BeXD Pty Limited blog

How to Get Musical Performance Rights Online: A Step-by-Step Guide

licensing@BeXDcreate.com (Katie Toft) — Tue, 01 Sep 2026 22:01:32 GMT

To get performance rights for a musical, you need to find the company that controls the performance rights for the exact title you want to produce, check that the rights are available for your location and dates, and submit a licensing application with details about your production.

Most musical licensing applications can now be completed online. You'll usually be asked for information such as your organisation, venue, performance dates, number of performances, audience capacity and ticket prices.

If the rights are available, the licensing company will review your application and provide an agreement, quote or licensing offer setting out the rights you're being granted, the royalties you'll pay and any production materials included or available.

The important distinction is:

Submitting a licensing application isn't the same as securing the performance rights.

Wait until your rights have been approved and you've completed the licensing company's requirements before publicly announcing the show, selling tickets or beginning a production on the assumption that the rights will be available.

What are musical performance rights?

Musical performance rights are permission from the rights holder to publicly perform a copyrighted musical.

Musicals contain copyrighted material including the script, music and lyrics. In the United States,copyright owners have the exclusive right to authorise public performances of dramatic and musical works, subject to particular statutory exceptions and limitations.

For schools, youth theatres and community theatres, these rights are generally obtained through the theatrical licensing company or publisher authorised to license that particular musical.

A musical theatre license normally applies to a specific production, rather than giving your organisation permanent permission to perform the show.

Your agreement may specify the exact title and version you're producing, your organisation and venue, approved performance dates, number of performances, territory and other conditions of the license.

So, if you license a musical for your school's 2027 production, that doesn't automatically give the school permission to produce it again in 2030. The new production would generally need to be licensed separately.

There are some providers now that providing licensing as a subscription model, giving you access to a whole a catalogue for one flat fee. These can be helpful for schools and studios, but you're unlikely to find any big well-known titles with these providers. This article doesn't explore this model as honestly we don't know that much about it.

How do I find out who licenses a musical?

Start with the exact musical you want to perform and identify the publisher or licensing company that controls its performance rights in your territory.

Different publishers control different musicals. There can also be multiple stage adaptations of the same underlying story, licensed by completely different companies.

This is particularly important with familiar stories such as Peter Pan, Alice in Wonderland or The Wizard of Oz.

Finding a company that licenses a Peter Pan musical does not mean you've found the company that licenses the particular adaptation you want to perform.

Search using the exact title and writers where possible, and confirm the information on the publisher or licensing company's official website.

Independent theatre organisations can also help you identify publishers and rights holders. The American Association of Community Theatre, for example, maintains a Play Sources directory of publishers and licensing houses, ranging from the major theatrical licensors to independent publishers, including BeXD Licensing.

AACT Play Sources directory

Once you've found the likely licensor, confirm that it represents the exact show and version you want to produce in your country or territory.

How do you get performance rights for a musical?

For most school, youth theatre and community theatre productions, there are a few basic steps between finding a musical and securing permission to perform it.

1. Choose the exact musical and version

Make sure you know exactly what you're applying for.

The same musical may be available as a full-length edition, school edition, junior edition or one-act adaptation. There may also be completely different musicals based on the same underlying story.

Runtime, content, cast requirements, production materials and licensing arrangements can all differ between versions.

If you're still deciding, this is also a good time to request a perusal if the publisher offers one.

2. Find the company that licenses it

Identify the publisher or licensing company authorised to issue performance rights for the musical.

Also check that it represents the title in your territory. Rights can differ between countries, so a company that licenses a musical in the United States may not necessarily control the same rights in Australia or the United Kingdom.

3. Check whether the rights are available

A musical appearing in a licensing catalogue doesn't necessarily mean every organisation will automatically be approved to perform it on any date.

Availability can depend on the title, territory, production dates and other restrictions imposed by the rights holder.

If your school or theatre has fixed production dates, it's worth checking availability early.

4. Gather your production information

You don't usually need every detail of the production figured out before applying.

You DO need enough information for the licensor to understand the rights you're requesting.

Typically, that means knowing your proposed venue, performance dates, number of performances, venue capacity and basic ticketing information.

5. Submit your licensing application

Many musical licensing companies now accept applications online.

Complete the application as accurately as possible. If an important detail isn't confirmed yet, contact the licensing company and ask what they need rather than guessing.

6. Wait for the rights to be approved

The licensing company will review your application and determine whether the requested rights can be granted.

Approval times vary considerably between publishers, titles and productions.

At BeXD Licensing, we aim to review standard licensing applications within 48 hours, wherever possible.

7. Review your licensing agreement

If the application is approved, you'll generally receive a licensing agreement, quote or offer explaining the terms of the production.

Read it.

Don't just ask an AI to summarise it. Take 30 minutes, make a cup of tea and read through it. Trust us - it will potentially avoid a lot of confusion or upset later if you find out your license is more restrictive or has additional rules than you thought.

The agreement should tell you exactly what has been approved, including details such as your dates, venue and number of performances, as well as royalties, materials, billing requirements and other conditions.

It's much easier to clarify something at this point than discover during the production that your plans aren't covered by the agreement.

8. Complete the requirements for securing the license

Depending on the licensing company, you may need to sign an agreement and pay materials fees, minimum royalty advances or other amounts before the production is secured.

If you're comparing shows and trying to work out what this might cost, our guide to How Much Does It Cost to License a School Musical? explains Production Pack fees, percentage royalties and minimum royalties in more detail.

9. Receive your production materials

Once the licensing requirements have been completed, you'll receive or gain access to the materials included with your production.

Depending on the musical and publisher, these might include scripts, scores, rehearsal tracks, performance tracks, orchestrations and other production resources.

What information do you need to apply for musical performance rights?

Most musical licensing applications require basic information about your organisation, venue and proposed performances.

The exact application varies between publishers, but it's useful to have the following information ready:

Information	Why it's needed
Organisation	Identifies who will hold the license
Musical and version	Establishes exactly what you want to perform
Venue	Establishes where the production will be performed
Performance dates	Determines when the rights are required
Number of performances	Establishes the scope of the license and may affect royalties
Venue capacity	May be used when calculating minimum royalties or assessing the production
Ticket prices	May be required for percentage-based royalties
Production/contact details	Gives the licensor a responsible contact for the production

You may be asked for additional information depending on the musical, publisher or type of production. Some will ask for details of your production team and previous productions you've produced.

You don't need to have cast the show, designed the set or know exactly how many tickets you'll sell before applying.

The licensor needs enough information to understand what you're asking permission to perform, where and when.

Can you get musical performance rights online?

Yes. Many theatrical licensing companies allow schools, youth theatres, community theatres and other organisations to apply for musical performance rights online.

The process isn't identical everywhere.

Some companies provide online applications that are reviewed by a licensing representative. Some offer online quoting for certain productions. Smaller publishers may combine an online application with direct communication from their licensing team.

BeXD Licensing, for example, accepts online licensing applications for our available musicals. Applications are reviewed by our team, with a target turnaround of 48 hours for standard applications where possible.

For most organisations, though, whether the application form itself is online is only one part of choosing a licensing service.

The more useful questions are whether the company has the right show for your cast, what the license includes, what production materials are available, what it will cost and what support is available if you need it.

What is the best online musical licensing platform for a small theatre?

The best musical licensing platform for a small theatre depends first on which musical you want to produce. If you've already chosen a specific title, you'll generally need to license it through the company that controls the performance rights for that show in your territory.

If you're still choosing the musical, however, the publisher or licensing company can be part of the decision.

For a school, youth theatre, performing arts studio or smaller community theatre, it's worth comparing:

whether the catalogue includes shows suited to your cast size and age range;
how flexible the casting is;
whether you can read a perusal before committing;
what scripts, scores and rehearsal materials are included;
whether rehearsal and performance tracks are available;
how royalties and minimum fees are calculated;
what additional production resources are provided;
how quickly licensing applications are reviewed; and
what support is available if you have questions or your production plans change.

