Peta Webb was a dancer before she became a performing arts agent.
You began your career studying classical ballet full-time, including on scholarship at L’Academie De Danse Classique in Monte Carlo. Then you moved into musical theatre Why?
I loved the way musical theatre made me feel. I’d always wanted to be a part of that world and had never totally committed to becoming a ballerina. I knew classical was the best technical training for a dancer but decided I wanted to speak and sing as well.
Did that require a lot of retraining or extra training?
I had trained in all forms of dance from a young age and had singing and acting lessons so it wasn’t totally new. I definitely needed to kick start the other styles again, especially tap, and build a vocal repertoire. Training never stops as a performer anyway – I just didn’t put the pointe shoes on as often!
Was it easy to find work at first?
Some of my first jobs were through audition notices in the newspaper and were quite diverse. Live theme park shows (which were fantastic for vocal development), dance-based fashion parades and the opera Aida, which was classical choreography. Once I found a theatrical agent I was cast in my first musical, Jerry’s Girls. I was ecstatic!
What made you become an agent?
I had decided to have an indefinite break from the stage after about 10 years in musical theatre and studied for a Diploma in Journalism. I wanted new skills to use alongside my knowledge as a performer. My friend and now employer, Mark Byrne, convinced me I had the right components and the right personality to be an agent. He mentored me through his two businesses and I currently manage the musical theatre department of Mark Byrne Management.
When you were a performer, did you have bad experiences with agents?
I had a great relationship with my agent. Although, in retrospect, many of the things she said to me as a young performer make so much more sense now that I’m sitting in her seat!
Do agents look for clients, or do the clients come to them?
Both. Mark Byrne Management has a lot of requests for representation. We also approach artists and attend the graduations of all the leading performing arts institutions.
What benefit is an agent to a dancer?
An agent offers exposure to industry contacts and access to auditions and work the dancer may not hear about. In a nutshell, agents find the opportunities, organise the auditions, give advice and ensure job fees are satisfactory and contract negotiations are to industry standards.
For what reasons would agents refuse to take on or keep a client?
If an artist didn’t suit the overall aim of the agency they would not be offered representation.
Is the agency business very competitive?
Absolutely.
What do you spend most of your working day doing?
I’m at the computer the majority of the time working on contracts, negotiating, scheduling and researching. I’ve basically gone from the barre to the boardroom!
As an agent, what do you expect from your client?
Trust, honesty and continued focus on where they are heading in their career. There’s no room to drop the ball or get lazy and complacent. It’s just too competitive out there.
What is the most enjoyable part of your job?
Giving a client the news that everything has gone to plan and they’ve just landed their dream job.
What is the least enjoyable?
Giving an honest opinion to a client who doesn’t want to hear it.
What would your advice be to anyone thinking of becoming an agent?
Be passionate and ambitious. Have industry knowledge, great contacts and an eye for talent. Computer skills are absolutely essential as there’s lots of admin involved. Be prepared to problem solve and inspire people.
