The DG Goes Abroad

To connect with London-based writers to offer hospitality and education, and to demonstrate the value of membership in the Dramatists Guild; 

The centerpiece of the London trip was a town hall co-sponsored by the DG and the WGGB, hosted by the Royal Court Theatre. The event was an opportunity to introduce the DG to a wider international audience through a presentation of our Devised Theatre guidelines to 50 or so writers, actors, and labor representatives from the UK. Afterwards, a lively discussion ensued and the group then retired to the Royal Court’s cafe/bar area to continue the conversation in a more casual setting. 

A private dinner brought together other writers from the US and UK, as well as reps from the DG and the WGGB. Doug Wright was joined by Amanda Green and DG member Lauren Gunderson in hosting British writers April de Angelis (After Elec- tra), David Eldridge (Festen), Tanika Gupta (Hobson’s Choice, Eastenders), Nina Raine (Tribes), and playwright David Edgar (Trying It On), represent- ing the WGGB. The discussion was wide-ranging, covering topics like building a more inclusive theatre, the moral imperative to join the Guilds, and the ways in which our organizations can support each other. 

To build relationships with agents and attorneys representing British and European writers whose work is produced in the United States; 

We met with agents Rose Cobbe and St. John Donald from United Talent, Katie Haines and Nick Quinn from The Agency, Mel Kenyon from Casarotto Ramsay, and Alan Brodie, as well as attorney Neil Adelman at Harbottle & Lewis, and each of these meetings brought us new perspectives on the nature of the theatre industry in the UK and how the British writers view working in the U.S. We learned that, while the WGGB does not play a role in the negotiations of commercial productions, their collectively bargained agreements with the nonprofit theatres are standard. 

In addition to our devised theater materials, the representatives were interested in hearing about the Guild’s processes and what we could offer their writer clients when they are produced in the U.S., including advice about navigating our industry on our contractual standards. They were particularly excited about our discussion of a “hospitality program” for their clients when they come to New York with a production. Such a program is still under discussion and could include a greeting from the Guild and a variety of services, such as coffee and a space to work and social gatherings with members of Council. 

To discover opportunities for DG members to have their work produced in the UK and Europe; 

Throughout the visit, and in our meetings with WGGB and SACD, we sought out opportunities for DG members. For example, the SACD is actively seeking French-speaking playwrights to write English translations of French plays. Also, playwright Kwame Kwei-Armah has scheduled a number of works by 

American writers into his first season as Artistic Director of the Young Vic. While we were there, Lauren Gunder- son was being produced at the Hamp- stead Theatre (with Game of Thrones’ Maisie Williams), Hamilton is a smash in the West End, and our other mem- bers’ works continue to be regularly presented on British stages. But a better understanding of the standards and contracts for production in the UK will help us better prepare our writers’ expectations for overseas productions. 

To determine if reciprocal relationships between the DG, the WGGB, and the SACD can benefit our respective members; 

In our meetings with both the WGGB and SACD, we discussed the various benefits of membership in each organization. We are continuing to explore ways in which our organizations could benefit each other, including the hospitality program that the organizations could provide to each others’ members when they have productions in London, Paris, or New York. 

We are also investigating the work being done by our committees to glean useful information to share with our memberships (i.e. the WGGB has a radio committee that has shared their standard contracts for radio plays). Meanwhile, we are discussing live streaming as it becomes a larger part of both Broadway and the West End, and discounted and reciprocal memberships, as well as developing joint publications that summarize our respective agreements, and where they overlap, and how they diverge. 

And, to investigate examples of buildings that act as centers for dramatic writers to feel part of a supportive community. 

The SACD is blessed with an elegant eighteenth-century headquarters in Paris that was a gift from the notable playwright and revolutionary, Pierre Beaumarchais. In addition, they have created the Maison des Auteurs, a connected facility which features a cafe, meeting rooms, a small auditorium, and a newly added YouTube studio. By contrast, the WGGB has more modest accommodations (as does the DG, and as does anyone without an eighteenth-century French chateau). The dramatists working in London have cobbled together a network of meeting and workspaces at venues like The Hamp- stead Theatre, The Bush Theatre, and The Royal Court, that have cafes (and, in the case of the Bush, a script library) that welcome writers. Still, despite these ad hoc spaces, writers spoke to us of the lack of a sense of community in London, and the contrast between our various facilities was striking. 

Upon our return to New York, we offered a report to the Council on our activities, and we have continued to work with the WGGB on plans for reciprocal benefits and exchanges of information. Our visit also started a discussion about organizing an international conference of writers groups from all over the world. 

Meanwhile, we remain inspired by our visit to the SACD and are encouraged in our ongoing efforts to establish a similar facility for dramatists in America. All we need is a Beaumarchais of our own . . . aging and charitable, with a westside townhouse and disliked relatives.