Obtaining rights for the use of copyright music in theatre productions, both in the US and in the UK, can be a tortuous task. Increasingly, major labels want to negotiate on a per-show basis, but their frame of reference is often limited to film or television, and their awareness of the state of most theatre companies’ financial affairs is virtually nil.
My almost certain-to-be longest-running sound design ever is not in a theatre or an exhibition. It sits in a gallery in one of London’s most popular historic house museums, The Wallace Collection, in Manchester Square, a stone’s throw away from the busy shopping area that is Oxford Street.
Technical directors and prop masters live and die by their "Bag-O-Tricks." No matter how complicated the show is, there are usually one or two items that a resourceful technician can pull and/or modify from stock....More
Production and lighting designers Steve Lieberman and Seth Jackson discuss how to create engaging environments that suit the needs of the client; dealing with artists’ riders; fiscal responsibilities of a designer; and scaling creative from small festivals to massives....More