Large theatrical licensing companies offer extensive catalogues, including many well-known Broadway titles. Smaller and specialist publishers can offer different advantages, including shows developed specifically for particular types of performers and productions.

BeXD Licensing specialises in musicals for young performers and flexible ensemble casts. We currently license productions to schools, theatres and performing arts studios across the US and Australia.

Our catalogue is deliberately focused on this part of the market. Our shows are developed with young casts, and our Production Packs are based on the resources we've found useful producing the musicals ourselves, including scripts and scores, rehearsal and performance tracks, audition and casting resources, choreography and costume guides and other practical production materials.

The right licensing company therefore depends on what you need.

If you want the rights to a particular musical, start with whoever controls that title. If you're still choosing a show, compare the catalogue, casting, materials, costs and support as part of the decision.

How long does it take to get musical performance rights?

Approval times vary between licensing companies, musicals and individual productions. There is no standard industry-wide turnaround time.

Straightforward applications may be processed relatively quickly, while other applications can take longer if rights need to be checked or additional information is required.

At BeXD Licensing, we aim to review standard licensing applications within 48 hours, wherever possible.

If you have a genuine deadline — for example, your school needs to confirm its season by a particular date — include that information when you apply or contact the licensing company.

Most importantly, allow time for licensing before publicly committing to the show.

When can I announce which musical we're producing?

Wait until your performance rights have been approved and you've completed the licensing company's requirements for securing the production before publicly announcing the musical. This is usually signing an agreement and paying a deposit.

Submitting an application is a request for performance rights. It doesn't mean those rights have been granted.

This matters because rights may not be available for your particular dates, location or production.

At BeXD Licensing, our current agreements require the applicable minimum royalties to be paid to secure the production dates and permit public announcement and promotion.

Other publishers may use different processes, so follow the requirements of your particular licensing agreement.

Can a musical be listed online but unavailable to license?

Yes. A musical appearing in a publisher's catalogue does not guarantee that the performance rights will be available for every organisation, date or territory.

Rights can sometimes be restricted, and availability can change.

If your application can't be approved, it's worth asking why. A restriction might relate to your dates or territory rather than the musical being completely unavailable.

Depending on the circumstances, changing the production dates or choosing another version or title may provide an alternative.

What happens after my musical license is approved?

Once you've completed the licensing requirements, you'll generally receive or gain access to the production materials included with your license or materials package.

What you receive varies considerably between publishers and musicals.

Materials may include scripts, scores, rehearsal tracks, performance tracks, orchestrations or additional production resources.

At BeXD, our Production Packs can include scripts, scores, rehearsal and performance tracks, audition and casting resources, choreography and costume guides and other practical production materials.

You'll then rehearse and perform the musical according to the terms of the licensing agreement.

If your royalties are based on actual box office, there may also be a post-production reconciliation after the season when your final ticket sales are known.

What if our dates, venue or number of performances change?

Contact the licensing company before making a change that falls outside the production you've already licensed.

A theatrical license generally authorises a specific production under specific conditions. Moving venue, changing dates or adding performances may therefore require approval or an amendment to the agreement.

Production plans change all the time. A school calendar changes, a venue becomes unavailable, or strong ticket sales make an additional performance possible.

None of that is unusual.

What matters is contacting the licensing company before making a change that isn't covered by the existing agreement. In many cases, the solution may simply be an amendment or additional approval.

Can I change the script, songs or characters after licensing a musical?

You generally shouldn't change copyrighted dialogue, lyrics, music or other protected material without permission from the rights holder.

Your licensing agreement should explain what changes are permitted and which require approval.

There can also be legitimate reasons a school or youth theatre needs an adjustment for a particular performer, audience, venue, educational requirement or accessibility need.

Ask the licensor.

At BeXD, casting decisions — including doubling — are generally left to the licensee, and we're happy for organisations to contact us about proposed adaptations rather than making changes without approval.

The answer will depend on the requested change and the rights involved, but asking first is always the better approach.

Do schools need performance rights for a musical?

Generally, yes. A school production of a copyrighted musical performed publicly still requires the appropriate performance rights unless a specific legal exception applies.

Being a school or nonprofit organisation does not automatically mean a public theatrical production can be performed without permission.

In the United States, the Copyright Office confirms that copyright owners have the exclusive right to authorise public performances of dramatic and musical works, subject to statutory limitations and exceptions. U.S. Copyright Office – What is Copyright?

Copyright and performance-rights rules differ between countries and circumstances, so check with the relevant rights holder if you're uncertain about a particular production.

Do you need performance rights if the audience isn't paying?

Generally, yes. Free admission does not automatically remove the need to obtain performance rights for a copyrighted musical.

Performance rights relate to permission to publicly perform the work, not simply whether the organisation makes money from ticket sales.

How royalties are calculated for a free performance depends on the title and licensing agreement. A minimum royalty or other licensing fee may still apply where there is no ticket revenue.

So if you're planning a free school, community or educational performance, tell the licensing company when you apply and ask how the production will be licensed.

💬 From Our Experience

One of the easiest ways to make musical licensing straightforward is simply to apply once you have the information the licensor actually needs.

You don't need to have cast the show.

You don't need to have designed the set.

And you don't need to know exactly how many tickets you're going to sell.

We regularly receive BeXD applications while directors are still planning their seasons. That's completely normal.

What we need is enough information to understand the rights you're asking for: which show you want to perform, where you're performing it, when you're performing it and how many performances you're planning.

If something isn't clear, ask.

A good licensing company should be able to tell you what information it needs and help you understand the terms before you commit to the production.

Key Takeaways!

Find the rights holder for the exact musical and version you want to perform.
Check availability for your dates and territory before publicly committing to the show.
Apply with your venue, dates, number of performances and basic production information.
Submitting an application does NOT mean your performance rights are secured.
Most musical licensing applications can now be handled online, but catalogue fit, materials, costs and support matter too.
And if your production plans change, contact your licensor before assuming the original license covers them.

Looking for a musical to license?

If you're still choosing your show, you can browse the BeXD Licensing catalogue and request a free perusal before committing.

Our musicals are developed for young performers and ensemble casts, with flexible casting and Production Packs built from our own experience producing the shows.

If you've already chosen your BeXD show and know your proposed venue and dates, you can apply for a license online and we'll take it from there.

How Much Does It Cost to License a School Musical? Rights, Royalties & Fees Explained

licensing@BeXDcreate.com (Katie Toft) — Tue, 01 Sep 2026 21:40:30 GMT

The cost of licensing a school musical usually includes two main things: the materials you need to produce the show and the royalties for the right to perform it.

The exact amount depends on the musical, licensing company, number of performances, venue size, ticket prices and sometimes your expected box office.

Some licensors charge a fixed royalty per performance. Others calculate royalties as a percentage of gross box office, often subject to a minimum royalty for each performance. You'll usually also pay separately for scripts, scores, tracks or other production materials.

Which means the question isn't really just:

“How much does a musical license cost?”

It's:

“What will it cost to license this musical for OUR production?”

And THAT'S the number you want to work out before you fall completely in LOVE with the idea of producing that show.

What do you actually pay for when you license a musical?

When you're comparing musicals, you'll usually need to look at two separate parts of the cost:

1. Production materials
These are the things you need to rehearse and produce the show: scripts, scores, rehearsal materials, tracks and other production resources.

2. Performance royalties
These are the fees you pay for permission to publicly perform the musical.

Depending on the licensing company, these may be quoted separately or bundled in different ways.

There can also be additional costs for things such as extra scripts, scenic projections, orchestration materials, shipping, video permissions or other optional resources.

So if you're comparing the cost of two musicals, don't compare the headline Production Pack or materials fee alone.

