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Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.

Wednesday, March 24, 2010

Roundabout revises subsidiary rights policy

Playwrights, take note.

Certainly an improvement. Still, I'd love to know how much actual money is generated for institutions like the Roundabout by subsequent productions? Especially considering how little playwrights make generally as it is. If the Roundabout, or any other company like it, took exactly zero dollars from playwrights, would that significantly reduce their bottom line?

I'm curious, that's all. I acknowledge that large theatrical institutions help establish plays and therefore often create the subsequent productions by the very act of producing them. Still, playwrights do not, as a rule, earn a living from their work as a rule at this point. Is there some better way for companies to generate operating budget? Or are subsidiary rights a larger piece of the pie than I realize?

Anyone out there have numbers on this?

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