Mercury effort to get plays earlier

Press, Volume CXII, Issue 32847, 22 February 1972, Page 10

Mercury effort to get plays earlier

An attempt to get in on the ground floor with the writers of successful West End stage productions is being made by' Mr Tony Richardson, director of Mercury Theatre, of Auckland, reports the London correspondent of “The Press.” While in London on an arts council fellowship, Mr Richardson is using some of| Ihis time to sound out thej i bigger theatrical agents on the idea of treating New Zealand as a separate country, and not as part of a job lot with Australia. So far he has discussed only the general problem with them. In the next few days he will tackle them with a specific proposal—instead of selling what are known as “Australasian” rights to a play or show, they should sell separate Australian and New Zealand rights. Mr Richardson hopes to make sure that more plays which are proven box-office

draws will actually get to New Zealand. At present, he says, Australian promoters such as Edgeley-Williamsons, Harry Miller, Aztec Services' and Phillip Productions invariably acquire the Australasian rights, but the plays ■concerned very rarely get to New Zealand. Mainly, he says, this is because they find it very hard to make much money after paying the costs of travelling to and within New Zealand. But in spite of that, they ■like to hang on to the New ■Zealand rights just in case They decide to take a play to New Zealand. “In fact,” said Mr Richardson, “it doesn’t cost them any more to get the New Zealand rights. They make a down payment on account of royalties, and that’s it.”

■ ; He wants to change that. :i“lf we could secure the principle that there’s a difference' between Australia and New Zealand that would be fine.”! He said: “I am hoping to make a break-through with one or two key agencies. If! people had to pay, say, £1000 : for the Australian rights and a separate £5OO for the New Zealand rights, it would mean that an Australian group buying the rights would be making a positive gesture towards coming to New Zealand. And it would be open ■ Ito us to buy the New Zealand rights separately.” He also plans to arrange: for representatives in London' ■ to watch for suitable plays,' I and to send scripts and tapes! i to Auckland. His idea is that the Mercury Theatre would pay about $5O for such a ser-l vice, and gain the right to! take up an option on the New! Zealand rights within four, weeks, Mr Richardson’s main purpose is to get plays on stage in Auckland while they are still news, and when the New Zealand public is ready and willing to see them. It took him four years to get the “Canterbury Tales” out to New Zealand. Another advantage of arranging performing rights separately would be a saving in royalties. When the Australasian rights are held by an Australian promoter, he takes an extra 2 or 3 per cent when he assigns the rights for New Zealand. Mr Richardson feels quite hopeful of success, but is hampered by the fact that there is no central organisation for the 40 or so writers’ agents. But he hopes word will soon get around. “After all,” he said, “I’ve I known writers who would have been quite pleased to get the extra £lOOO or so.”