You need to calculate the likely total licensing cost for your production.

How are musical theatre royalties calculated?

There isn't one standard royalty structure used by every musical licensing company.

For school and community productions, you may encounter:

a fixed royalty for each performance;
a percentage of gross box office;
a minimum royalty per performance;
or a percentage royalty subject to a minimum — whichever is greater.

The exact structure depends on the title, publisher, version of the show, territory and licensing agreement.

What is a percentage royalty?

A percentage royalty means the rights holder receives an agreed percentage of your production's gross box office.

For example, if your agreement specifies a 12% royalty and your production has a gross box office of $10,000:

$10,000 × 12% = $1,200 royalty

Simple enough.

Except you may also have a minimum royalty, which is where people sometimes get confused.

What is a minimum royalty?

A minimum royalty is the minimum amount payable for the right to give each licensed performance, even if your percentage-based royalty would otherwise be lower.

Let's say your agreement specifies:

12% of gross box office OR a $125 minimum royalty per performance, whichever is greater.

If one performance takes $2,000 at the box office:

12% × $2,000 = $240

Your royalty for that performance would therefore be $240, because that's greater than the $125 minimum.

But if another performance only takes $600:

12% × $600 = $72

You would still owe the $125 minimum royalty.

This is why minimum royalties matter when you're budgeting a show with a small audience, low ticket prices or several performances.

Is a minimum royalty advance an extra fee?

No.

Some licensing companies collect a minimum royalty advance when you book the show. That generally represents an advance against the royalties you'll ultimately owe, rather than an unrelated extra charge.

But terminology and processes vary between licensors, so always check the quote and licensing agreement for the particular musical you're considering.

How can I estimate royalties before we know our ticket sales?

This is one of my favourite budgeting calculations because you absolutely do NOT need to know exactly how many tickets you're going to sell.

You just need to know what could happen.

💰 A Quick Note from Accountant Katie

Before committing to a musical with percentage-based royalties, calculate your maximum possible gross box office.

The basic calculation is:

Number of seats × average ticket price × number of performances = maximum potential gross box office

So, for a school theatre with:

300 seats

$20 average ticket price

3 performances

your maximum possible gross box office would be:

300 × $20 × 3 = $18,000

If the royalty were 12%, a completely sold-out season would produce:

$18,000 × 12% = $2,160 in royalties

But I wouldn't stop there.

Run it again at roughly 30%, 50%, 75% and 100% capacity.

Now you've got a realistic range to put into your production budget rather than crossing your fingers and hoping the royalty invoice looks about right.

How much are musical theatre royalty rates?

There is no universal royalty percentage for school musicals. Rates vary between publishers, titles, versions and licensing agreements.

As a practical budgeting guide, you may encounter percentage royalties somewhere around 10–16% of gross box office, with some titles or agreements reaching 18%.

That is a budgeting range, not an industry-wide standard.

For example, Music Theatre International's Australian listing for Disney's Frozen JR. currently specifies a royalty of 16% of ticket sales, together with a minimum royalty advance per performance.

At BeXD Licensing, our current standard structure is 12% of gross box office or the applicable minimum royalty per performance, whichever is greater.

Those aren't directly comparable quotes for every production — they're simply useful examples of why you need to check the actual royalty structure for the musical you're considering.

Licensing rates can change, so always use the current quote from the rights holder when making your final budget.

Does the version of a musical affect the licensing cost?

It can.

A full-length musical, school edition, junior edition and one-act adaptation may have different licensing fees even when they're based on the same underlying show.

Different versions can also have different runtimes, materials, cast requirements and production resources, so make sure you're looking at the price for the exact version you intend to perform.

Not every publisher prices this way.

At BeXD, for example, we use the same licensing rate structure across our current catalogue and versions. Choosing between the One Act and Two Act versions of BeXD's Peter Pan the Musical isn't about choosing the cheaper royalty structure — it's about choosing the version that works best for your cast and production.

So when comparing musicals, check:

Which version am I looking at, and is THAT the version this quote applies to?

It sounds obvious.

It is surprisingly easy to miss!

What other costs should you include in a school musical licensing budget?

Royalties aren't necessarily your whole licensing budget.

Depending on the show and publisher, you may also need to pay for scripts, scores, rehearsal materials, performance tracks or orchestrations, shipping, additional scripts, scenic projections and optional production resources.

This is an area where headline prices can be misleading.

One publisher might charge a relatively low materials fee but require several additional resources to be hired or purchased separately. Another might provide most of what your production needs in one Production Pack.

Neither approach is inherently better.

You just need to know what's actually included before comparing the numbers.

At BeXD, our Production Packs grew out of producing the shows ourselves with young casts. Depending on the pack, they include the core scripts and music alongside resources such as rehearsal and performance tracks, casting and audition materials, choreography and costume guides and practical production resources.

That means when we're budgeting a BeXD show ourselves, we're thinking about the whole production toolkit, not just access to a script.

Digital vs physical materials: does it change the cost?

Often, yes.

Some publishers offer digital materials, physical materials or a choice between the two.

Physical packages may cost more because they include printed scripts and scores, binding, handling and shipping.

Digital materials can remove some of those costs, although what you're permitted to print, copy or distribute depends on the publisher's terms.

For BeXD productions, for example, our Digital Production Pack and Physical Production Pack are different products. The physical option includes printed and bound production materials in addition to access to the digital resources.

Don't assume buying digital files automatically gives you unlimited permission to print or distribute them. Check what your license actually allows.

Do schools still need to pay royalties if the performance is free?

Generally, yes. Making admission free does not automatically remove the need to obtain performance rights for a copyrighted musical.

This is an important distinction:

Royalties pay for the right to perform the work — they aren't simply a tax on ticket sales.

In the United States, copyright owners hold the exclusive right to authorise public performances of dramatic and musical works, subject to specific statutory limitations. A musical is not automatically free to perform simply because the organisation is a school, nonprofit or isn't charging admission.

Exactly how a free performance is priced will depend on the licensing company and agreement. If there is no box office income, for example, a minimum royalty may apply.

If you're unsure, ask the rights holder before announcing or rehearsing the production, rather than assuming that “free” means “no license required.”

What rights are you actually paying for?

A musical theatre license gives you specific permission to perform a particular work under particular conditions.

It isn't ownership of the musical and it isn't blanket permission to do anything you like with the material.

Your agreement may specify things such as:

the licensed title and version, venue, performance dates, number of performances, territory and permitted use of the supplied materials.

Other things — including script changes, additional performances, recording, streaming, merchandise and use of supplied artwork — may be governed separately by the agreement.

That's why the cheapest quote isn't necessarily the whole story.

When comparing licensing options, look at what you're permitted to do as well as what you're paying.

What happens if we add another performance?

Ask your licensing company before adding it.

Musical licenses generally specify the number of performances you're authorised to give. An extra performance may therefore require an amendment to your license and an additional royalty.

This is particularly worth remembering when a season sells much better than expected.

Selling out and adding a show is a GREAT problem to have.

Finding out afterwards that you didn't have permission to perform it is... less great.

If there's even a reasonable chance you might add another performance, ask your licensor what the process would be when you apply.

Can the licensing cost change after you've booked the show?

Yes, particularly where royalties are based on actual box office.

You may pay minimum royalties or an advance when the production is licensed, then reconcile the final amount after your season based on your actual sales.

For a percentage-based agreement, a stronger-than-expected box office can therefore mean a larger final royalty payment.

Other changes — such as adding performances, changing venue or requesting additional materials — may also affect the final cost.

Read the agreement rather than treating the initial invoice as the only number that matters.

How does BeXD Licensing calculate royalties?

For current standard BeXD licenses, royalties are calculated as 12% of gross box office or the applicable minimum royalty per performance, whichever is greater.

