Amateur Stage Magazine

DO SCHOOLS HAVE A MONOPOLY ON NEW SHOWS?

Photo: The schools edition of Miss Saigon recently released for schools and youth groups.

Will any big commercial shows be released for adult amateur theatre groups anytime soon? Douglas Mayo investigates the current state of play with theatrical rights and wonders if we are overlooking some great shows in the process.

Over the past few months we’ve had a slow and steady stream of emails and letters coming in to the Amateur Stage office from amateur groups across the UK asking one question “Are any new musicals going to be released to adult amateur theatre groups in the near future?”

Of course, the situation isn’t as bleak as perhaps that question makes out with numerous new shows being released all the time, nonetheless, there is an increasing trend for new, more commercial shows to be released as “schools editions” for schools and youth groups.

The reason for this is based in commercial reality, with many of these shows still having a potential professional touring life. Producers know that smaller scale “schools” seasons won’t affect major tours that could still be years in the future. Having expended enormous amounts on development and production, they are obviously keen to get as large a return as possible on their investments.

Recently, we have seen shows such as Les Miserables, Hairspray, Whistle Down The Wind, Phantom of the Opera, and Cats released for schools with Miss Saigon just released.  Schools across the country have pounced on these offerings with great success.

I’m a great proponent of limited released for amateur groups. By this I mean that some of these bigger shows could be offered for limited release say for 6-12 months so as not to heavily affect touring by professional productions. I also believe that limited release would help professional tours with amateurs wanting to check out shows they might be getting ready to produce themselves.

It will ultimately be the decision of the producers as to whether this can come to pass. At the time of writing it doesn’t seem likely that will happen anytime soon.

Meanwhile, adult amateur theatre groups across the UK struggle on with the others shows which are released. This hasn’t been all bad. I note with interest the number of productions of Titanic that are being performed this year. Ok, I know the anniversary of the tragedy helps, but this is a musical that didn’t have a West End run, and yet it is being embraced across the country with many realising just what a great show it is!

Photo: Rodgers & Hammerstein's State Fair - a seldom staged gem!

It is time to stop whinging though and get moving with some dynamic programming. I know that box office is seemingly everything when it comes to selecting a show. Amateur groups just can’t afford risk and potential losses, but you sometimes have to wonder what other gems lie in wait buried in the catalogues of the likes of Josef Weinberger (www.josef-weinberger.com) , Samuel French (www.samuelfrench-london.co.uk) and other rights holders.  I’ve been told that most of the shows presented by amateurs make up only 10% of the shows available for selection, so that leaves a lot of options!

When Theatrical Rights Worldwide (www.theatricalrights.com) recently came to London I was intrigued to find musicals by some well known names in their catalogue that I had never heard of. Likewise companies such as Stagescripts (www.stagescripts.com), have a range of new work that is worth investigating. I’m gradually working my way through these shows and am pleased to report that quite a lot of them are really terrific.

From experience, I know that cast members are the key to the ticket sales success of most groups. Cast word of mouth can have a show selling months ahead of opening based on rehearsal buzz alone.  So the question has to be asked do we really need these big name shows?

The answer is obviously yes, but looking at the schedules of groups across the UK, how many follow a huge commercial success like  The Sound Of Music with a lesser known show? I’ve seen companies take huge audiences from popular shows and sell them into something they may not be familiar with. As with everything it takes effort though and marketing, marketing and marketing!

Has your group recently staged a “lesser known” show? We’d love to hear of your experiences. Meanwhile, over the coming months we will be highlighting shows that have potential amateur pulling power so keep your eyes open for that potential gem.

Let us know your thoughts.

editor@asmagazine.co.uk

COULD NEW WORK HELP FUND AMATEUR THEATRE?

It was refreshing and quite amazing during 2011 to see just how many new works – both plays and musicals – were being presented by amateur theatre groups across the UK.

Whilst this should be welcomed by authors and composers alike, there are certain financial risks associated with staging any show and perhaps amateur groups could end up gaining financially from helping with such development.

How many times have you noticed on professional theatre posters the billing “Originally produced by….”. Whilst sometimes this credit simply highlights the original contribution of a theatre company or producer it can also sometimes have a financial basis.

Producers like Cameron Mackintosh benefit financially every time one of the shows they originated is performed either professionally or by amateurs. Whether it is Les Miserables, Miss Saigon or any one of a number of others, they receive a financial royalty.

Consider some of the following options the next time you look at an original unproduced work:-

1.     Royalty free: Discuss the possibility of presenting the work royalty free. If the composer/playwright wants his work to be seen by others it would not be unreasonable for him to assist the group presenting it for the first time with a view to getting other potential companies to see it and produce the show. Don’t be fooled by what amateurs pay for production royalties either. Whilst most amateurs pay anywhere up to 18% of gross box office for musicals sometimes royalties for professional shows can be significantly less;

2.     Production credit: Whilst giving the theatre company no financial credit it could provide your group with huge credit if your name is linked to an original work by the next Alan Bennett or Andrew Lloyd Webber. Negotiate with the author to include a line in published scripts or maybe even on future billing credits saying “Originally produced by……” If you happen to stumble on a commercial success it would make for a great press story and give your group some much needed kudos;

3.    Production royalty: This might be particularly applicable with bigger musicals. Why not negotiate a small percentage of any future productions. It’s not as absurd as it sounds. Think about the potential royalty pool you would receive if you got even 1/2 percent from all future production of a show you helped to develop. This format might be particularly relevant if a group has assisted with workshops, development and a full scale production.

It’s not as far fetched as it may sound. Amateur groups that take risk with their programming should be entrepreneurial with their approach to staging new work.

