{"id":1326,"date":"2016-07-11T17:25:47","date_gmt":"2016-07-11T17:25:47","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=1326"},"modified":"2026-02-20T09:11:09","modified_gmt":"2026-02-20T09:11:09","slug":"how-to-get-an-agent-in-ireland","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/getting-work\/how-to-get-an-agent-in-ireland\/","title":{"rendered":"How to Get an Agent in Ireland"},"content":{"rendered":"

Jonathan Shankey has been an agent at the\u00a0Lisa Richards agency<\/a>\u00a0in Dublin since 2001. It was founded over 25 years ago and covers literary, voiceover, and comedy, as well as acting talent. Their clients include\u00a0Cillian Murphy<\/a>,\u00a0Aidan Turner<\/a>\u00a0and\u00a0Sarah Greene<\/a>, to name a few.<\/em><\/p>\n

During our Open House first birthday celebrations in Ireland we spoke to Jonathan to find out how the Irish industry differs, and how actors seeking representation should approach them.<\/em><\/p>\n

What are some of the roles your actors are put forward for?<\/strong><\/p>\n

We have obvious leading actors like Aidan and Cillian. With actors in their position it\u2019s more that the work comes looking for them. As an agent in that position, you want to find out what they\u2019re interested in, what they want to push in themselves as a performer next. Cillian has an amazingly varied career as an actor because he makes choices about scripts that are driven just by what he responds to as a performer rather than any strategy. We respond to the material and the actors\u2019 response to the material.<\/p>\n

What is it you look for in new clients?<\/strong><\/p>\n

I don\u2019t actually know the answer to that other than I know it when I see it! The reality is it\u2019s not about taking on actors who are stupefyingly good looking; it\u2019s not all about finding leading men and women. That\u2019s part of what we do and we do that quite successfully, but it\u2019s also that every project has one lead of each gender. There\u2019s a lot of other great supporting and character actors. We do know what we already have on our books and we\u2019re very conscious of not double-recruiting our clients.<\/p>\n

If someone was to approach your agency, what should they do first?<\/strong><\/p>\n

A bit of research doesn\u2019t hurt. The essential thing is to bring your best game. I was an actor myself before I was an agent and sometimes in a moment of enthusiasm or frustration you fire off a headshot that you\u2019re kind of ok with, and a showreel which needs updating, and a CV that doesn\u2019t look great. And it\u2019s a shame because you can only ask somebody to the prom maybe twice, and then it gets creepy. If you come to me with something I don\u2019t respond to on your first try, it\u2019s going to be harder for you the second time. It doesn\u2019t have to be amazing, it just has to be the best possible shot you can bring me. We still respond to headshots and showreels more than anything else, particularly in young actors. If you just came out of drama school, I don\u2019t expect you to have a CV a mile long. The fact that you\u2019re brand new makes you interesting. Unlike lots of other jobs, young talent is always interesting in our business. That\u2019s nothing to be afraid of. But your headshot has to work for you. Whatever you\u2019ve got has to work.<\/p>\n

Should actors tailor their application to each agency rather than sending out blanket submissions?<\/strong><\/p>\n

Yes it needs to feel, at least to the agent, that they\u2019re really personally coming after your agency. We have egos too, so it helps to appeal a little bit! I think we all do much the same job, so you\u2019re really just making it look like you know what you\u2019re talking about to that agent.<\/p>\n

What advice do you offer to actors coming straight out of drama school heading to a big audition?<\/strong><\/p>\n

I think you cannot know the material too well. As well as you think you know it, you don\u2019t know it that well. Even with the nicest casting director in the world, you\u2019re going to feel that pressure internally. The only way to get past that is preparation. You cannot over-prepare for those moments. Be ready in the audition, because somebody might throw something at you you didn\u2019t expect. The more firmly you\u2019ve got that material in your head, the more firmly you know who you\u2019re playing in that scene. You can overthink but you can\u2019t over-prepare.<\/p>\n

If a young performer is looking to get into acting in Ireland, where do they go?<\/strong><\/p>\n

I\u2019m a big fan of youth theatre, it teaches you a lot about the business of being an actor, about stage management, and about direction. You learn about every aspect of what happens in a production, whether that\u2019s theatre or film. It\u2019s useful information for when you go out into the world professionally. I still have a number of actors on my books who never trained. Training isn\u2019t the be all and end all but if you come out of a course I\u2019m probably going to pay more attention. The big one here in Ireland is\u00a0DYT<\/a>, which is a great youth theatre.\u00a0NAYD<\/a>\u00a0is a great resource to find your local youth theatre.<\/p>\n

So actors who haven\u2019t been to drama school shouldn\u2019t be afraid of approaching you?<\/strong><\/p>\n

I think the key is having something to show me. We look after Robert Sheehan and we took him on when he was 17. He had over 20 hours of television under his belt, so as an agent you think it\u2019s a serious proposition. This guy has been working since he was 14, in\u00a0Song for a Raggy Boy<\/a>, which he was cast in from an open audition, so he\u2019s a good example of someone who has a compelling argument for taking him on. Not everybody is going to have that, but you need something to show so we can look at your work in some shape or form.<\/p>\n

What are the differences between the Irish industry and London?<\/strong><\/p>\n

One of the big differences here is there\u2019s a bigger separation between screen work and theatre work than there is in the UK, so you have a lot of crossover between directing talent and acting talent, and people move back and forth between the two. You can be a really well known and much loved actor in the Irish community, but that won\u2019t necessarily translate into screen work because that world doesn\u2019t know you in the way the London equivalent would. That\u2019s probably the big difference. Essentially, outside of that the business is just much smaller.<\/p>\n

How has Spotlight helped change the scene in Ireland since coming here?<\/strong>
\nOh it\u2019s brilliant. It allows us to reach into the industry and makes it so much easier to see what\u2019s going on and to submit actors for roles.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jonathan Shankey has been an agent at the\u00a0Lisa Richards agency\u00a0in Dublin since 2001. It was founded over 25 years ago and covers literary, voiceover, and comedy, as well as acting talent. Their clients include\u00a0Cillian Murphy,\u00a0Aidan Turner\u00a0and\u00a0Sarah Greene, to name a few. During our Open House first birthday celebrations in Ireland we spoke to Jonathan to […]<\/p>\n","protected":false},"author":1,"featured_media":3226,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[54],"tags":[41,95,65,52],"class_list":["post-1326","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-getting-work","tag-agents","tag-interview","tag-ireland","tag-video"],"acf":[],"yoast_head":"\nHow to Get an Agent in Ireland | Spotlight<\/title>\n<meta name=\"description\" content=\"Learn how to get an agent in Ireland with advice from Jonathan Shankey. 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