Minimum royalties vary according to the relevant license and production circumstances, so the actual quote and agreement are the source of truth for an individual production.

We separate the Production Pack from performance royalties, which makes it easier to see what you're paying for:

Production Pack = the materials and resources used to produce the show.

Royalties = permission to publicly perform it.

If you're comparing one of our shows with another musical, we'd much rather you calculate the whole thing and choose the show that actually works for your production than choose based on one attractive-looking number.

What should I ask before licensing a school musical?

Before you commit, make sure you can answer:

What will the Production Pack or materials cost?
What's included?
What is the royalty structure?
Is there a minimum royalty per performance?
Is an advance payable upfront?
Does the price change for the version we're performing?
How many performances does the quote cover?
How is gross box office defined?
Are scripts, scores and tracks included?
Are there shipping or additional material costs?
What happens if we add a performance?
Are filming or streaming rights included?
When are final royalties reconciled and payable?

If you can answer those questions, you're comparing real production costs, not headline prices.

Key Takeaways!

Musical licensing usually involves both production materials and performance royalties.

There is no single standard royalty rate. The title, publisher, version and production can all affect what you pay.

Percentage royalties may be subject to a minimum per performance.

Work out your maximum possible box office before committing to a show and model a few different audience sizes.

Check the exact version you're licensing. Junior, school, one-act and full-length editions may be priced differently.

And most importantly:

Compare the total licensing cost for YOUR production — not just the first number you see.

Ready to work out what a BeXD musical would cost for your school?

You can browse our musicals to compare cast sizes, runtimes and production options, or apply for a license with your venue, dates and performance details so we can give you the appropriate licensing information for your production.

If you're still choosing, start with a free perusal. It's much cheaper and quicker to discover a show isn't right for your cast or school before you've paid for it :)

The Complete Guide to Licensing a Musical for Schools & Community Theatre

licensing@BeXDcreate.com (Katie Toft) — Sun, 30 Aug 2026 04:36:21 GMT

A practical guide to musical licensing for schools, studios and community theatre, covering performance rights, royalties, production materials and choosing the right show.

In This Guide

What Is Musical Licensing?
Why Do Musicals Need to Be Licensed?
How Do You Choose the Right Musical for Your Cast?
How Does the Musical Licensing Process Work?
How Long Does It Take to License a Musical?
How Do Musical Theatre Royalties Work?
What Do You Get When You License a Musical?
What Can You Do Once You've Licensed a Musical?
What Does Public Domain Mean for Musical Theatre?
How Do You Choose a Musical Licensing Company?
Common Musical Licensing Mistakes
Musical Licensing FAQ

Choosing a musical is one of the most exciting parts of planning a production—but it can also be one of the most overwhelming.

Between finding the right show, understanding licensing, managing budgets and making sure you have everything you need to rehearse, there's a lot to think about before your cast even walks through the door.

We know, because we've been there.

When we licensed our very first musical, we thought we'd done everything right. We'd chosen a show we loved, paid what felt like an enormous licensing invoice, booked the theatre and started promoting auditions.

Then only fourteen performers enrolled.

Half of them didn't even audition for a named role.

The show we'd chosen was written for at least eighteen principal characters, plus an ensemble. Suddenly we were rewriting rehearsal schedules, doubling roles wherever we could, postponing our season and trying to work out how to make the production succeed with the cast we actually had—not the cast we'd imagined.

That first licence taught us far more than simply how musical licensing works.

Since then, we've produced musicals ourselves, worked with schools, performing arts studios and community theatres across Australia and internationally, written and licensed our own musicals, and supported productions of every size.

Along the way, we've seen just about every licensing scenario imaginable.

We've received rehearsal tracks that didn't match the script.

We've helped another company rebuild an entire score because the licensed materials included lyrics but no sheet music or backing tracks.

We've watched productions delayed because the backing track CD was "out of stock"... in 2024.

We've experienced the strengths and limitations of some of the world's largest licensing companies, and we've also seen the challenges that can come with smaller publishers.

Every one of those experiences has shaped the way we approach licensing today.

That's why we created this guide.

Whether you're directing your very first school musical or your fiftieth community theatre production, our goal is simple: to share everything we've learned over the years so you can avoid the surprises, make informed decisions, and spend less time worrying about paperwork—and more time creating a production your cast and audience will LOVE and remember for years to come.

What Is Musical Licensing?

At its simplest, a musical license is the legal permission to perform a musical in public.

Whenever you stage a musical for an audience - whether it's in a school hall, community theatre, performing arts studio or professional venue - you'll usually need permission from the copyright holder before rehearsals begin or tickets go on sale.

That permission is granted through a licensing agreement.

Think of it a little like renting a beautifully furnished home.

You don't own the property, but you're given permission to use it under agreed conditions. In the same way, a musical license allows you to perform someone else's creative work while respecting the rights of the people who wrote it.

Every licensing company is a little different, but most licenses will tell you things like:

where you can perform the production
your approved performance dates
the number of performances included
how royalties are calculated (we'll talk more about this later)
what production materials are supplied
how the authors and licensing company should be credited
whether your production can be recorded or livestreamed
any conditions around script changes, music, costumes or branding.

Once your license has been approved, your agreement has been signed, and you've paid any required deposit, you'll usually receive the materials needed to rehearse and stage your production. .

Exactly what those materials include varies significantly between licensing companies.

Some licenses may include only the basics, while others provide comprehensive production resources such as:

Cast Scripts
Music Scores (usually a Piano & Vocal score, or a Full Orchestra/Band score depending on the show and license)
Rehearsal Tracks
Performance Backing Tracks
Director's Guides
Music Director's Resources
Audition Materials
Choreography Guides
Marketing Artwork & Logos
Set Projection Packages
Video Licenses

One of the biggest lessons we've learned is that a musical license isn't just permission to perform a show - it's also the support system behind your production.

That's why it's important to compare far more than just the headline royalty fee when choosing a musical.

Key Takeaways!

A musical license gives you legal permission to perform a show and may also provide access to official production resources.
Every licensing company supplies different materials - check the fine print!
Don’t compare base royalties alone - compare the complete package.
Before committing, confirm what is included, what costs extra and what support is available.

💬 From Our Experience

One of the productions we worked with licensed a Musical expecting to receive everything they needed to rehearse. Instead, the production materials contained only the script and song lyrics - no sheet music, rehearsal tracks or accompaniment - no way to know how the songs were supposed to go. We ended up being brought in to assist the Musical Director in creating much of the score and tracks from scratch just to get rehearsals underway.

Another Company we work with licensed a Musical only to be told the CD with the rehearsal and performance tracks was "OUT OF STOCK", and they would need to create their own tracks or get live musicians to be able to rehearse or perform the show.

We've also seen productions (ours included) caught out by paying additional fees for things that, in 2026, many directors reasonably expect to be included—such as a digital script, logo pack or community video license.

Every licensing company packages its materials differently, so it's always worth asking exactly what's included before making your decision.

Why Do Musicals Need to Be Licensed?

This is one of the questions we've been asked a few times by people starting out in their producing journey, particularly by schools and community theatre groups producing their first musical.

After all, you're already hiring a venue, building sets, making costumes, recruiting volunteers and investing hundreds of hours (and dollars) into your show. It can also be confusing when unofficial scripts, backing tracks or excerpts appear online, making it seem like they're free to use. In reality, public performance rights are completely separate from whether material can be found on the internet.

So, why do you also need to pay for a license?

The answer comes down to copyright.

Every musical is made up of creative works that belong to their creators. Some of these are obvious, like the script and songs. Others - such as sheet music, tracks, rehearsal resources, artwork and projections - are also protected and form part of the licensed production.

Just as authors are paid when someone buys their book or musicians earn royalties when their music is streamed, writers and composers receive royalties when their work is performed on stage.

