Being an artist’s representative requires more than just the ability to provide guidance and advice. It takes a unique combination of skill and savvy. Like many other industries, it is a craft that demands you to become well-versed. To represent artists, dancers, and choreographers, one has to have the prerequisite of hundreds of hours under their belt of experience in dance. Lucille DiCampli of LDC Representation began her professional career as a dancer and choreographer in New York City. On a mission to take her talent to higher heights, she migrated to Los Angeles to embark on a dance career in television, film, and recording artist tours.
In the City of Angels, Lucille found herself and her dancer counterparts working overtime without explanation. With her bold personality and innate propensity to speak up, Lucille played the role of constantly inquiring about their work conditions. She would ask if they were going into overtime or going to break for lunch. Though she may have been standing alone, Lucille had a voice, and nothing or no one could intimidate her into not using it.
Due to her strong personality and resourceful nature, Lucille quickly became the go-to for connections— she became “an agent without being an agent.” Producers began to rely heavily on her to connect the talent to the directors. From her cozy apartment in L.A., she would spend her days hiring dancers and choreographers. During this time, Lucille’s career took a new direction—one that would stick for decades to come. She began to produce such great results that an L.A. talent agency recruited her with the initiative to bring her on board and teach her about film contracts and negotiations. They were slated to start a dance and choreography division, and Lucille, with her passion and attitude, was the missing piece to their puzzle.
In this era, there were no existing rules and regulations in place that protected artists, which made her arrival timely. Lucille and her new team pioneered a new age of protection for dancers. A dancer at heart, Lucille was initially skeptical of working in an office setting. Unbeknownst to her, she fell in love with her new role as she discovered her passion for advocacy. This team fought relentlessly for the talent in a strategic way that didn’t close the door to opportunities. Lucille realized it took a certain degree of professionalism to create rules that’ll be etched in dance history until the end of time. This impact and the foundations built in this era, are still widely used today.
By the time Lucille left LA, she had her choreographers working with the likes of Michael Jackson, Madonna, and Prince, to name a few. Her roster of clientele was now working with A-list musicians. During this time, LA was undergoing a series of trials, riots, and earthquakes, deeming it a great time for her to move back home. Back in the big city, Lucille began consulting for agencies in NYC and Boston. She soon reached a point where she was ready to open up a dance division of her own.
In 2010, LDC Artist Representation was born. Due to her solid relationships, all of her clients followed her. Today, she has a roster of individuals that have been with her for over 30 years. During our intimate chat, a call came through. Lucille politely excused herself and answered the telephone. It was Barbara from the Philadelphia Eagles, looking to place one of her choreographers on a halftime show on New Year’s Day. Witnessing this abrupt telephone call is a testament to Lucille’s response to why all artists should seek representation. Check out some key takeaways from this spectacular meeting below.
Q: What are some of your proudest moments?
A: I’d say my proudest moment has to be when I get a client their very first Broadway show! They would invite their mom and me. Also, it’s very rewarding when I find a film for someone to choreograph. When a client wins an award or even when they are nominated, it’s an amazing feeling! A client wins an Emmy, and you have everything to do with it. You got them the gig and plugged it in; it’s an awesome feeling when my clients achieve accomplishments as such.
Honestly, there’s no job like getting those people to those places. The key is liking and admiring the work of your clients. No one on my roster has been with me for less than 8 or 10 years. I have clients that have been with us for 20-25 years, and we’ve built a life together. I've worked with my female clients and them having babies, negotiating with a nanny, and I’ve had a lifetime with people through all kinds of things. You book that show; you’re buying that brownstone! You’re fighting for your clients, getting contracts better. But when they are nominated, and the whole world hears their name, it’s nothing like it! If I could bottle it up and drink it all day, I would. (laughs)
Q: Why should artists seek representation?
A: Artists should seek representation but find they have to find the right fit. As an artist, you shouldn’t go with just anybody. You have to find the right fit for your skills and abilities.
It’s almost impossible to work consistently without an agent in NYC in LA. You can go to open calls and try to get a job, but the truth is— let me explain by example. For instance, they are holding auditions for Mariah Carey’s upcoming Christmas special tonight. It’s an agent call. The choreography agency called and told me the demographic and type of skill set they’re looking for. I have 22 people going in! This audition is not posted because they don’t want an open call. They want people who can sock it, people who will show up and book it. And if you don’t have a manager, you’re not ready for that high-caliber work; it’s as simple as that.
The call I just received is the difference between having representation and not having representation. Calls like this simply aren’t going to come through! You have to have someone who’s connected and not just anyone. If you’re a dancer, you’re with a dance agent. This is what I’m meant to do. I feel like I’m on the planet to help people connect to the things they can do and achieve their dreams, goals, and purpose.
Q: Out of all the office spaces in New York, why do you choose Jay Suites?
A: Jay Suites, by far, has the best locations and team. In the last 17 years in NYC, before I got to Jay Suites, I rented spaces that weren’t kept clean, the front desk wasn’t friendly, and the people reserving the space made many mistakes. But Jay Suites is efficient and friendly. They take good care of my clients when they come in and have to pick up checks or drop off contracts. They are happy to be here and always ready to go. I love it here, and I will not leave Jay Suites!