Curtis Brown Group

Curtis Brown Group is one of the most established and prestigious talent agencies in the United Kingdom, with roots dating back to 1899 — making it one of the oldest continuously operating talent agencies in the world, with over 125 years of industry heritage. The agency represents a wide roster of actors, writers, directors, and presenters across theatre, film, and television, with their dual strength in both literary and talent representation giving them unique early insight into upcoming projects before they are widely known in the industry. Curtis Brown's name carries extraordinary weight in British entertainment, and industry professionals widely regard a Curtis Brown submission as a mark of quality that commands immediate attention from casting directors at every major UK production house, network, and casting office. The agency has built deep-rooted relationships across the BBC, ITV, Channel 4, all major West End producing houses, and the National Theatre, as well as international connections with US agencies that create genuine transatlantic crossover opportunities.

In 2025, Curtis Brown continues to operate as one of the UK's elite talent agencies, with a dedicated film and television department, a separate theatre division that ensures stage actors receive specialized attention, and international connections particularly with Los Angeles and New York agencies that facilitate American market access. Clients describe the Curtis Brown experience as professional and prestigious, noting that the agency's name alone opens doors with top casting directors, and many actors maintain tenures at the agency spanning decades, reflecting the collegial community and career-sustaining representation the agency provides. The agency is well-positioned for actors looking to break into the American market, leveraging established LA and New York industry connections that smaller agencies cannot replicate. What distinguishes Curtis Brown from other top-tier UK agencies is the combination of their unmatched heritage, comprehensive departmental structure, and the literary representation arm that provides early intelligence about projects in development.

Submissions to Curtis Brown are accepted by post or through the agency website, though competition for representation is extraordinarily high, as the agency's prestige attracts applications from virtually every ambitious actor in the UK. Curtis Brown typically seeks actors with significant training from top UK drama schools such as RADA, LAMDA, or the Royal Central School of Speech and Drama, or those with a solid body of professional credits from the West End, National Theatre, BBC, or comparable institutions. A strong, recent showreel no longer than three minutes is essential, and cover letters should be tailored to reference specific Curtis Brown clients whose careers parallel the trajectory you envision for yourself rather than generic applications. Attending industry events where Curtis Brown agents are present, such as BAFTA screenings or major West End opening nights, can help establish a personal connection before formally submitting.

Curtis Brown's internal workflow assigns each actor a dedicated agent who manages all incoming casting briefs and outgoing submissions, providing a single point of contact who deeply understands the client's range, career goals, and scheduling constraints. The agency maintains a proprietary database of casting contacts across the UK, Europe, and North America, ensuring that clients are submitted for relevant roles quickly and efficiently through both Spotlight and direct relationships with casting professionals. Their team meets regularly to review each client's activity and adjust strategy based on market trends and upcoming production slates, creating a proactive approach to career management rather than simply waiting for casting briefs to arrive. A typical client scenario involves an actor moving between a West End engagement, a BBC limited series, and a supporting role in a feature film within a single year, with the agent coordinating complex scheduling across multiple mediums.

Curtis Brown primarily serves established, professionally trained actors who have graduated from top UK drama schools and built substantial professional credits, including many household names in British entertainment alongside distinguished character actors and rising stars whose careers are rapidly ascending. Mid-career actors with a solid body of West End, National Theatre, RSC, or BBC credits form a significant portion of the roster, and the agency additionally represents a select number of international actors who have built strong UK-based careers. The community among represented actors tends to be collegial, with the agency fostering an environment where established clients and newer signings coexist productively, though the reality is that the agency's marquee names inevitably command the most agent attention and priority.

Curtis Brown operates on a commission-only model, typically charging between 10% and 15% on theatrical earnings and up to 20% on commercial work, with rates negotiated individually at the point of signing based on career stage and the nature of engagements. There are absolutely no annual fees, registration charges, joining costs, or hidden expenses associated with being represented by the agency — actors bear no financial risk in signing, as the agency only earns when their clients earn. Compared to agencies that charge for headshot sessions, website listings, showcase fees, or mandatory workshops, Curtis Brown's pure commission model represents a significant advantage that directly aligns the agency's financial interests with their clients' booking success. The value proposition is strongest for actors who book regularly, as the agency's high-level connections tend to generate premium-rate engagements that more than justify the commission percentage. Because of Curtis Brown's leverage in contract negotiations, represented actors often secure higher fees than they would through lesser-known agencies, making the commission a sound investment.

Curtis Brown is best suited for experienced UK actors who have graduated from a leading drama school, built a meaningful body of professional work in theatre, television, or film, and are ready for top-tier representation whose name commands respect across the entire British entertainment industry. The agency is the ideal choice if you need an agent who can manage a career spanning West End runs, BBC series, feature films, and American market crossover simultaneously. If you are just starting out, lack professional training, or have minimal professional credits, Curtis Brown is not the right fit — focus on building your career through training and work with agencies like Hamilton Hodell or Tavistock Wood Management before approaching. Actors considering Curtis Brown should also evaluate United Agents and Independent Talent Group as comparable alternatives, while those preferring a smaller, more boutique experience at the top end might find Conway van Gelder Grant or Troika better suited to their needs. For any established British actor seeking the most prestigious agency name in the UK, Curtis Brown remains the gold standard against which all other representation is measured.

When submitting to Curtis Brown, ensure your showreel leads with your strongest, most recent work and runs no longer than three minutes — agents at this level review a high volume of submissions and need to be immediately impressed. Tailor your cover letter to reference specific Curtis Brown clients whose careers parallel the trajectory you envision, demonstrating that you understand the agency's roster and can articulate what you would bring to it. Avoid the common mistake of submitting too early in your career before you have sufficient credits to warrant attention — a premature application creates a negative first impression that is difficult to overcome when you reapply later with stronger materials. Never pay anyone who claims they can secure you a meeting with Curtis Brown, as the agency does not work with third-party intermediaries for talent recruitment, and be wary of workshops or showcases that promise direct access to their agents. If your initial submission is unsuccessful, focus on accumulating more credits and stronger showreel material before reapplying — timing and roster needs play a significant role, and resubmitting with genuinely improved materials after twelve to eighteen months is a perfectly viable strategy.