Work out which of your guests the character is for before you go anywhere near a price. A lookalike who moves through a room posing for photographs is a different booking from a performer with a written stage spot, and the two rarely cost the same or need the same setup from you. Say which one you want in your first message and the reply will be worth reading.
Sydney's version of this work leans heavily corporate and promotional, which is why so much of it happens in city hotel ballrooms, harbourside venues and on trade show floors. Almost nobody on this list carries a written review here, so judge on the footage and on whether the performer asks sensible questions back about your room and your guests.
Top picks are the acts in this category in Sydney, without a review, rating or premium ranking: all these sort keys are tied.
Preparation time drives it more than performance time does. A character built on heavy makeup or prosthetics can be two hours in the chair for a forty minute appearance, and the performer is billing that whether the quote itemises it or not. Length of the booking, travel across the city and whether you want two characters together do the rest, and the live from-prices here show what Sydney performers are asking.
Not necessarily, and this is the mistake people make most often in this category. Look, voice and mannerisms are one skill set; performing the songs is another, and singing impersonators are listed separately for that reason. If you want the room to stop and watch a musical performance, say so plainly in the enquiry.
Character work has a shelf life, and the reaction fades once every guest has had their photograph. Somewhere between forty minutes and an hour and a half covers most Sydney functions, and two shorter appearances across a night usually land better than one long stretch. Agree the blocks in the quote so nobody is standing around in costume with nothing to do.
It is one of the steadier uses of this trade in Sydney, because a character stops foot traffic in a way a banner cannot. Tell the performer what you actually need out of it, whether that is photographs, collecting details or simply holding people at the stand. A performer who has done exhibition work will ask about noise on the floor and where they can retreat to between blocks.
Wigs, prosthetics and full costume take longer than people allow for, and a performer getting ready in a venue bathroom arrives flustered and late. A lockable office with a mirror and a powerpoint is all that is needed, and city venues can usually find one if you ask at booking.
Half the value of this act is the moment people first see it, and a character who drifts in through a side door while everyone is queueing at the bar gets none of it. Pick the door, pick the minute, and tell whoever is running your night so somebody cues it.
If your event is ticketed, promoted or filmed, describe the act as an impersonator or a tribute performance in the wording rather than as the person themselves. Guests enjoy being in on it, and it keeps you clear of a complaint from anyone who was not.