Cheryl Murphy of Spectrum Talent Agencies – From Entertainer to Successful Entrepreneur
Cheryl Murphy, the owner of Spectrum Talent Agency, located in Los Angeles and Las Vegas, started off dancing for the Osmonds in Utah, where she grew up. She then moved to New York and took classes at Alvin Aley, Melissa Howard, David Jennings, Luigi, etc. So she grew up in the entertainment business, dancing and performing. Then she went to Vegas and was a Las Vegas showgirl for 20 years, and she danced with some really big names: Melinda, the First Lady of Magic; Miller Reich Productions; and Penny France Productions. She then started doing wardrobe as well for people like Carrot Top, and she does a lot of work with David Copperfield.
Cheryl Murphy got into the other side of this business about twelve years ago. A young lady named Crystal Roark owned Spectrum Agency when it was just casting, so Cheryl took it over and moved it to the next level. There is also another agency in Spectrum LA called Envy Models. Daniel Mahan is the owner and runs it. They have international as well as national recognition with both the agencies. “We’ve been here a year and are literally making it happen in the Los Angeles market,” says Cheryl.
Cheryl points out that Spectrum, located in both Los Angeles and Las Vegas are very different. “Las Vegas is known for being a convention town and corporate town—there are a lot of corporate events. We cover all spectrums of show business, whether it’s stage productions, dancers, musical acts, impersonators—they’re big in Vegas. In Los Angeles there’s a lot of theater, commercial, print, and film. Los Angeles has print wrapped up. This is what provides models a lot of work.” According to Cheryl, when picking models, there is a criterion where they have to have a certain edgy look. They take measurements, look through their portfolios, and sometimes recommend that they shoot with another photographer because their pictures may not be strong enough for their agency. It’s a process, especially for the younger models. Normally, they don’t have a really strong book put together, and it’s one of the reasons they’re sent to other countries so they can establish a strong book, which gives them a lot of tear sheets and editorial work.
Regarding selecting actors for Spectrum, Cheryl mentions one young man in particular, Toby Grattison. He was one of the New Orleans hurricane victims who came to Los Angeles. Cheryl feels he is a great up and coming young actor. Some of his credits include Ray,Dukes of Hazard, Glory Road, etc.
“Those are the actors you want to get a hold of because everybody is grabbing at them. But when you can get them and really push them, then that is the key. These young, promising actors really need somebody to get behind them, and that’s exactly what I want to do.”
What advice does Cheryl give to someone trying to start his/her own talent agency?
“In the beginning, when you select the talent, be selective. Don’t just take anybody who comes through the door. Make sure you have all the information, from A-Z on that person. Get their resumé, enter in all their skills, including their acting reels. What actually helps the casting director select the talent is when they are able to see the actor and who they really are. Just a photo isn’t enough. Sometimes we even ask for references, and we will call those references for a heads up on the actor. Some people have a history—maybe drugs, and even legal issues sometimes. Those are the kinds of things we take into consideration, because it is our reputation on the line, so we have to make sure that we’re presenting somebody in a good light.”
What advice does Cheryl give to potential actors?
“When you’re starting out green, you kind of need to get your face out there. We’re not the only agency in Los Angeles obviously. What I suggest is to get the best head shot that you possibly can, because a picture says a million words. And get in front of the agencies. If you don’t get in one or two of them, don’t worry. Just keep moving. Because one of the agencies will take you and then you’ll get your opportunity to shine. But this business is a real grind and you can’t be the type of person that once a door is slammed in your face, that you just stop, or quit. Get in as many castings as you can.”
What do you think of non-union casting calls?
“They’re great. You have your non-union and your union actors. Then you have those actors that were union and have not found enough work, so they went Financial Core. Unfortunately, sometimes you wait hours and hours in those lines to get seen, but sometimes it could be that role that is important to you. You have to go to those types of casting.”
Where does Cheryl see Spectrum in five years?
“In the next 5 years I see Spectrum doing big production work. I have two theaters right now in Branson, Missouri, where we’re booking shows: a comedy theater and dinner theater where we book different impersonation shows. One of those shows features the Brat Pack; the other is a tribute to Motown with the Temptations, 4-Tops, Diana Ross and the Supremes, and Stevie Wonder. I see myself in the production in a big way because I am a good producer. I was on stage with a lot of those acts. So for me to come in now and produce the shows, it’s great.
“I was in the movie Tap with Gregory Hines, and Breaking Part 2, and it’s better being on the other side. It’s pressure but in a different way. I thought I could be slipped into this role because I know how to instruct people on how to go to auditions because I went to hundreds of them. I’m able to instruct them in an experienced way because I’ve been there and I’ve done that.”
Highest High
“The day I made the audition dancing for the Osmonds. It was a 3-day process. I can say out of 1000 people there, I was one of 6 dancers chosen. It gave me the confidence and the boost to go on with my dance career.”
Lowest Low
“The day I had to retire from my career. It was so part of my life since I was 5 years old. I had been on stage for 20 years. And you always hope that you can go on to do something bigger and better than what you’ve already done, and that was probably the low point of my life—making that decision to hang up my shoes. Dancers are like athletes—there is one day when you have to hang up those shoes. And when that day came, I’ve never looked back. I have to look forward.”
As a woman, Cheryl has encountered some obstacles. Sometimes people don’t take her seriously.
“They can’t believe I own the agency—in my case, both the agencies. I am a serious businesswoman. I take care and handle my business. I am a real hustler, I get out there and I make things happen. And when things don’t just fall into place, I keep moving.”
Interviewed and Written by Kaylene Peoples