Getting a professional production by a new author produced is very nearly impossible at a time when professional production costs are spiralling. Across the country professional companies stage workshops of new works but the costs of these can be prohibitive. Amateur groups can offer one thing that most professional companies can’t - free manpower! It’s a vital resource that we often take for granted.

As a community we can offer this resource to help develop new and interesting product and potentially benefit from doing so. It would not be unreasonable to see the future development of amateur groups whose raison d’etre is purely to develop and stage new work. Who knows there might even be government funding and sponsorship that could be raised by doing just that.

Part of our challenge going forward is to look at all aspects of what we do and examining what possibilities those activities create. Keep an open mind when staging that next new show – it might just be to your benefit!

We'd love to know of your experiences and what you think.

I'm all emotional. I can't watch or listen to MATILDA THE MUSICAL without getting choked up. At first I thought it was hormones but now I'm not so sure. The music is beyond stunning, the foot tapping, hand clapping, bouncy beautiful memorable score is absolutely fizzwhizzingly scrumptious. The CD is in our car and we listen to nothing else at the moment (even the sublime Rufus Wainwright is taking a backseat) it is laugh out loud funny and brilliantly heartbreaking. Maybe I am crying because we didn't write it. It starts off well being based on a Roald Dahl story. That man was a genius, a gifted writer who was so in touch with childhood, so naturally and effortlessly aware of what children want and need. He lived a life dedicated to making children laugh, cry, think and read. The sort of man who would get a ladder, climb up to the window of the room where his children were sleeping and pretend to be a dream catching giant. 'Those who don't believe in magic will never find it' and he was determined to create that magic for children and adults everywhere. I thought that he was the only person who really understood children. Others try and fail. Others come close but nobody captures the same magic and rebellion that Roald Dahl could. Enter Tim Minchin, all crazy haired and gifted. If I am honest when I heard that MATILDA was being made into a musical I was excited, when I heard Tim Minchin was providing the music and lyrics I was dubious. He is, of course, immensely talented, there is something completely engaging and intriguing about him but I was never a huge fan of his comedy. Now, however, he can do no wrong, he is up there with Roald Dahl in our house. I see him as the second person to really get kids, to understand the magic and rebellion of childhood and I'm not even going to quote lyrics to prove my point. There are too many brilliant lyrics in the show that I wouldn't know where to start but I am overjoyed. A musical that is truly for children, starring amazingly talented children. A chance for them to shine in a world created for them by people who understand them and are very much like them. Following on from a previous rant....this show was not cut down from another show intended for an adult cast with adult themes. This is for the kids. Finally. It is safe to say that I am now obsessed with the musical, in awe of Minchin and utterly jealous that I am not involved with the show in any small way. Sometimes, very occasionally I stumble across something that seems to have been created just for me. It happened about 8 years ago when I discovered Rufus Wainwright and I excitedly threw his name around in conversation only to be met with blank expressions and rolling eyes. I thought, perhaps, I had dreamt him. His music was so far up my street I couldn't believe my luck. Then I had a drought. Not a lot came along that was totally my cuppa. I could pick out good bits from some songwriters, films and musicals but nothing got me boring people like Rufus. Then along came Matilda, award winningly perfect and shaping the future of musical theatre. Bring it on.

The three year old youth group YoungBLODS are watching old episodes of 'Star Trek' to understand the wonderful 'send up' script and music of Dazzle written by John Gardiner with music by Andrew Parr.  The show will be staged at the Bexhill High School on 13th and 14th April.  Meanwhile, back at the rehearsal hall, the older BLODS are testing their tonsorial dexterity and grappling with the music of Elton John and the text of Tim Rice in the South East Coast Premiere of their 'Aida'.  It won so many awards on Broadway and ran for over 1,000 performances.  I wonder why it was never staged in the West End?  It will now be staged at the famous De La Warr Pavilion from 27 to 30th June.
Bernardo

We are pleased to announce that we have started to make available previous copies of Play / Musical Produced articles from our archives.

Over 100 articles are already available online and over the next few months we'll be adding hundreds more.

You can access the article index and those articles already scanned HERE or simply go to the AMATEUR STAGE tab at the top of the page and select THE PLAY PRODUCED.

We hope that you will find the articles of interest. Our sincere thanks to the many people who have contributed to the series over the past 65 years. We are always looking for new articles so if you have staged a show and would like it profiled please get in touch.

We hope you find this new online feature useful.

Regards

The Amateur Stage Team

Royal Mail has announced the release of a series of stamps featuring British Musicals. “We explored more than seven decades of popular stage musicals, looking at criteria including each show’s origins, longevity and success in order to select the eight shows you see below. Uniquely, the stamps feature a combination of both the posters and the performances that helped to make these shows the hottest tickets in the West End”, a Royal Mail spokesman said.

This Special issue also celebrates the diversity of British musicals: from the charm of 1937’s Me and My Girl to the inspired silliness of Spamalot and The Rocky Horror Show. It also takes you from the emotion of Blood Brothers and Billy Elliot to the exuberance of ‘juke box musicals’ We Will Rock You and Return to the Forbidden Planet.

Whilst there is no doubt that any stamps that help promote and celebrate British theatre are always welcome, I couldn’t help but notice that absent from the series is perhaps the countries greatest British musical icons, Lord Andrew Lloyd Webber.  Given that his musicals Jesus Christ Superstar, Cats, Phantom Of the Opera and Starlight Express hold some of the records for longest running productions on the West End (without considering their international success), one has to wonder how any of these productions could have been omitted?

Let us know your thoughts on the stamp series. Are there musicals you think have been left out? Are any that were chosen unworthy in your opinion?

Doug's brought that station to your attention, and can I suggest another? You can listen to a very large selection of the music from our musicals here at ...  www.stagescriptsradio.com