Musical Theater Composers

Must be willing/able to work temporarily ON SPEC (without compensation) until such time as a project is optioned for commercial presentation. If and when a producer picks up a show, the composer and I will–in most instances–split the Author’s Advance (option money, which secures the rights for the producer for one year) and ALL ROYALTIES 50-50 instead of the Dramatists’ Guild standard of 2/3 (minimum 4% of the show’s gross income to me for book & lyrics (libretto) to me and only 1/3 (minimum 2%) to the composer.

I’m retired on a limited income so cannot pay a composer for his services. If I could, then–like Disney–I would own all rights in the music, no matter how famous my collaborator. Where my libretto is based on/adapted from material copyrighted by a third party, the split would be 1/3 to each of us.

My modus operandi is to write several drafts of the libretto, copyright it and then work in close collaboration with the composer on rewrites where necessary. Once a significant amount of music is completed to our mutual satisfaction, it would be added to the original copyright in both our names at no additional expense.

If we reach an impasse, all rights in the music would revert to the composer. All rights in the book, lyrics and concept would revert to me.

Each of my projects has a distinctive historical and geographical milieu and this should be conveyed in the music while still appealing to an early 21st century audience and showcasing the composer’s individual style. Much as I admire Stephen Sondheim, he is sui generis. For additional information, please email me at the address below with your resume’/c.v. and samples of your original music for real, LIVE human voices. I’ll send my support material and a list of projects by return email. THANKS.

 

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