{"id":2174,"date":"2011-06-22T09:00:45","date_gmt":"2011-06-22T16:00:45","guid":{"rendered":"http:\/\/firemark.com\/?p=2174"},"modified":"2011-06-22T13:12:33","modified_gmt":"2011-06-22T20:12:33","slug":"subsidiary-rights-clauses-theatrical-production-contracts-whats-big-deal","status":"publish","type":"post","link":"https:\/\/firemark.com\/2011\/06\/22\/subsidiary-rights-clauses-theatrical-production-contracts-whats-big-deal\/","title":{"rendered":"Subsidiary Rights Clauses in Theatrical Production Contracts. What’s the big deal?"},"content":{"rendered":"

\"\"<\/a>One of the most heatedly\u00a0 negotiated provisions in theatrical production<\/a> licenses these days is the Subsidiary Rights Clause.\u00a0 In this post, I'll briefly explain what subsidiary rights are, and why they're such a big issue for producers and authors alike.<\/p>\n

The author(s) of a play or musical own\u00a0 the copyright in their work, and thus the right to the proceeds therefrom<\/p><\/blockquote>\n

Unlike a screenwriter, whose work is generally “made for hire”, and therefore belongs to the producer, the author(s) of a play or musical own\u00a0 the copyright in the work, and are therefore\u00a0 entitled to receive\u00a0 proceeds from all exploitation of the show, including all subsequent productions, publication or other exploitations, such as the sale of movie or television rights, cast album rights, etc.<\/p>\n

Authors recognize, however, that the contribution a producer makes by developing, producing and building an audience, reputation, and track-record for a show adds tremendous value.\u00a0\u00a0\u00a0\u00a0 Thus,\u00a0 for larger scale productions in Regional, off-Broadway and Broadway theatres, Authors often grant Producers a percentage of income derived from exploitation of these so-called \u201csubsidiary rights\u201d.<\/p>\n

\nThreshold for participation<\/h3>\n

Typically, the producer\u00a0 must present a threshold number of\u00a0 paid, public performances before his interest in subsidiary rights vests, and the percentage in question will often increase\u00a0 as the production achieves various milestones.\u00a0 For example,\u00a0 after the producer has presented 22 paid, public performances, he may be entitled to participate in 5% of the show's subsidiary rights.\u00a0 Then, after 42 performances, the percentage may increase to 10%, and so on.\u00a0 Typically, subsidiary rights participations will top out at around 40%.<\/p>\n

Notwithstanding the value-added by a successful production, Producers and Playwrights also recognize that this value\u00a0 dissipates over time. Consequently, the producer's right to participate in subsidiary rights is typically limited to a time-window of 5 \u2013 10 years, after which the success of the play is attributable to the authors' contribution, rather than to any particular production.<\/p>\n

Other limitations can be placed on subsidiary rights participation, depending on the specific circumstances.\u00a0 For example\u00a0 Film and TV rights may be treated differently than revenues from stock- and amateur productions. Likewise, with musicals, certain streams of income from the music may be excluded completely from the producer's subsidiary rights participation.<\/p>\n

Smaller theatres seeking subsidiary rights<\/h3>\n

There has been, in recent years, a trend of smaller producers and theatre companies to demand subsidiary rights\u00a0 in consideration of\u00a0 their productions of new plays. Producers argue that they are investing vast sums to mount a production of a new work, and their potential box-office revenues are unlikely to meet these expenses.\u00a0 Thus, they argue, they must share in the play's \u201cback-end\u201d to justify the financial risk they take.<\/p>\n

Wise authors will resist granting subsidiary rights participations to smaller producers unless the play is presented very successfully.<\/p><\/blockquote>\n

In many cases, authors are eager to see their material produced, and make significant concessions on this front.\u00a0 Experience shows, however, that a small, local production of a new play adds rather little in terms of value to the show in the long-run.\u00a0 Wise authors will resist granting subsidiary rights participations to smaller producers unless the play is presented very successfully.\u00a0 Since the authors will again be asked for subsidiary rights when the material is produced on a larger scale, they should be wary of giving away too many slices of the revenue pie to early in the life of the play.<\/p>\n

\nAn interesting trend<\/h3>\n

An interesting trend among the larger LORT<\/a> theatres has been to stop requiring a subsidiary rights participation in new plays they produce.\u00a0 These organizations acknowledge that these participations represent a relatively small portion of their annual income, but a relatively large amount of author's income,\u00a0 so they've decided to let playwrights reap full the rewards of their efforts.<\/p>\n

If you're contemplating a license for production of a play or musical (whether as author, producer or in some other capacity), it's important to consult with a skilled, knowledgeable theatrical attorney to draw up the contracts.\u00a0 Call me at 310-443-4185, and\u00a0 I'll be glad to help.<\/strong><\/p>\n

\"\"<\/div>\n","protected":false},"excerpt":{"rendered":"

One of the most heatedly negotiated provisions in theatrical production licenses these days is the Subsidiary Rights Clause. In this post, I’ll briefly explain what subsidiary rights are, and why they’re such a big issue for producers and authors alike.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"yoast_head":"\nSubsidiary Rights Clauses in Theatrical Production Contracts. What's the big deal? - Entertainment Law Offices of Gordon P. 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