New Musicals
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Masthead of the New Musicals Issue
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Editor’s Notes on the New Musicals Issue
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Thanks, Tori
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Kit Yan: Ten Questions
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Melissa Li: Ten Questions
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Enter the Good Ones: Theatres Doing Right by Their Dramatists
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When Should I Give Someone a Co-Writing Credit?
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DG Glossary: Joint Authorship
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Contracts Guide: Understanding the Dramatists Guild Model Collaboration Agreement for Musicals
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Terms of Success: A Look at the Basic Terms of a Production Agreement
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Best Practices for Authorial Billing for Musicals and Opera
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The Right to Publicity: An Evolution
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New Musicals Q&A
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Lempicka
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New Musical Development
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How to Choose the Right IP
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A Dramatist's Guide to Seattle
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In Memoriam: Samm-Art Williams
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New Guild Members – Autumn 2024
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Dramatists Diary – Autumn 2024
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Classified Ads – Autumn 2024
Contrary to current trends, not everything that exists should be a musical—the walls at Joe Allen give us that cautionary tale with each perfect burger. And in an era of changing tastes, rising costs, and no financial guarantees, you may wish you could find the perfect IP as a path to success, but just wishing a preexisting franchise will translate into a hit is like throwing all your money into a wishing well and wishing you were better with money.
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is a 2023 Tony and Drama Desk nominee, and Outer Critics Circle winner. 2019 Tony, Drama Desk, Outer Critics Circle, and NY Drama Critics Circle Winner. Theatre credits include Shucked, Tootsie, Disney’s Hercules, 13, Moonshine The Musical, LoneStar Love, and Dame Edna: Back with a Vengeance. TV Credits include Designing Women, Living Single, High Society, Partners, The Jenny Rivera Show, Football Book Club. Overall Production deals at Warner Brothers, Sony, ABC Studios. Films include Netflix’s 13: The Musical, Teen Beach Movie, Good Advice, Disney’s Wildlife, Sharpay’s Fabulous Adventure. Special events: Bette Midler’s Divine Intervention Tour, BBC’s RuPaul’s Christmas Ball. Graduate of NYU Tisch.