DEAR FERGUS
Almost a Rialto by Fergus McGillicuddy
Before leaving for a couple of weeks to recuperate from the Tonys, our beloved
V.J. requested that I fill in for him by writing this and next week's Rialto
column. Rather than bore everyone to death with yet another rehash of "what the
hell were they thinking?" about the Tonys, this week I've decided to
answer, once and for all, two of the more frequently asked questions visitors to
Talkin' Broadway - the ones who are apparently too terrified to register and ask
on the All That Chat forum - e-mail me each week.
QUESTION: Everybody is always talking about being able to see videos
of Broadway plays and musicals at some library with restricted access. What are
they talking about and how can I see these tapes?
ANSWER: The Billy Rose Theatre Collection at The New York Public Library
for the Performing Arts in New York city maintains a collection of videos of the
original Broadway productions of hundreds, if not thousands, of plays and
musicals. Details of what is available in the Billy Rose Theatre Collection,
including the videos, is available at
http://www.nypl.org/research/lpa/the/the.html
The quick answer to your question is to phone the library at (212) 870-1641 and
ask if a tape of the show you want to see is available for viewing. If it is,
they will be happy to make an appointment for you to come in and see the tape.
(They are willing to make appointments weeks and sometimes months ahead of
time.) They will ask if you have a legitimate reason for wanting to view the
tape.
QUESTION: I've just finished writing a musical (or play). How do I
get a producer to read it?
ANSWER: The first thing you must do is establish your credibility and
credentials as a legitimate playwright, composer, and or lyricist. The best way
to do this, assuming you have a completed script or libretto, is to join the
Dramatists Guild.
The Dramatists Guild of America is a highly respected professional association
for playwrights, composers, and lyricists. The Guild works to advance the
rights of its more than six thousand members. Membership is open to all
dramatic writers, regardless of their production history.
Members of the Guild are invited to attend informative and insightful symposia
held nationwide. Past symposia include: Interviews with Stephen Sondheim, Wendy
Wasserstein, Marsha Norman, Terrence McNally, Arthur Miller, and Sheldon
Harnick; Secrets of applying for playwriting grants; Panel discussions with
emerging writers; The business side of writing for theatre.
Membership will entitle you to a number of Guild publications, including the
bimonthly journal of the Dramatists Guild with articles on current issues in the
theatre, interviews with well-known authors, and transcripts of Guild symposia.
You will get the Newsletter, the supplement to The Dramatist available only to
members, with articles from the Business Affairs department, timely information
on submission and career development opportunities, and reminders of
approaching deadlines. You will also get the Resource Directory of conferences
and festivals, contests, producers, publishers, and theatres as well as agents,
attorneys, colonies and residences, emergency funds, fellowships and grants,
membership and service organizations, and workshops.
Any writer who has completed a dramatic script may become a member of the
Dramatists Guild and receive a wide range of benefits, Business Affairs advice,
and Contract review. Detailed information is available at
http://www.dramaguild.com/
Personal note to V.J. Damnit, would you please get back here as
fast as you can? These bloody Rialtos are harder to write than they look. And,
what the hell is a "tidbit" and why do I need to end with them?
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