Licensing ensures that the people who created the musical are recognised and fairly compensated for their work. It also allows licensing companies to continue supporting productions, updating materials, creating rehearsal resources and developing new shows for future generations of performers.

For directors, however, licensing should be about much more than legal permission.

A good license should give you confidence.

It should provide reliable production materials, clear guidance, practical resources and access to support when questions arise during rehearsals.

In our experience, that's where the biggest differences between licensing companies often become apparent.

Some focus primarily on administering rights.

Others aim to become genuine production partners, providing the tools and support needed to help your show succeed from auditions through to closing night.

Neither approach is inherently right or wrong—but understanding the difference can have a significant impact on your experience as a director or producer.

Ultimately, licensing isn't just about protecting copyright.

It's about supporting the people on both sides of the curtain: the creators who wrote the musical, and the teachers, directors, cast and volunteers bringing it to life for a new generation of performers and their audience.

How Do You Choose the Right Musical for Your Cast?

For many directors, choosing a musical starts with a title.

"Our students would love Frozen."

"I've always wanted to direct Les Misérables."

"Our audience will definitely buy tickets to Shrek."

There's nothing at all wrong with starting there. After all, every great production begins with a story that excites you, your cast and your audience.

But after producing and licensing musicals ourselves for many years, we've learnt that the a better starting point is:

"What's the right musical for this cast, this team and this production?"

It's a subtle difference to "What's our favourite Musical?", but it can completely change the outcome of your season.

We've seen companies choose huge Broadway titles only to discover they didn't have enough confident singers, enough boys, enough backstage volunteers, enough budget to bring the show to life the way they'd imagined or the right audience to get enough bums in seats.

On the other hand, we've also seen relatively unknown musicals become enormous successes because they perfectly suited the performers, creative team and audience.

One of the biggest lessons we learnt came from our very first production.

We chose a musical we absolutely loved. Our creative team absolutely loved it.

We'd budgeted, licensed the show and booked the theatre. Then only fourteen students enrolled.

The musical required at least eighteen named characters before you even considered the ensemble. We found ourselves doubling roles and postponing the season while we worked out how to make the production work.

Looking back, it wasn't the wrong musical. It was simply the wrong musical for the cast we ended up with, and it wasn't the right musical for where we were in our journey as producers.

Since then, every time we choose a show - whether for our own productions or when helping another organisation - we ask ourselves the same questions.

We'd encourage you to do exactly the same.

1. Start with Your Performers

Your performers should always be the starting point.

Not your favourite soundtrack. Not the biggest Broadway title. Not even what sold well at the school down the road.

The people standing in front of you will determine whether your production succeeds far more than the name on the poster.

Consider questions like:

How many performers do you realistically expect to audition?
What age range are they?
How experienced are they?
Are they confident singers, actors, dancers or a mixture?
Do you have enough performers for a large ensemble, or would a smaller cast suit your group better?
Will every performer have meaningful stage time?

One thing we've learnt over the years is that audiences don't remember how many Tony Awards a musical won. They remember how the show made them feel - watching performers who looked confident, engaged and genuinely enjoyed being on stage.

Sometimes a smaller scale, lesser known but well-cast production will create a far stronger experience than trying to stretch your cast to fit a much larger or more difficult show than they're ready for.

💬 From Our Experience

We've learnt that flexibility is one of the most valuable qualities a musical can have.

Young performers get sick.

Families move away.

New students enrol halfway through rehearsals.

Confident performers suddenly become unavailable.

The more adaptable a show is to changes in cast size and ability, the less stressful those inevitable surprises become - ESPECIALLY when working with young casts and students.

That's one of the biggest reasons we now write every BeXD musical with flexible casting in mind.

2. Think About Your Creative Team

Your cast isn't the only group you should consider.

A musical that perfectly suits one organisation could be incredibly challenging for another, simply because of the experience, skills and size of the creative team behind it.

Before falling in love with a show, take an honest look at the people who will be bringing it to life.

Ask yourself questions like:

Do we have a Musical Director, or will someone be teaching the music without one?
Is our choreographer comfortable teaching the style of dance required? (For example, tap, jazz, hip hop or ballet.)
Does the show require complex vocal harmonies that might be difficult for our MD?
Are there demanding quick changes that will need a large backstage crew?
Will our volunteers be able to manage the technical requirements or costumes?
Can our team realistically rehearse and stage this production within the time we have available?

It's easy to get caught up in the excitement of a title, but every musical comes with different production demands.

Some require elaborate sets.

Others rely heavily on projections, puppetry or technical effects.

Some have simple costumes and straightforward staging, while others involve dozens of rapid costume changes and intricate choreography.

None of these are reasons to avoid a show - but they're all things worth knowing before you commit.

The right musical should challenge your team in exciting ways, not overwhelm them.

💬 From Our Experience

We've seen productions achieve incredible results with a small but experienced creative team, and we've also seen talented organisations become overwhelmed because they underestimated just how much work a particular show required behind the scenes in one unexpected area.

A successful production isn't about choosing the "biggest" musical. It's about choosing a show that allows both your cast and your creative team to do their best work

3. Consider Your Budget

Budget isn't the most exciting part of producing a musical—I know, I spent years working as an accountant before producing and writing musicals—but it's one of the most important. It's also often the area that causes creatives the most stress.

You might LOVE a show, but if you can't afford to put it on the way you envision it, it might not be worth trying to do a half-done version.

Your budget is about much more than the initial licensing invoice.

When comparing shows, consider the complete production cost, including things like:

Licensing fees and royalties
Production materials
Additional Cast Scripts
Costumes
Sets and props
Venue hire
Technical equipment - how many mic's do you need? Do you need to hire in lights or extra tech?
Marketing and printing
Musician or sound costs
Insurance and other production expenses

One thing we've learnt over the years is that the cheapest licensing option doesn't always end up being the most affordable production.

A show with a lower upfront fee might require you to purchase additional resources, print hundreds of pages yourself, create rehearsal materials from scratch or pay separately for things like logos, digital scripts or video permissions.

On the other hand, a production with a slightly higher licensing cost may include many of those resources from the beginning, saving both time and money.

That's why we always recommend comparing the overall value of a licensing package - not just the headline price.

💬 From Our Experience

We've seen organisations spend weeks creating rehearsal resources, designing artwork and producing backing tracks that could have been supplied as part of a different licensing package.

Your time has value too.

"I'll just do it myself" does have its limits. 😊 Trust us, we've been there. My most sleepless nights with our first newborn were theatre-related... not baby-related!

Sometimes paying a little more upfront can save hundreds of hours throughout your rehearsal process.

A quick note from 'Accountant Katie'

If you're starting out and don't have historical data to base your budgets on, we recommend aiming 30-40% capacity being your breakeven point. That means if you only sell 30-40% of your season, you can still pay for everything and everyone.

I've done and helped with ALOT of budgets, and so often people make the mistake of basing their 'pot of money' on a sold out season. Unless you have a proven track record and good evidence that you'll sell out - make your budget more conservative to save yourself a lot of stress and awkward conversations later.

Finally - don't forget NON-PRODUCTION expenses like marketing. Marketing is how you tell people your show exists. No marketing budget = very few ticket sales outside friends and family. Your marketing budget might be for Meta ads, it might be printing flyers, it might be a mailbox drop - whatever it is, make sure you don't forget about it while you're calculating costs of costumes and hiring a fog machine.

4. Think About Your Audience

Finally, think about who you'll be performing for. These are the people who pay for your production (unless you have received a grant or other funding - good for you!).

WHO IS BUYING THE TICKETS? Parents? Grandparents? Tourists? Subscribers? School community?

Ask yourself:

Will our audience recognise this title? (This can be a benefit of doing a show based on public domain works like Peter Pan, Winnie the Pooh, or Sherlock Holmes - even if it's not a big Broadway title, audiences still know and like the title)
Is it appropriate for the age of our performers AND audience?
Does it suit our organisation's style and values?
Will families, schools or the wider community be excited to come and see it?
Does it give us good opportunities for marketing and promotion?

