Distribution of Production Materials
Persons who specifically identify themselves as serious investors, vested creative/managerial partners, producing organizations/facilities, or parties to the ancillary markets will be provided with contract or script materials. A CD-ROM is being produced for distribution of the script materials. This CD-ROM will be provided to partners or it may be purchased by persons simply wishing to read the script. The a cost for the CD-ROM is $15 + $2.50 S&H and a printed version of the script willbe made available at a cost of $25 per script plus $5 S&H. These material will be generally available when the PayPal shopping cart is set up.
Reporting to Vested Partners
Vested partners will receive the appropriate reports when they are issued. The reporting requirements of Nunc Licet Productions, LTD will be managed by a vested board position responsible for that function. I will not be engaged directly in that activity. Therefore, the Front Money required for the foundational work of the production will be required to finance that aspect of the production, (in addition to securing the balance of principle board members who will also serve as Vested General Partners) before the Limited Partnership is filed with the Security Exchange Commission. Board members who are not vested can only sit in a secondary role, as they are positioned to perform in a limited fashion to a specific degree. (ie: organizational representative placed for oversight & reporting functions) Contracts specifying secondary functions allow for a limited return to the organization from the net receipts.
A Summary of the types of Productions
Workshop- a closed reading environment designed to supplement the writing process
Developmental production- a staged reading, script in hand, in black, one actor for each character, open to invited guests and test audience. Designed to establish timing, blocking, inflection & delivery, and to initiate necessary changes as a result.
* NOTE: The implementation of A Documentary film project begins at this stage and continues until union contracts cause a hindrance. This may be encompassed in an Academic Production or lead to it.
Refer to the note under cinematic production.
Academic production- produced in partnership with a university or college as an educational tool for the students and a refinement tool for the production. May also be used as a networking and training tool with multiple universities in a touring scenerio between Performing Arts Departments. Involvement in an Academic Production would have income producing implications for the university involved. However, all creative and managerial control remains with IMS, but may be modified upon approval so long as such modifications do not adversely impact the presently implemented contract terms.
Limited Regional Production- release into the regional theatre environment which brings into the mix the union contracts required by The League of Regional Theatres. This arena may work in conjunction with, supplement, or replace, the out-of-town tryout venues. This arena involves the not-for-profit theatre and may likewise fall into the Developmental Agreements depending on the type of production being presented.
Out-of-Town Try-out Production takes place in the professional arena, under the umbrella of a developmental try-out production, thereby allowing for reviewers imput to contribute to the development of the show without the destructive stain of a bad review from the New York critics.
Off-Off Broadway- is basically equivalent to an out-of-town tryout or a regional theatre, with the specific intent on traveling to New York. The Off-off Broadway theatre is closer to New York and draws the sophistication of the New York audience.
Off Broadway- is in New York but, allows for further development.
Broadway/London- are the premiere venues and the presentation is expected to be the best it can be. The cost to make this presentation is in the millions and the reviews are critical to the success of the production as a whole. Bad reviews will likely kill aproduction. It is advisable to stay out of New York until a demand has arisen for the production to move into the city.
Cinematic Production is best reserved for after a successful run on Broadway although in recent years successful films have made the transition to the stage, so film may become the most viable way to proceed.
* NOTE: recent decisions regarding the viability of this show as a whole and the difficulties with maintaining the actors and crew who will likely be available, indicate that a film production must take place simultaneously to the world premiere production in Bryn Athyn. Numerous production logistics & supplies can more easily be co-ordinated and shared if both efforts take place at the same time. The film materials gathered at this time may or may not be used for general release and it is possible that a different film production may occur.
National & International First Class Touring Productions- are a result of demand thathas been generated by a successful Broadway or London run.
National & International Second Class Touring Productions- are for a second run on a four-wall or for a run into the regional theatres.
Release of Performance Licensing- for revivals at regional not-for-profit, dinner & community theatres and for the festival environment. May include numerous performance variations on a case to case basis.
