• The work of a dramatist transcends hourly limitations, which is why dramatists can sometimes appear to be outliers in the 10 out of 12 model. That said, if the goal of this initiative is to create more sustainable, humane conditions, with a better work/life balance for all, does that mean dramatists would be more fairly compensated for their labor and time spent both in rehearsals and doing around-the-clock rewrites to get the show ready for opening night? What other steps can theatre companies take to allow for a better work/life balance, and how would those steps include dramatists?

• If the rehearsal period will contain the same number of hours stretched over more weeks, will this result in shorter runs and/or fewer productions per season? And will that, in turn, reduce the compensation and production opportunities for dramatists? And if this spread-out rehearsal schedule increases production costs while generating less revenue, how can theatres remain financially secure, particularly since we are still in a pandemic and live theatre is only just reopening for much of the country?

• If shows will simply have less rehearsal time overall, how will dramatists be impacted by having less time to develop their work before audiences (and critics) show up? How will this shorter rehearsal period effect the show’s critical reputation and future licensing opportunities?

• Would eight-hour days and five-day work weeks apply only to the rehearsal and tech/preview periods, or would this new model be implemented for performance weeks as well? If producers reduce the number of performances per week, will the compensation paid to all those working on the show be proportionately reduced?

• What would success look like for a theatre that eliminates 10 out of 12s? Who defines success in this instance? For example, regional theatres might have multiple periods of technical rehearsals for different shows, while some Broadway shows could have one extended period of technical rehearsals and previews that goes on for months. How are theatres of all kinds finding ways to uphold their commitment to eliminating 10 out of 12s from their productions' rehearsal processes?

• After considering the possible responses to these questions, what best practices, if any, could or should the Guild recommend to its members in regard to 10 out of 12s and six-day work weeks?

• Principle: The Composer and Librettist of an opera are artists and collaborators, working in a field where billing credit impacts careers, and so, therefore, both are entitled to appropriate and equivalent billing credit whenever the opera is being promoted.

• Best Practice: When a new opera is created, the company (including its general directors, artistic directors, company managers, marketing people, and anyone else involved in the promotion of the work) will ensure that both composers and librettists are properly credited in all related materials, and the company will enter into contracts with composers and librettists that will so provide.

• Sample Contract Language: In order to put the principle into practice, composers and librettists will need to include language in their contracts with the producing company. Attached, via the button below, is a sample billing provision that can be customized to your particular circumstances and either inserted into a contract or added later by addendum.

• No one may receive billing larger or more prominent than the author, except for stars billed above the title and the name of the theatre;

• No one may receive billing as large as the author, except for the director;

• No one may receive billing above the title, except for stars and producers;

• The font size of the author’s billing is typically 50% of the size used for the non-logo title and at least 25%-30% of a logo title;

• The author's name is listed directly below the title, on a line by itself;

• The author’s name should be included in the billing in all theatre programs, house boards, posters, cast albums, souvenir programs, and any and all paid advertising and publicity issued by, authorized by, or under the producer’s control, and whenever the director or producer of the show are otherwise included in the billing.  

• The author need not receive billing in directory advertising (e.g. “ABC’s,” except Wednesday, Friday, and Sunday ABC’s in The New York Times); or wherever only the title of the Play and the name and address of the theatre in which the Work is being presented appears; 

• In paid print advertising that is less than ¼ of a page; 

•  In other paid advertising and publicity in which only the title of the Work, names of stars billed above the title, the name of the theatre, critics’ quotes, and/or ticket price scales appear;

• In the use of quotations from published reports or critics’ reviews in advertising or other publicity;

• In advertising or publicity announcing “Tony Awards” or similar organizations according special recognition to any individual, if the individual is the nominee or recipient of an individual award; provided, however, that if the Work is nominated for or receives an award for Best [Play][Musical and/or Score], the author will get billed as required in any award, congratulatory, or nomination ads with respect to such advertisements.