A well-known title isn't always the right choice, and a lesser-known musical isn't automatically harder to sell. It's all about the context and your particular community.

We've seen original musicals outperform famous titles simply because they suited the performers, were marketed well and created a wonderful experience for audiences.

Choose a musical that gives your organisation the best chance of delivering exactly that.

Key Takeaways!

Start with your performers & team, not just your favourite title.
Choose a musical your creative team can confidently bring to life.
Compare the complete production cost, not just the licensing fee.
Think about the audience you're trying to attract.
The best musical isn't necessarily the biggest one—it's the one that gives your organisation the greatest chance of success.

How Does the Musical Licensing Process Work?

By this point, hopefully you've found a musical that's a great fit for your performers, creative team, budget and audience.

So... what happens next?

If you've never licensed a musical before, the process can feel a little mysterious. What information do you need? When do you pay? How long does approval take? When do you receive your production materials?

The good news is that licensing a musical is usually a straightforward process.

While every licensing company has its own way of doing things, the overall journey is something like this:

Research and choose a musical.
(Optional) Request a perusal script.
Check the show's availability.
Submit your license application.
Receive approval.
Sign your agreement and pay any required fees.
Receive your production materials.
Rehearse, perform and enjoy the show!
Submit Your Post-Season Box Office Report

Let's walk through each step in a little more detail.

Step 1. Research and Choose a Musical

Choosing the right musical (and the associated licensing agent) is about much more than finding a title you love. As we explored in the previous section, it's about finding the best fit for your performers, creative team, audience and budget.

Take the time to:

Read the synopsis.
Listen to the music.
Watch trailers or online versions of the production if they're available.
Explore the licensing company's website.
Read reviews or testimonials from other organisations.
Check what production resources are included with the license.

The more research you do upfront, the more confident you'll feel when it's time to apply.

Step 2. (Optional) Request a Perusal Script

Many licensing companies offer a perusal script (sometimes called a review copy) before you apply for a license.

A perusal script allows you to read the show in full so you can evaluate whether it's the right fit for your organisation.

This can be particularly helpful if you're comparing several musicals or presenting options to a committee, school leadership team or creative staff.

Not every licensing company offers perusal scripts, and those that do may provide them in different ways. Some offer digital watermarked copies, while others charge a fee and will send you a physical script.

If a perusal script is available, we'd almost always recommend requesting one. Reading the script often answers questions that a synopsis or cast list simply can't.

💬 From Our Experience

We've found reading through a perusal script can be ESPECIALLY important when presenting youth theatre - whether that's with an ensemble of kids & teens, or putting on theatre for family audiences. Every country, state and community has different feelings and opinions about certain topics in kids theatre: romance, violence and language are the ones we've come across most often.

Although shows may be advertised as "youth edition", this doesn't necessarily mean every show is it PG or PC enough for your organisation or your community. Some of these adaptations designed for young casts and audiences still explore pretty dark themes, have language that might not be family-friendly enough in your region or community or have a level of romance that you aren't comfortable presenting with a younger cast. Don't leave it up to whoever wrote the adaptation to decide what is appropriate for your cast and community - everyone and everywhere is different.

Reading through the script in full gives you 100% confidence tha your young cast members or students, your parents, family audiences and wider community will be supportive and excited to welcome the work to your theatre.

Step 3. Check Availability

Just because a musical appears on a licensing website doesn't necessarily mean it's available for your production.

Availability can depend on a range of factors, including:

Your country or territory.
Professional productions currently touring nearby.
Existing exclusivity agreements.
Copyright restrictions.
The dates of your proposed performances.

This is particularly important for musicals based on existing intellectual property, where rights may differ between countries or change over time.

If you're unsure, simply ask.

A good licensing company will be happy to confirm whether a show is available before you begin planning your production.

Step 4. Submit Your License Application

Once you've chosen a musical and confirmed it's available, it's time to submit your application.

Most licensing companies will ask for information such as:

Your organisation's name.
Your venue.
Proposed performance dates.
Number of performances.
Estimated audience capacity.
Ticket prices.
Contact details.
Whether your performers are paid or unpaid.

This information helps the licensing company prepare your agreement and calculate any applicable royalties. The more accurate your application is, the smoother the process will usually be.

Make sure you check details (DD/MM/YYYY or MM/DD/YYYY) depending on where the licensing company is based, and differentiate between your billing organisation and the venue where you are performing (if it's not the same place).

Step 5. Receive Approval

Many educational and community theatre productions are approved quickly.

Others may require additional checks.

Depending on the musical, approval might involve:

The licensing company.
The authors.
The copyright holder.
An estate managing the rights.
Existing professional or amateur productions in your area.

Approval times can vary from a matter of hours to several weeks, so it's always worth applying as early as possible.

If you are in a rush, we've found it's worthwhile emailing or calling your licensing agent once your application is submitted to flag your application as urgent A good licensing company should understand that last minute season changes or confirmation are a part of life and hopefully help you get your application through quickly whenever possible.

If you need quick approval, smaller or independent licensing companies can sometimes move particularly quickly when they administer the relevant rights in-house. We'll talk more about this later.

Step 6. Sign Your Agreement and Pay Any Required Fees

Once your application has been approved, you'll usually receive a licensing agreement outlining the terms of your production.

This typically includes:

Your approved performance dates.
Venue details.
The number of performances.
Your responsibilities as the producer or organisation.
Payment requirements.

Some licensing companies require payment in full before releasing materials, while others request a deposit or minimum royalty payment upfront.

Always take a few minutes to read your agreement carefully so you understand exactly what's included and what's expected throughout your production. Ask questions if you have them. Never be pressured to sign something you don't understand or are not given time to read.

Step 7. Receive Your Production Materials

Once everything has been finalised, you'll receive the official materials you'll use throughout rehearsals and performances. These may be delivered digitally, shipped as physical copies, or supplied as a combination of both. (or both!)

Depending on the licensing company, resources may include:

Cast Scripts.
Music Scores.
Rehearsal Tracks.
Performance Tracks.
Director's resources.
Marketing artwork.
Choreography notes.
Scenic projections.
Digital downloads, printed materials, or a combination of both.

We'll explore production materials in much more detail later in this guide.

Step 8. Rehearse, Perform and Enjoy the Show!

YAY! The fun part.

After months of planning, paperwork and rehearsals, it's finally time to bring the production to life.

Throughout your rehearsal process, remember that your licensing company should be a resource - not just a rights holder.

If you have questions about your agreement, production materials or approved performance conditions, don't hesitate to ask. Some licensing partners may go an extra step and provide access to the writers and composers of the show to meet with, ask questions, provide guidance or simply record a "Happy opening night!" video for you and your cast.

💬 From Our Experience

A good licensing partner wants your production to be successful just as much as you do.

One thing we've learnt over the years is that good communication makes everything easier.

If your performance dates change, your cast grows beyond your original script order, or something unexpected happens during your production, let your licensing company know as early as possible.

Almost every production encounters a surprise or two.

Most issues are easily resolved when everyone is kept informed.

Step 9. Submit Your Post-Season Box Office Report

Once your production has finished, there may still be one final step to complete.

Many licensing companies require you to submit a post-season box office report, which confirms details such as:

Your final number of performances.
Total tickets sold.
Gross box office revenue.
Any cancelled or additional performances.

This information is used to calculate any additional royalty payments if your agreement includes a percentage of gross box office above a minimum royalty.

If you've added extra performances, changed venues or significantly altered your season, this is also the time to notify your licensing company if you haven't already.

For many organisations, submitting the box office report is the final administrative step that officially closes out the production.

