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Latest reply from Ron

(12 posts) (2 people)

Composing a New Musical

Posted 1 year ago by Ron

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Ron said 1 year ago

I'm being courted to write a new musical. The book and lyrics are already written and I would just write the music which is about 20 songs. It sounds like I'll have a little orchestration to do in addition to the composition. I have to be finished in less than two months and the premier is set for January in NY.

Papers that have been sent to me (lacking legal language) so far state I would get a percentage of the profits once the production costs have been recouped...I don't like the sound of that considering profits are unlikely for a few years.

I have been doing some research and asking around and finding a variety of suggestions in terms of percentages and royalty advances. Some say I should just do it and pray for profits since it will be performed and I can "get my name out there", while others say I should not start until I secure an advance against royalties.

So if I were to ask for an advance and settle on percents, what would be appropriate? Should I even ask for an advance?

I assume I should show everything to a lawyer before I sign on but I am concerned that I am going to have to ask a lawyer to draft an collaboration agreement and/or contract. So I should ask them to cover that cost, right? Or are there places online with these sorts of contracts available?

Any advice or insight would be greatly appreciated!
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David J. Hahn said 1 year ago

Hi Ron -

Good questions. I'm not sure I totally know the answers personally, but my I can ask the right questions.

Have you written a lot of musicals before? Were they really successful? Did they recoup?

Is it a big company like Disney or similar?

If not, do they have investors and producers lined up?

Will there be time for workshops and readings prior to the premier? Where will the premier be in a big theater? Will the show run after the premier?

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Ron said 1 year ago

Thanks for your quick response David!

No, I have not written any musicals before but other compositions and/or orchestrations of mine have been performed (or scheduled to be performed) and been successful. Some are being considered for performance by orchestras abroad. Idk if any of that matters in this case.

It appears to be an individual.

The individual must have some kind of funding since it is scheduled to be performed, right?

There are workshops from November to the beginning of January. I do not know what theatre it is premiering at but it is somewhere at Wagner college. The workshops are also at the college.

Let me know what you think...
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David J. Hahn said 1 year ago

Ok. I'll tell you my honest impression - it sounds like this might be mostly a free gig for you. It could be good experience for you if you want the experience. I don't think it'll be much exposure because Wagner is out on Staten Island, which is kind of a dead-zone for the Broadway industry.

If it was workshopping in Manhattan at one of the major studios or theaters (New Dramatists, Playwrites Horizons, etc.) I think it would be a lot more valuable for you.

So I don't think you'll get an advance, and I'm nearly certain they'd never recoup between now and next spring. Shows rarely recoup - even when they make it to Broadway. And shows at college venues are even more notorious for not recouping (because the nearby audiences are usually saturated with the arts).

So if you want to do the gig, I would look for non-monetary compensation. Will you be able to work with big names? Can you invite potential industry insiders to the performance? How many comps do you get? Can you do the hiring of the music department (MD, musicians, copyist, etc.).

Monetarily, I think you could ask for a transportation stipend. And covering yourself with a contract stating future royalties, after recoupment, will be split - definitely do that. But I wouldn't hire a lawyer.

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Ron said 1 year ago

Thanks David! Workshops are at Wagner.

I am not very optimistic about non-monetary compensation. I am not based in NY so I probably would not be the one hiring the music department. Would that be a comp? It sounds like an added task...maybe I'm not looking at that part the right way.

I can understand writing the show for nothing but orchestrating, traveling, hiring and copying seems a bit ridiculous. Is that just how the musical writing business is? Usually I'm on the MD end of things.

I just do not want to be taken advantage of...
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Ron said 1 year ago

Aren't those items production expenses?
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David J. Hahn said 1 year ago

A comp is a free ticket - giving comps to industry people is a good way to get important business contacts to come see the show. They are unlikely to come if they have to pay.

Having the ability to hire people is very valuable. When you give someone a good gig, they are much more likely to give you a good gig when they have one to give out. Or they are more likely to recommend you for work that they hear about. Afterall, you always hire them, so they have an interest in seeing you succeed.

While transportation to NYC is usually covered, transportation expenses inside New York are sometimes not. You'd want to get that in the contract. If there is a per diem they may consider transportation part of that.

My gut tells me that this is not a money gig. It sounds to me like you'd probably lose money on this. Here's the cons as I see it:

- It's on Staten Island, which is, at best, the outermost hinterlands of the NYC theatre scene (Sorry, SI)
- You may not make any money
- The talent level of the production will be commiserate with the compensation for the performers (meaning, if it pays very little, you won't be working with very talented performers)
- If the rest of the creative team doesn't have a track record for creating successful shows, it's unlikely that this one will be different
- New York is expensive and even with hotel, transportation and per diem provided, you'll probably spend a lot of money visiting here

Here's the pros:

- It might be fun to write the musical
- Outside of NYC you could say that you had a show premiered in New York
- You might meet people that would hire you for jobs later
- You might get a (mostly) free trip to New York
- The show could turn out great and lead to more performances, and royalties in the future
- You could meet other artists to collaborate with in the future

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Ron said 1 year ago

Thanks David! I like the pro-con chart. I hadn't really thought of hiring musicians in that way before; that makes a lot of sense. When you said comp I was thinking more along the lines of "half price at the buffet" or "10% off admission to Adventureland". Comp tickets would be good.

Thanks again for your advice!
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David J. Hahn said 1 year ago

Hi Ron - any news on this project?

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Ron said 1 year ago

Hi David,
I've began some preliminary collaborations with the writer and it seems I will be able to score a small fee for writing some orchestrations (still TBD). We are working out other items like travel stipends as well. Better than nothing right?
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David J. Hahn said 1 year ago

Yeah! Sounds cool Ron. Let me know if it comes to the city. I'll try to come see it.

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Ron said 1 year ago

I'll let you know! I might send something out to the MD list on yahoo as we get closer to the premier. Thanks!

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