I wrote my first play, Pretty Fire, in 1992. It was first produced, here in LA, by the long-defunct Fountainhead Theatre Company, along with my husband, Harris, and I. We had nothing much in the way of a contract with The Fountainhead but I was so thrilled to get access to the tiny 75 seat theatre, I said, “Y’all give me the space and the keys to the theatre and I’ll give you all the box office sales.” With that and a handshake, the deal was made.
We all assumed the solo play would be a one-time thing. However, Pretty Fire had a sold out run and we extended as long as we could. The Fountainhead received great box office—but Harris and I were broke, because we ended up picking up all of the costs of producing the play.
A month later, we re-mounted Pretty Fire at another equity waiver theatre because a good friend offered to help finance and produce.
Over the years, as an actor, I had formed relationships with several off-Broadway theatres in NYC. I sent the script to Manhattan Theatre Club. MTC offered to produce my play in rep with a solo play by Richard Greenberg. I was over the moon! A reputable theatre—an amazing organization—was producing my play. Finally, I was free to be the artist...just the artist. I was no longer in charge of marketing, audience development, set design, sound, costume and lighting design.
MTC sent me a complex off-Broadway contract that neither I, nor my attorney husband, could fully comprehend. We needed help. That’s when I joined the DG.
The DG immediately put me in touch with Dana Singer, an associate director, who reviewed the contract. She pointed out the issues and the best way to handle them. The DG provided clarity and the necessary information to facilitate my decisions. From then on, in spite of the fact that I have a great lawyer and a great agent, I continue to run all of my relevant agreements by the DG.
That said, I am still eager to have my plays produced, but I no longer make handshake agreements, nor do I allow a theatre to take all the profits!