I Am the Talent Manager of Chi-Chi Anyangwoo and This Is How I Work

During the pandemic, ChiChi Anyangwu made the bold decision to found her own talent management company Chi Talent Management , focusing on careers in theater, film and television. Her company is part of a small number of black women-owned agencies, so I spoke with ChiChi to find out how she does it all.

How did you come to the decision to start your own company?

I did interviews with different agencies, [and] it got to the point that [I was] tired of working for people. I’m over 30 now, I’m just tired of working for people. And the sad thing is that, unfortunately, I don’t see many [black] managers or agents who have their own companies in New York. Los Angeles has a whole bunch of people, but in New York I can probably count on my hand [how many] belongs to blacks.

How can we really participate in the game if we continue to make other people’s money? With everything that happens in the world, I’ve always thought about property. I didn’t know if I was completely ready, because in my imagination I wanted [first, there were] five regulars on the show, five people on Broadway. You want to make a steady income because it is a little risky. It was definitely difficult because I am also very impatient.

What is the average day in Chi Chi’s life?

I have a bad habit of not having breakfast. I’ll check my phone [first thing], and as soon as I check my phone, my day begins. Now I’m going to practice turning off my phone and maybe playing sports, having breakfast. It’s a busy day of going back to messages, checking customers, and making sure everyone has their tapes on time. I now have an intern who makes my life so much easier, so I check with my intern and make sure everything is done daily. After making sure I submit all projects, I spend a day of pitching. I am now adding several consultations a day. I just start offering my clients jobs and finding jobs for them.

What was it like turning around during a pandemic to start your own business?

Since Broadway was closed at the time [and] there was actually no television or film set, it was very slow for a while. There were projects that were releasing a cliff, [say] oh, we have to postpone this because of COVID. So it was a little risky, but at the same time [I felt] good, let me just do it because there aren’t many people who look like me doing it. It also set me apart from everyone else. Being a black woman-owned management company is [relatively] unheard of. I know a black female manager from New York who has her own company; she’s the only one I know. I am one of the very few; let me just do it.

What challenges did you face as a black woman in the industry?

The thing that upset me in the past is some people say, “Oh, I only have so many places for this type of actors.” Let’s say someone has five African American actors between the ages of 20 and 20. They have everything about filling certain types. I wanted to be that company that’s not about types, but about how do I choose the best actor from a diverse group of actors? Most of my clients are African American, but there is so much diversity among African Americans. Everyone has a different past. I don’t want to think that I should only have one type of client.

If the person doesn’t have a big resume, this can be a kind of naming game. Sometimes I offer my clients my services and someone says that they are looking for bigger names. The reality is that when you sell a new show, it’s about selling advertisements – the actors are also going to bring in advertising money. My job is to introduce my clients, but also make sure we have marketing materials, [to say] hey, I know she doesn’t have a really good resume, but check out her work. Fortunately, I have been able to attract many people, not necessarily experienced, to top offices thanks to the work I have done to help them develop them.

What do you say to entrepreneurs who also wear hats a lot?

It really helps you focus. If I had known [then] what I know now, I would have got into representation a little earlier. I was bouncing all over the place. I actually did casting for quite some time before I got into dealership and management – I decided to get a job as an assistant in an agency and then eventually work for a management company. So it definitely helps you figure out what you want to do and then focus on that. But, ironically, all those contacts that I established during the casting process, I still maintain; they hired my clients. I had to work in casting first in order to get the contacts that I need now when I promote my clients. I still have a lot of contacts that I met in college, I met directors while working at various companies in Pittsburgh, I talked a lot when I worked at the McCarter Theater, I met all these wonderful black directors on this internship that I worked more than 10 years ago. Even though it took me a while to become who I am, it helped that I did a little bit of everything.

How important is it to you to dedicate resources to people of color?

I think this is really important. People will complain about the lack of opportunities for colored [actors], but what about the people behind the scenes? I’m part of this diverse group of representatives, which is great because they provide you with colored publicists [and] entertainment lawyers. There are literally resources now that we can share where you can find people like you. It’s not just what we see on the screen, but also what happens behind the scenes. Even with Broadway. People complain that there isn’t enough variety on Broadway. Who are the producers? Do you know the top 5 black producers? Do you know the top 5 black directors on Broadway? It is also about ensuring that people have access to this information.

Personally, I enjoy sharing information. Even though I may not necessarily portray you as an actor, I want to help you become a resource. I do consultations with the actors because sometimes I want the other person to watch your material [and give] feedback to you.

What advice would you give people when it comes to developing a media work ethic?

I definitely think you should work overtime normally. Honestly, I’ll work until I’m done, or rather, until I fall asleep. I am a multitasker. I probably do a lot of different things while working. If you really want to work in this industry, you have to work quietly during these long hours. When you book a TV show, it will be a 12 hour day for a scene that can only be five minutes long. You’ll be surprised when people finally get what they want, how they don’t want to work. Even when you finally get what you want, it will still be a process. I respect all the kids on Broadway because you do eight shows a week – that’s a lot of work.

I will quickly recommend a therapist because you will need something to help you. There are many failures. I have a few clients who get frustrated when they get involved in so many projects and [don’t get calls back]. If you don’t get calls back, you need to come back and do your homework. Let’s find you a new coach, let’s find out what’s not landing. Sometimes you just aren’t the right fit for the role, but sometimes it comes down to work and how hard you work. Just make sure you want it. Make sure you are in a good location [and] that you have time to handle the workload and audition. Some people can’t handle juggling both, and frankly, as a manager, I can’t wait to get [them] to quit their survival job. My goal is to get everyone to quit their jobs so they can focus 100% on the game.

This interview has been edited for clarity.