💬 From Our Experience

We know that after closing night, everyone is tired and ready for a well-earned break! But don't forget this final piece of paperwork. Completing your box office report promptly ensures your production is finalised correctly and helps maintain a positive relationship with your licensing company for future productions.

Key Takeaways!

Licensing a musical is a straightforward process when you understand the steps.
If available, request a perusal script before committing to a show.
Apply early to allow time for approvals and production planning.
Read your licensing agreement carefully so you understand your responsibilities.
Think of your licensing company as a production partner, not just a rights holder.

How Long Does It Take to License a Musical?

In many cases, a musical license can be approved within a few days, but approval times vary depending on the title, the licensing company, your territory and whether additional rights-holder approval is required.

Some applications are incredibly quick.

Others take longer.

The important thing is not to assume that because you've found the musical online, you'll automatically have permission to perform it tomorrow.

For a straightforward school, youth theatre or community theatre production, the licensing company may be able to review and approve your application internally. In those cases, the process can sometimes move very quickly.

However, some productions require additional checks before permission can be granted.

These might involve:

the writers or composers
a theatrical rights holder
an author's estate
an underlying copyright owner
territorial restrictions
existing professional productions
another production already licensed nearby
specific conditions attached to that title

This is why even two musicals listed by the same licensing company can have completely different approval timelines.

How Far in Advance Should You Apply for a Musical License?

As a general rule, apply as soon as you're reasonably confident about the show you want to produce.

You don't necessarily need every costume designed or your cast list finalised.

But ideally, you should know:

which musical you want to perform
your proposed venue
your approximate performance dates
how many performances you're planning
your likely ticket prices
who the producing organisation will be

Giving yourself additional time is particularly important if:

you're planning a large school production
your dates are difficult to move
you've already booked an expensive venue
you're producing a particularly well-known title
you're applying in a territory where rights may be restricted
you need physical production materials shipped
your organisation has a slow internal approval or purchasing process

The license itself isn't always the only timeline to consider.

Your licensing application might be approved quickly, but physical scripts or scores may still need to be printed and shipped.

Your school may need to raise a purchase order.

Your committee may need to approve the budget.

Your finance department might only process payments once a fortnight.

Sometimes the theatre paperwork takes longer than the theatre licensing.

Can You Apply for a Musical License at the Last Minute?

Sometimes, yes.

If you've had a last-minute season change or suddenly need to replace another production, it is always worth contacting the licensing company directly.

Explain:

what you want to produce
when you need to begin rehearsals
your proposed performance dates
why the application is urgent

If the rights can be approved internally and all the necessary information is available, the licensing company may be able to process the application quickly.

But this isn't something we'd recommend building your production schedule around.

A fast approval is helpful.

Depending on a fast approval is stressful.

💬 From Our Experience

Theatre production plans change. Ours certainly have.

Venues suddenly become available. Another production falls through. A planned show becomes unavailable. A school timetable changes. Sometimes you've simply reached the point where you realise the musical you've chosen isn't going to work for the cast you actually have.

If that happens, always contact the licensing company rather than assuming you've left it too late.

Smaller or independent licensing companies may sometimes be able to move particularly quickly when they administer the relevant rights in-house, because there are fewer external approval stages involved.

That doesn't guarantee an immediate approval — every title is different — but a quick email explaining the situation can save a lot of uncertainty and hopefully get you out of a jam!

Don't Announce Your Production Before You Have the Rights

One of the most important practical rules is to avoid treating a musical as confirmed until your performance rights have actually been approved.

That means being cautious about:

publicly announcing the show
opening ticket sales
printing posters
ordering branded merchandise
committing to expensive show-specific scenery
beginning rehearsals based on an assumed approval

It's incredibly tempting to announce a season as soon as you've chosen the title.

But if the rights aren't available for your dates or territory, you may suddenly find yourself undoing a lot of work.

You can absolutely research, budget and prepare while an application is being processed.

Just make sure everyone involved understands the difference between:

“This is the musical we'd like to produce.”

and:

“We have permission to produce this musical.”

Key Takeaways!

Musical licensing approval can take anywhere from a very short turnaround to substantially longer depending on the title and rights involved.
Apply as early as practical, particularly if your venue dates are fixed.
Have your venue, proposed dates, performance count and ticket pricing ready before you apply.
Remember that payment processing and physical-material delivery can add time even after approval.
If you're dealing with a genuine last-minute production change, contact the licensing company directly.
Don't publicly treat a production as confirmed until your performance rights have actually been approved.

How Do Musical Theatre Royalties Work?

Musical theatre royalties are payments made for the right to perform a musical. A common licensing model is to charge a percentage of your gross box office, subject to a minimum royalty — meaning you pay whichever amount is greater.

If you haven't licensed a musical before, the terminology can make this sound more complicated than it actually is.

Your licensing agreement might say something like:

12% of gross box office, subject to a minimum royalty of $100 per performance.

In simple terms, this means the licensing company calculates two numbers:

Your minimum royalty
and
the agreed percentage of your gross box office

You pay whichever is greater.

The minimum royalty is commonly paid upfront as an advance when you secure your production rights. Then, after your production, your actual box office may be reconciled against the amount you've already paid.

Let's break down exactly how that works.

What Is a Musical Theatre Royalty?

A royalty is the payment made for permission to perform a copyrighted musical.

Royalties compensate the writers and rights holders whose work you're performing and are an expected part of producing a licensed musical.

It's also important to understand that your royalty isn't necessarily the same thing as the cost of your production materials.

Depending on the musical and licensing company, your total licensing costs may also include things such as Cast Scripts, music scores, rehearsal tracks, performance tracks, material rentals, shipping, booking or administration fees, scenic projections and other optional production resources.

Some licensing companies bundle many of these resources together. Others charge for them separately.

So when comparing the cost of two musicals, don't compare the royalty alone.

Compare what you'll actually need to pay to get the rights and resources required to produce the show.

How Are Musical Theatre Royalties Usually Calculated?

One of the most common royalty structures you'll encounter is:

A percentage of gross box office, subject to a minimum royalty.

The exact percentage varies by musical, rights holder and licensing agreement.

As a useful budgeting guide, you may encounter percentage royalties around 10–16% of applicable ticket sales or gross box office, with some titles or agreements reaching 18%.

For a real-world example, Music Theatre International (MTI) currently lists a 16% royalty on ticket sales for Frozen JR. in Australia, together with a minimum royalty advance per performance.

So let's use 12% of gross box office with a minimum royalty of $100 per performance as our worked example.

Imagine you're performing three shows.

Your minimum royalty is:

3 performances × $100 = $300

You therefore know from the beginning that your royalty for the season will be at least $300.

Now imagine your final gross box office is $2,000:

$2,000 × 12% = $240

Because $240 is lower than your $300 minimum, your royalty remains:

$300

But let's say your production instead earns $8,000 at the box office:

$8,000 × 12% = $960

The percentage calculation is now higher than the minimum, so your final royalty is:

$960

In other words:

You pay the minimum royalty OR the agreed percentage of gross box office — whichever is greater.

What Is a Minimum Royalty?

A minimum royalty is the lowest royalty payable for your licensed production, regardless of whether the percentage calculated from your actual ticket sales would produce a lower amount.

It's often calculated per performance.

For example, if the minimum royalty is $100 per performance and you're doing four performances:

4 × $100 = $400 minimum royalty

Even if your percentage-based royalty ultimately calculates to $250, the minimum means your royalty remains $400.

If the percentage calculation comes to $900, you pay $900 instead.

The minimum therefore gives both you and the licensing company a known starting point for the production.

For you, it's an amount you can put into your budget before you've sold a single ticket.

For the writers and rights holders, it provides an agreed minimum payment for the use of their work.

When Do You Pay the Minimum Royalty?

The minimum royalty is often paid upfront as a minimum royalty advance or deposit when you secure your production rights.

Think of it as an advance towards the royalty your production will ultimately owe, rather than an additional royalty on top.

