How To Land An Endorsement Deal, According to Misty Copeland's Manager
In 2012, Misty Copeland was already a star on the American Ballet Theatre stage. But a national ad campaign for Diet Dr. Pepper effectively introduced the dancer to a whole new audience. Gilda Squire, Copeland's manager who negotiated the deal with the brand's advertising company, says partnering with the soda was a carefully planned move.
"It wasn't a huge payout, but I saw it as a strategic opportunity," says Squire. In the years since, Copeland has become a household name, landing partnership after partnership with brands like Oikos yogurt, watchmaker Seiko USA and Under Armour.
Endorsement deals are becoming more and more common for dancers—and not just with dancewear companies. While not all deals are as large as Copeland's, each has the potential to expand your career, whether this means an extra paycheck, free products, priceless publicity or a gateway to future projects.
1. Make A Connection
If you're interested in adding endorsements to your repertoire, strategizing with a manager or agent is a good place to start. But performers without representation can opt to make a connection on their own as well. Squire recommends drafting an introductory letter to a marketing director to express interest and describe the impact you have on others—maybe a large social media following or a connection to local schools.
Photo via Seiko
2. Negotiate a Deal
No two endorsement deals look exactly alike. The simplest may involve social media posts in exchange for free products, while higher-paying gigs may include print or TV ads, event appearances, or interviews for pay ranging from hundreds to hundreds of thousands of dollars.
An agent or manager should work to get you the best deal, but it's important to also look over the contract yourself. Note how long the brand will have the rights to any media they create, and what facets you are expected to be involved in. What is the campaign's reach? Will you get paid a lump sum or as you go? Will the deal be "category exclusive," meaning you cannot work with competitors? Red flags are anything that's vague, any signs that you may be asked to do extra work without additional pay, or anything that might directly conflict with other jobs or your integrity as a dancer. Whether you're working with representation or not, pay a lawyer to read over the contract and further clarify what you're getting into.
"Read the fine print, as painful as that may be," Squire advises. "No question is too small. Once you sign, you're tied to that brand."
3. Protect Your Brand
The most crucial facet of finalizing a deal is choosing a product and message you feel good about putting your name behind. Pushing something you don't believe in or spamming your social media followers about any company who offers free goods may jeopardize your reputation. "Don't be afraid to walk away from a deal if it's not the right fit," Squire says. "It's not just about the money, but how the partnership complements your growing brand."
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
It's a much-repeated part of Francesca Hayward's origin story that she discovered ballet at age 3, when her grandparents bought a video of The Nutcracker to keep her occupied and she immediately started dancing around the room. What's less well-known is that there was another video lined up next to The Nutcracker that Hayward liked to dance along to: Cats. "I really just did the White Cat bit and fast-forwarded the rest," she remembers. "I'd make my friends who came around be the other cats."
Twenty-four years later, she's not only become a Royal Ballet principal, but has been cast as Victoria the White Cat in Tom Hooper's new movie adaptation of the Andrew Lloyd Webber musical, out in theaters on December 20. "I remember the director telling me I'd got the part: 'Just to let you know you're the lead in a Hollywood film,' he said." Hayward laughs. "This is crazy!"
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.