Vol. 22 No. 3
Jan/Feb 2020
The Before and After Issue
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Editor's Notes on The Before and After Issue
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Dear Dramatist: Jan/Feb 2020
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News Roundup: Jan/Feb 2020
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Tony Meneses: Ten Questions
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The Craft with Audrey Cefaly
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Before You Write the Play or Musical, Part One
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The Real Person in Your Play
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Underlying Rights, Part One
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Before You Write the Play or Musical, Part Two
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Contracts 101: Collaborations
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Marketing 201: Beyond Submitting
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20 (Mostly Free) Tips to Promote Your Play or Musical
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Terms of Success: A Look at the Basic Terms of a Production Agreement
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The Road to Riches: Publishing & Licensing
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Playwright's Collectives
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Subsidiary Rights, Part One
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Developing a Long-Term Plan for Your Literary Papers
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DGF Fellows: Erika Dickerson-Despenza
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DGF Fellows: Jay Adana & Zeniba Now
- Jay Adana
- and Zeniba Now
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DGI: Northwestern Musical Theatre Intensive
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California - North: Play Cafe Affords Unique Opportunity to East Bay Playwrights
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Dallas/Ft. Worth: The Politics of Space
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DC: Introducing District Dramatists
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Gulf Coast: Conversations at Bacchanal with Kurt Opprecht
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Houston: Interview with Rachel Dickson
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Missouri: Confluence New Play Festival
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New England - East with Andrea Lepcio
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New Jersey: The Infinity Plays
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Seattle: The Scratch
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DG Southwest Region Going Strong
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Tennessee: Interview with C. Kay “Andy” Landis
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Notes from Puerto Rico, Part Two
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Why I Joined the Guild with Georgia Stitt
Subsidiary Rights, Part One
This roundtable was originally published in the November/December 2011 issue of The Dramatist.
David Faux: Tonight’s panel is on subsidiary rights. To my immediate left is Stephen Schwartz. He’s the current President of the Dramatists Guild. He’s the composer and lyricist for Wicked, Godspell, Pippin, and The Magic Show. His awards include four Drama Desk Awards, three Academy Awards, and four Grammy Awards.
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