Finally, most of the commercial producers I represent do not give a NNP adequate financial participation in the development of a work. However, the more the NFP needs it, the heavier the property becomes and therefore the less attractive it becomes to the commercial producer who, together with his investors, will have to bear the financial burden of the NFP. Commercial theatre producers generally understand the invaluable service that PNF offers in the development of new products – and the new product is the life of commercial theatre. You also know that, in a world where production costs are rising, it is often not economically viable to promote a new “square one” project for the commercial scene. This explains why so many Broadway plays and musicals have their origins in the associative world. Here is a complete resource, easy to use for anyone working in the performing arts! This new expanded edition contains 33 much-needed, hard-to-find contracts and forms that save artists and performance rights groups thousands of dollars in legal fees while minimizing their legal risks. Lawyer/producer/Playwright Charles Grippo explains the correct use of each form in clear and concise language. Whichever side of the bargaining table, you`ll find plenty of practical tips to help you get the best deal possible. These ready-to-use forms and contracts cover all aspects of theatrical law, including author`s agreements, commissions, production licenses, play publishing and more. Also included on a convenient CD-ROM, forms can be copied, modified, customized and stored electronically. NEW TO THIS EDITION: contracts for performing arts designers; Combat and stunt directors; Musicians; Orders for original compositions; And much more.
From producers and directors to performers and choreographers, theatre creators and box office directors, this volume is a necessity for anyone interested in the performing arts. The parties acknowledge that prior to the date of this agreement, Equity filed complaints on behalf of members who sought compensation and weeks of health care in work that was the subject of litigation between the parties. Both unions want the best possible outcome for these members. This agreement does not prohibit Equity from taking steps to resolve these claims, provided that equity does not present arguments or claims in conflict with the principles of jurisdiction set out in the agreement. Regardless of the size of the theatre group or the size of the staging, the playwright and the theatre should always have an agreement on the staging of the play.