Investment Notes; discussions on money matters
Front Money - The minimum investment at this stage is $10K. This money currently falls under the Front Money Agreement, however this offer may be withdrawn or changed at any time, depending upon the advancement of the project's economic status. Any changes in this offer will not effect Investors who have contributed and have a signed Front Money Agreement. The Front Money required to enter into the offering stage of the Nunc Licet Limited Partnership is not fully determined, but should be expected to be in the neighborhood of $100K, due (in part) to the expectation of establishing a communications network for the proper & full implementation of the reporting requirements. This network must include a paid Director for the Partnership. This role may be filled by the legal firm assigned to filing the partnership, or the accounting firm on contract with the partnership, depending upon the agreements entered into. Discussions and a budget outline regarding the cost of mounting a production will be conducted on another page. Those materials are being reviewed and I expect to provide a brief synopsis and partial budget online for your review.
Front Money is money that is made available for the producers to apply to the pre-production development at their own discretion. It encompasses all the funds necessary to set up the management (and accounting) structure for the individual production and to establish & maintain the production office and key personnel in that office. It also is used for pre-production development of production materials and the adjacent materials needed to market the Limited Partnership and to make the filing with the Securities Exchange Commission. Front Money is recoverable from the proceeds of the Limited Partnership. There is a profit margin cap of 300% on the principle investment, derived from the net income of the Production Receipts and the principle investment buys an equivalent amount of shares in the Limited Partnership. The Limited Partnership shares in only those ancillary rights and markets which have entered agreement with the Partnership, but may be called upon to finance a foray into additional markets under the terms of the agreement. Ancillary agreements entered into prior to the complete capitalization of the LP may be transferred to the Partnership at the discretion of the Producers and/or General Partners on a case by case basis.
Further discussions on these matter will occur.
All proper contracts and management materials must be in place to cover the full range of exploitation.
Regarding the script: the material included in the script is more substantial than usual, because I felt it important to be comprehensive. I felt a need to be assured that, should my death occur before I succeed in producing the play, at least I know that the information will be provided for someone else to proceed.
At this point, it is difficult to say what the actual playing time is. A primary factor in determining the final playing time, is that an audience can only sit in a theatre for so long before the enjoyment of the experience begins to wane. Of course, the level of endurance depends highly upon the content of the play and the presentation of that material, so until we manage to produce the first full timed run-through, we really won't know. An open reading will help us to determine these issues. Clearly the success of the play depends upon the addition of more externals, tangible design elements, such as set & lighting, costumes, and properties. I believe conveying the period nature of the piece will add greatly to it's appeal. The subject matter has an substantial degree of depth to it, although I've tried to spread it out and present it in a casual way. I believe the play requires the creation of a total experience, in order to ease the mental strain of the concentrated challenging thought which sometimes does come forth.
For those of you who have, or will read the play, I am certian that in reality it is much shorter than it appears in writing. Some of the written text is not actually intended to be delivered as lines. It has been placed in the script as a resource for the actor to create a fulfilling characterization or to present semi-directly.
I do expect further refinement, as a result of imput from the performers who convey the 23 characters.
Look for other pages to appear regarding this production, as renewed effort to produce this play is beginning to ocur.
The Film
This script lends itself well to a film production and as the stage play begins to move into a Developmental production, work will likely progress on a film version as well.
As mentioned above, the film production ought to proceed in conjunction with the stage version. In addition to the narrative film, there is a documentary film, about the making of the play and a filmed version of the theatre show. Sort of an American Playhouse thing. So each of these productions is viable in itself, but together they support each other and access the same resources in terms of production personnel and costumes
I expect all this activity to take place in Bryn Athyn. There are sufficient resources as a whole- in terms of theatre facilities and shooting locations and there is a plethora of talented people there to achieve the goals that would be set forth. Additionally, I am considering expanding my facilities in Southampton, since I have become resolved to the fact that I am not going anywhere else and I'm not about to move away from the church. As always: Inquiries are welcomed. AG
