Tom:  In the U.S. permission for and royalties for concert performances are handled through one of three performance rights societies, ASCAP, BMI, or SESAC.  They grant licenses that in most cases are blanket licenses covering their entire catalogs (either for a single concert, a concert series, or on an annual basis), although I suppose they might also grant licenses for the performance of specific works on specific concerts.  ASCAP and BMI base their license fees on the number of seats in the venue and the highest ticket price, using different formulas.  I don't know about SESAC.

 

Staged musical works come under Grand Rights and permissions and fees must be negotiated with the individual copyright owners or (more often) their designated agents. 

All the best,

John

For musicals, there are several companies that collect the royalties and licensing. The "big" musicals are usually held by Music Theater International (MTI), Tams-Witmark, Rodgers and Hammerstein Organization, or Samuel French. 

 

 

 

Donna

 

Tom,

 

I am a member of ASCAP and some if my works have been performed in the UK. The performance rights were still handled by ASCAP. In your situation, perhaps your UK PRS has a similar setup? I would check with them directly. 

 

And a cautionary tale: most US arts organisations indeed have blanket ASCAP and BMI licenses, but unfortunately many do not report adequately the exact composer/title details of their performances. As a result (speaking from experience), composers often miss out on receiving many of the royalties owing. The best way to avoid this problem is for the composer to report the specific performances directly to the performing rights body.

 

In your case I would start with the UK PRS, since that's where your work is registered.

 

Best of luck,

Kathleen

 

Dr. Kathleen McGuire

Tresona Certified Arranger.