Day 12 Topic 9
You don’t need permission to perform. You need a plan, a place, and a tiny bit of nerve. The more you perform, the faster you’ll improve—and the more rooms will invite you back. If you want to sing opera, you can produce opera. If you want MT gigs, you can stage scenes and salon shows. It doesn’t have to be big or expensive; it has to be happening. Work begets work!
Why this matters
Gatekeepers move slower than your growth curve. Self-producing gives you reps, data (what programs/arias land), and relationships. Bonus: it teaches you the real-world stuff—rights, venues, budgets—that casting teams assume pros already grasp. When your show is public, you must respect performance rights and, for staged dramatic works (opera/musicals/ballet), grand rights—those are licensed directly from the publisher, not from a PRO like ASCAP/BMI.
Quick legal map you’ll revisit:
- Public performance = outside your normal circle of friends/family; usually needs a venue license via ASCAP/BMI (for non-dramatic music).
- Grand rights (staged opera/musical/ballet) = negotiated directly with the publisher (e.g., Boosey & Hawkes, Wise/G. Schirmer), not through a PRO.
- Public domain works (e.g., many classics) are safer to self-produce—confirm PD status for your country; IMSLP is helpful but not a law firm.
Fast formats you can launch this month
- Living-room recital (or lobby/library pop-up). 35–45 minutes; piano track or keyboard; suggested donation via a payment link (Square/PayPal). For public events, the venue should hold a PRO license; truly private, invite-only gatherings within a family/friends circle are typically not “public performance,” but the line is gray—ask the PRO or keep it private and unadvertised.
- Staged-in-concert opera scenes. Costumes from your closet, music stands, piano reduction. Use public domain or secure grand rights for anything under copyright.
- Site-specific mini-opera / scene lab. Museums, galleries, courtyards—space becomes set. (Self-producing and nontraditional venues are well-trodden paths in theatre; steal the playbook.)
- Collab series. Partner with a poet, dancer, or string quartet. Cross-pollination = new audience + new invites (work → work).
A 30-Day Micro-Plan (copy/paste)
Goal: One 35–45 min show, two dates, 30 people each.
Day 1–3 Pick rep you can nail now. Confirm rights (PD or publisher).
Day 4–6 Book space (home/studio/library/church). Verify accessibility (seating, restrooms, step-free path).
Day 7–9 Build a 1-page EPK (short bio, 2 photos, one clip, contact).
Day 10–12 Money path: create Square Payment Link (donations/tickets).
Day 13–16 Rehearse with your pianist/partner; time transitions; mark buttons.
Day 17 Shoot a 45-sec teaser; post (Topic 7 playbook); link to your site CTA.
Day 18–25 Invite list + personal DMs; post 2–3 times; confirm host details.
Day 26–28 Print programs. Confirm usher/door + light refreshment plan.
Day 29–30 Perform. Film excerpts (permissions!). Collect emails. Send thanks + takeaway + clip within 24 hours. (Work begets work.)
Budget (two flavors)
$0–$150 “Resourceful”
- Space: free (home/library community room)
- Music: PD or your own; pianist trade/favor
- Print: digital program only
- Ticketing: Square link (processing ≈ 3.3% + $0.30).
$300–$900 “Lean Pro”
- Space: $100–$300 honorarium / in-kind
- Pianist: $150–$400
- Marketing: $50 (boosts/print)
- Photos/Video: $0–$150 (friend)
- Rights (if needed): variable via publisher (grand rights often % of box office).
Ticketing note: Eventbrite is easy but adds organizer/attendee fees; read current U.S. pricing before you choose.
Rights & licensing (start here)
- Public performance (non-dramatic): venues obtain blanket licenses from ASCAP/BMI. Private, invite-only living-room shows among friends/family generally aren’t “public,” but if you advertise or sell tickets widely, you’re in public-performance territory—get guidance.
- Grand rights (dramatico-musical): operas/musicals (even with piano) require direct permission from the publisher (Boosey, Wise/Schirmer, etc.). PROs don’t cover this.
- Public domain: confirm status for your country; IMSLP is a helpful index + PD explainer.
Need help? Volunteer Lawyers for the Arts can advise, and Fractured Atlas can provide fiscal sponsorship if you want to accept tax-deductible donations.
Venues that say “yes” cheaply (or free)
- Homes / courtyards / rooftops (private invites)
- Libraries & community rooms (book in advance; check capacity & a11y)
- Churches / schools (ask about piano access and house rules)
- Museums / galleries (after-hours events; “site-specific” frame)
Ticketing & money flow (simple + transparent)
- Square Payment Links for “suggested donation” (fast, no monthly fee; standard online processing).
- Eventbrite for RSVP/ticket caps (watch fees).
- Fiscal sponsorship (Fractured Atlas) to accept tax-deductible gifts; they charge an admin fee on donations.
