• ASK BA: We Answer Your Questions

    FEATURING:

    Ralph Sevush, Executive Director of Business Affairs & General Counsel and Deborah Murad, Director of Business Affairs and Amy VonMacek, Manager of Business Affairs

    SUMMARY:

    In this recording of our April 9, 2020 webinar, staff members from BA answer business related questions submitted by our membership.

    The Guild's Department of Business Affairs is committed to educating writers about business and legal standards in the theater industry. The staff lawyers in Business Affairs can review unsigned contracts and advise on a wide range of matters including options, commissions, royalties, copyright, collaboration, trademark, rights of privacy, rights of publicity, defamation, so-called “life-story rights,” and agents. It can also provide guidance, and follow up on complaints regarding theatres, producers, publishers, agents, attorneys, festivals, and contests.

    Business Affairs also provides constructive comments to government and business leaders on balancing institutional tradition in the face of necessary innovation. Toward this end, the lawyers at the Guild track U.S. and worldwide theater business trends, advise members on immediate business concerns, and draft statements reflecting the Council’s position on issues of national import. To learn more about what BA can do for you, visit DG Business Resources.

    For more information on Guild Services, you can visit us at www.dramatistsguild.com/contract-reviews-and-business-advice-writers or call 212-398-9366 

  • New Online DG Resource Directory

    SUMMARY:

    The act of submitting creative work for a dramatist is as necessary as finishing it. But the process of finding the right submission opportunity can feel overwhelming. This is why, for more than 20 years, the Dramatists Guild has compiled a submissions and opportunities database, and published a full directory of theatres, agents, festivals, contests, workshops, retreats, and other submission opportunities to help make the life of the dramatist an easier one. 

    Our new DG Resource Directory Online brings thousands of opportunities and resources to any computer, laptop or tablet. Our new online offering provides Guild members the ability to view resources in three ways - as a Map, a Directory or a Calendar.

    While searching the Map or Directory, members can change their location to "ANYWHERE" to search the full directory, search in any listed city or add a zip code and search locally. Members can also search by resource name or filter by resource characteristics and save any resource to the new Member Dashboard. While searching the Calendar, members can find upcoming Guild events and submission deadlines for months to come and also save any event to their dashboard.

  • Credit The Librettist

    FEATURING:

    The film features interviews with leading opera composers and librettists, including Mark Adamo, John Corigliano, Anthony Davis, Ricky Ian Gordon, David Henry HwangTony Kushner, Craig Lucas, David T. Little, Terrence McNally, Lynn Nottage, Paola Prestini, John Patrick Shanley, Gene Scheer, Stephen Schwartz, Jeanine Tesori, Royce Vavrek, and opera producers Lawrence Edelson, Eric Einhorn, and Laura Lee Everett of  Opera America.

    SUMMARY:

    The Dramatists Guild Opera Committee’s Librettist Initiative premiered the short film Credit the Librettist: Conversations with Today's Opera Makers at Opera America’s New Works Forum on Thursday, January 16 at 10am at the National Opera Center, 330 7th Avenue, 7th Floor, New York. Credit the Librettist: Conversations with Today’s Opera Makers was conceived by Michael Korie and Mark Campbell, and the Librettists Initiative.

    The film centers on the upsurge in new American opera, which has generated a greater focus on the story and given new prominence to the librettist in the creation of new works. It was created in order to inform leaders in the opera world about ways to achieve great parity for opera librettists, foster a more equitable approach to crediting artists that more accurately reflects their process of collaboration, and educate audiences about how new operas are made.