If you have a question regarding any aspect of Alan's work, email it to: ayckbourn@gmail.com (labelled Ask The Archivist) and we'll publish any interesting questions.
A slight change of format this week. Some of the most frequently asked questions to alanayckbourn.net over the years have concerned amateur productions of Alan's plays. Here we've collected some of the most asked questions (with thanks to Samuel French's website for their comprehensive answers to several of these questions which have been reproduced here).
Can changes be made to Alan Ayckbourn's scripts for amateur performance?
No changes of any kind may be made to a script without the permission of the author. This condition of every performing license is also repeated in the published edition of his plays which states: 'the integrity of the authors' work will be preserved.'
This includes - but is not limited to - changing the sex of characters, cutting 'bad' language, adding material, altering the setting (be it time or place) or adding characters written as unseen / offstage.
If you feel particularly strongly about an alteration, contact the licensing agent (generally Samuel French Ltd) and if a persuasive case if presented this may be forwarded to the author or author's agent, but there is no guarantee an alteration will even be considered let alone approved.
Why do certain previously available plays become unavailable for performance?
When a play is produced professionally, the amateur rights are often restricted or withdrawn completely until the professional contract has expired. This is a standard licensing procedure in order to protect box office income.
While it may be argued that an amateur production would not harm or infringe on a professional production, it is generally standard practice to restrict amateur rights and this clause is generally guaranteed in professional contracts and requested by professional producers.
Why isn't a new play published / made available for amateur performance sooner?
Most Ayckbourn plays are published and made available for amateur performance within two to three years of the original performance. This is to allow the initial professional stage life of a play to be fully exploited. In the case of most of Alan Ayckbourn's new plays in recent memory, the initial production is followed by a tour which covers the better part of a year. As a result, it will frequently be 12 months before a new play is made available even for general professional production.
Are unpublished works available for production?
In certain cases, some plays have not been published - such as many of the revues and plays for children - and which are available for production. In these cases, enquiries should be made to Alan Ayckbourn's agent.
Certain works such as the early plays (anything written before 1963) or specific plays (for example: The Sparrow, Jeeves, Virtual Reality) are not available for production.
Can we record our production?
No. The performance license for Alan Ayckbourn's plays is only for live performance which excludes the recording of the play.
The only exception - if agreed by the licensing agent - is if the recording is for an archival purpose and is not being shown publicly or distributed to anyone outside the performance company.
Ou production is raising money for charity. Can we get a royalty waiver or reduction?
Unfortunately, no. Royalties represent authors' income and it isn't fair to ask them to support other people's fundraising in the form of lost royalties.
Do we have to pay royalties if we don't charge for admission?
Yes. Legally a production must be licensed if it is witnessed by the general public, regardless of whether or not a charge is being made to them. Also performances before audiences reduce the earning potential of a play for which the author must be compensated in the form of royalty fees.
To submit your question to Ask The Archivist, email Simon Murgatroyd at: ayckbourn@gmail.com labelled Ask The Archivist.
