union performers are still seen as the high end because union jobs pay best and include residuals. He also warns non-union actors against buyouts that grant rights "in perpetuity", which can lock you out of a whole product category for good.
Commercial agents run big rosters and frequent, short-notice auditions. Shaan's tips: agree a check-in rhythm when you sign, and when you're unavailable, email your booking-out dates to every agent in the commercial department and their assistant. If a commercial and a theatrical audition clash, don't automatically drop the commercial; he notes a commercial can pay more than a co-star or guest star role, and casting will often give a time window.
Contracts vary. Shaan has seen one-year, two-year and handshake commercial deals, and says any contract should have a clear out clause. Kym says she would find it unusual not to sign a contract with a commercial agent. Read our guide to agent contracts before you sign either; it's general information, so check yours with a lawyer.
A theatrical agent submits you for film and TV roles and negotiates those deals. A commercial agent submits you for ads. In the US they are usually separate agencies or separate departments.
No. In the US, theatrical means film and television. Some agencies have a separate department for theatre.
Most actors start with a commercial agent. Kym Jackson calls it the first and easiest agent to get, and many sign actors with no reel after a mock commercial audition.
Yes. Having separate commercial, theatrical and voice agents is normal. Having several theatrical agents in the same city is not.
A SAG-AFTRA franchised agent can take no more than 10%. On non-union commercials, Kym Jackson and Shaan Sharma say 20% is standard.
No. Kym Jackson says your theatrical agent is not commissioned on commercial work; your commercial agent is, and a manager usually commissions everything.
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All rates current from sagaftra.org and sagaftra.org (Los Angeles bulletin) as of 9 November 2026.