So it is encumbent on us to provide writers with the tools to master the business, as well as the craft, of writing theatre in America in the 21st century. We do this through our business affairs seminars (the "Contracts 101" series and town-hall meetings around the country), our publications (aside from my column, there are the Business Affairs articles in the magazine, the Resource Directory, and the "BizBlips" in our e-newsletter), our website (the Business Affairs "FAQ," and the online database of Business Affairs articles and contracts), and our Business Affairs department, available to speak with you about your contracts and other theatre-related business concerns.
The best starting place, however, is the "10 Commandments" of the PLAYWRIGHT'S BILL OF RIGHTS that we provided to you when you joined the Guild. The most critical of these are summarized as follows:
I. ARTISTIC INTEGRITY. No one can make changes, alterations, and/or omissions in your script without your prior consent.
2. OWNERSHIP OF INTELLECTUAL PROPERTY. You own the expression of the ideas embodied in your script.
3. OWNERSHIP OF INCIDENTAL CONTRIBUTIONS. You own all contributions made by other participants in the production to your script, including those of directors and dramaturgs. You do not owe anyone any money for these contributions unless you have a written agreement providing for such payment.
4. APPROVAL OF PRODUCTION ELEMENTS. You have the right to approve the cast, designers, choreographers, conductors, and director (including replacements) for your production.
5. RIGHT TO BE PRESENT. The author always has a right to attend casting, rehearsals, previews, and performances.
In keeping with this issue's theme, you should be aware that we also have a version of the PLAYWRIGHT'S BILL OF RIGHTS modified for a university production environment. We have sent it to academic institutions, and we plan to do so again.
The rights I'm writing about do not exist in the ether; they are a consequence of your ownership of your copyright and, therefore, are terms you can, and should, require in any license of your work.
To surrender these rights not only undermines your control over your play, but betrays the efforts of nearly 100 years of playwrights who've insisted on these terms. These "rights," therefore, are also a responsibility ... to your own work, to your colleagues, and "to those who came before you and others yet to come" (thanks to Lynn Ahrens for that particular turn of phrase).
Summer's over. Back to work. See you in 60.