Three pitch templates (steal these)
A) Living-Room Concert Host (friend/colleague)
Subject: 40-minute living-room concert at your place?
Hi [Name]—
I’m piloting a 40-minute [program title] for small spaces. Would you host ~25 people on [date options]? I bring everything (keyboard if needed) and handle RSVPs with a donation link. You provide a cozy room and outlets. I’ll send a 45-sec teaser and a one-page EPK so invites are easy.
—[Your Name], [voice/type], [site link]
B) Library / Community Space
Subject: Free public mini-concert for your patrons (45 minutes)
Hello [Librarian/Coordinator],
I’m a [voice/type] proposing a 45-minute program, [title], suitable for all ages. I provide an accompanist and printed programs; you provide a room with chairs and outlet. Dates: [two options]. Here’s my 1-page EPK and a clip. Could we discuss a date and modest honorarium?
Thank you! —[Name], [contact]
C) Conductor / Presenter (soloist ask)
Subject: Local soloist availability (Oratorio/Opera scenes)
Maestro [Name],
I’m a [voice/type] based in [city], currently programming [repertoire]. I’d love to sing with [Orchestra/Chorus] as a local soloist. Here’s a 60-sec reel, my rep list (Mozart Requiem, Handel Messiah, Orff Carmina, plus new work), and two upcoming dates. Happy to drop by for a short hearing.
Warmly, [Name] — [cell] • [site]
Common mistakes (and fast fixes)
- Waiting to be “ready.” You get ready by doing. Start with a living-room set or scenes-in-concert.
- Rights blind spots. Public ≠ private. PROs for background/non-dramatic; publishers for staged opera/musical. When unsure, ask.
- Overbuilding. A piano, a room, and a timed program beat a half-finished full production.
- Accessibility afterthoughts. Check step-free entry, seating, and restrooms; it’s good practice and expands your audience.
Assignments (ship this week)
- Pick the format (living-room recital, scenes-in-concert, site-specific).
- Rights check (PD or publisher email sent).
- Book two dates and create your Square Payment Link (or choose Eventbrite).
- Send 3 pitches (host, library, conductor).
- Perform within 30 days. Film one clean excerpt and send “Thanks + takeaway + clip” to every attendee. Work begets work.
References & Further Reading — Topic 9 (DIY Producing)
Public vs. Grand Rights
- ASCAP — Common Licensing Terms (grand vs. non-dramatic): https://www.ascap.com/help/ascap-licensing/licensing-terms-defined
- BMI — What is a public performance? (outside friends/family): https://www.bmi.com/faq/entry/what_is_a_public_performance_of_music_and_what_is_the_performing_right1
- Boosey & Hawkes — Opera/Dance/Musicals: Grand Rights (license for staged works): https://www.boosey.com/pages/licensing/RandL_Opera_Dance_Musicals
- Wise Music / G. Schirmer — Licensing & Permission Forms: https://www.wisemusicclassical.com/licensing/ and https://digital.schirmer.com/gr/
- IMSLP — Public domain overview + Verifying copyright status: https://imslp.org/wiki/public_domain and https://imslp.org/wiki/IMSLP:Verifying_copyright_status
Self-producing & nontraditional venues
- HowlRound — A Playwright’s Guide to Self-Producing (Parts I & II): https://howlround.com/playwrights-guide-self-producing-part-i and https://howlround.com/playwrights-guide-self-producing-part-ii
- Theatre Topics (JHU Press) — Four Principles about Site-Specific Theatre: https://www.jhuptheatre.org/theatre-topics/online-content/issue/theatre-topics-volume-28-number-1-march-2018/four-principles
- Opera on Tap — Live Opera Up Close (model for pop-ups/alternative spaces): https://operaontap.org/
Accessibility & audience comfort
- Arts Council England — Building Access: Good Practice Guide (practical checklist): https://www.artscouncil.org.uk/sites/default/files/download-file/Building_access_guide_260319_0.pdf
Ticketing / payments
- Eventbrite — Organizer pricing & fees: https://www.eventbrite.com/organizer/pricing/ and fee details: https://www.eventbrite.com/help/en-us/articles/755615/how-much-does-it-cost-for-organizers-to-use-eventbrite/
- Square — Payment Links (no monthly fee; standard processing): https://squareup.com/us/en/payment-links and fee details: https://squareup.com/help/us/en/article/5068-what-are-square-s-fees
Legal help & funding infrastructure
- Volunteer Lawyers for the Arts — NY (plus national directories): https://vlany.org/ and https://vlaa.org/get-help/other-vlas/
- Fractured Atlas — Fiscal Sponsorship (tax-deductible donations) + fee info: https://www.fracturedatlas.org/fiscal-sponsorship and https://fracturedatlas.zendesk.com/hc/en-us/articles/115001290913-Administrative-Fees
Start smaller than your nerves want, and sooner than your perfectionism allows. The first one teaches you everything the second one needs. Then the third one starts to snowball—because work begets work.