After your production closes, you may be required to submit a final box office report showing your actual ticket sales.

The licensing company can then reconcile your final royalty against the amount you've already paid.

For example, imagine your minimum royalty for the season was $600, which you paid when your production was licensed.

After closing, your final calculation shows:

12% of gross box office = $900

You've already paid $600, so the additional amount due is:

$900 − $600 = $300

But if your final percentage royalty were only $450, the $600 minimum you've already paid would remain your royalty for the season.

There would be no additional royalty to pay.

The exact payment and reconciliation process varies between licensing companies and agreements, so always check the terms of your particular license.

A Useful Calculation to Do Before You License

Here's a calculation we think is worth doing before you commit to a musical:

Work out the maximum gross box office your planned season could possibly earn.

You only need three numbers:

Number of seats × average ticket price × number of performances = maximum possible gross box office

Then multiply that number by the royalty percentage you're being quoted.

Let's say you're planning three performances in a 100-seat venue with $20 tickets.

Your absolute maximum box office is:

100 seats × $20 × 3 performances = $6,000

Now calculate the percentage royalty.

At 12%:

$6,000 × 12% = $720

At 16%:

$6,000 × 16% = $960

Now compare that result with the minimum royalty you've been quoted.

If your minimum royalty were $1,000 for the season, something useful becomes immediately obvious:

Even if you sell every available ticket, the percentage calculation won't exceed your minimum royalty.

Assuming your production details don't change, you already know that your minimum will effectively be your royalty cost.

This can be particularly relevant for smaller community theatres, schools and performing arts studios.

Ticket sales aren't always where these organisations make most of the money that supports a production. Your program might also be funded through tuition or workshop fees, participation fees, sponsorship, grants, fundraising or other sources.

Those other sources of organisational income aren't automatically part of your gross box office simply because they're helping fund the production. What counts towards your royalty calculation is determined by the definitions in your licensing agreement.

Read those definitions carefully.

A Quick Note from Accountant Katie

This is one of my favourite calculations to do when budgeting a production because it can turn an unknown cost into a very predictable one.

Start with the absolute maximum number of tickets you could possibly sell:

Seats × ticket price × performances

Then calculate your royalty percentage against that.

If even a completely sold-out season doesn't take you above your minimum royalty, you know from the beginning that you're very unlikely to have an additional royalty payment after the show.

If it does exceed your minimum, I like to run the calculation again at a few realistic sales levels — perhaps 30%, 50%, 75% and 100% capacity.

That gives you a much clearer picture of what your royalty expense could actually be, rather than putting the minimum into your budget and hoping for the best.

What Does “Gross Box Office” Mean?

Gross box office (GBO) generally means the applicable ticket revenue generated by your production before your production expenses are deducted.

The important word is gross.

If your production earns $10,000 in applicable ticket revenue and your royalty rate is 12%:

$10,000 × 12% = $1,200

You don't normally get to subtract your costumes, venue hire, microphones, advertising or the fog machine you absolutely insisted was essential before calculating the royalty.

Gross box office is not the same thing as profit.

However, don't assume that every licensing agreement defines gross box office in exactly the same way.

Your agreement should tell you what is included in the calculation and how things such as complimentary tickets, discounted tickets, booking fees, donations, packages or other unusual arrangements are treated.

Use the definition in your licensing agreement, not your own interpretation of what “gross” should mean.

Do Some Musicals Charge a Flat Royalty Instead?

Yes.

While percentage royalties subject to a minimum are common in musical theatre licensing, some smaller and independent licensing companies use a fixed royalty per performance instead.

Under this model, you pay an agreed amount for each licensed performance.

For example:

$100 per performance × 3 performances = $300

Your royalty doesn't then change based on how many tickets you sell.

This can make budgeting particularly simple, although it doesn't automatically mean the production will be cheaper.

As always, look at the royalty and the complete cost of the licensing package.

Do Schools and Community Theatres Have to Pay Royalties?

Yes. Schools, youth theatres, performing arts studios and community theatres need to obtain the appropriate performance rights and pay the applicable royalties when performing a copyrighted musical.

That still applies when your performers are unpaid or your organisation is not-for-profit.

Being a school, charity or community organisation doesn't make a copyrighted theatrical work free to perform.

The important distinction is between:

whether you have permission to perform somebody else's copyrighted work

and

whether your organisation makes a profit from the production.

They're not the same thing.

The exact royalties and licensing conditions will depend on the musical, territory and agreement.

If I Don't Charge for Tickets, Do I Still Need a License?

Yes. If you're performing a copyrighted musical for an audience, making the performance free doesn't remove the need to obtain the appropriate performance rights.

For example, this can include a free student showcase, a free community event, a charity production, a fundraiser or a performance where admission is by donation.

Not making money from the performance doesn't make somebody else's copyrighted work free to use.

So:

“We're not charging for tickets” doesn't mean “we don't need a license.”

If you're planning an unusual type of performance and aren't sure which rights you need, contact the relevant licensing company or rights holder and explain exactly what you're planning.

Check the Currency — and Whether Tax Is Included

Before comparing licensing quotes, check which currency you're looking at and whether applicable taxes are included in the advertised price.

This sounds obvious.

It is also surprisingly easy to miss when you're comparing musicals from licensing companies operating in different countries.

A quote might be shown in:

US dollars (USD)
Australian dollars (AUD)
British pounds (GBP)
another local currency

Then check the tax treatment.

For example, GST may be included in an Australian price in some circumstances or added separately in others. Other countries and jurisdictions have their own tax requirements.

Before putting a licensing figure into your budget, check:

What currency is this price in?

Does the quoted amount include applicable tax, or will tax be added?

Will we incur international payment or currency-conversion costs?

If we're receiving physical materials, is shipping included?

A $500 figure on one licensing website isn't necessarily directly comparable with a $500 figure on another.

💰 A Quick Note from Accountant Katie

Put the amount your organisation will actually have to pay into your budget, not just the first number you saw on a website.

Check the currency. Check whether tax is included. Check the shipping.

And if you're paying in a foreign currency, leave yourself a little room for the exchange rate to move between preparing your budget and actually paying the invoice.

It's a very boring way to accidentally blow your costume budget.

Why Can Royalty Rates Vary Between Musicals?

There is no single royalty percentage that applies to every musical.

Rates can vary depending on the title, rights holder, licensing company, territory and licensing arrangement.

As we've seen, you may encounter rates from around 10–16%, with some titles or agreements reaching 18%.

That difference can become meaningful as your box office grows.

For example, on $5,000 of applicable gross box office:

12% = $600
16% = $800

That's a $200 difference.

On $20,000:

12% = $2,400
16% = $3,200

Now it's an $800 difference.

But we'd still caution against choosing a musical based on its royalty percentage alone.

There can be significant differences in what you're paying for besides the performance rights.

One licensing company might include the resources you need within its Production Pack. Another may charge separately for scripts, scores, tracks, rentals, shipping or other production materials.

So rather than asking only:

“What's the royalty percentage?”

ask:

“What will it actually cost us to license and produce this musical with all the resources we need?”

That's the number that matters to your production budget.

Where Does the Royalty Money Go?

Royalties exist because musicals are somebody's intellectual property.

Depending on the arrangements behind a particular musical, royalty income may ultimately be distributed between writers, composers, publishers, rights holders and the licensing company administering the performance rights.

The exact structure varies between works and publishers.

From a producer's perspective, however, the important thing to understand is that a royalty isn't simply an arbitrary theatre fee.

It's part of how the people who create and own theatrical works are compensated when those works are performed.

And speaking as people who sit on both sides of that equation — we produce musicals and we write them — we think that's an important part of keeping new theatre being written.

One More Note from Accountant Katie

If your royalties are percentage-based, don't treat a potential final royalty payment as money you'll magically find after closing night.

Build it into your budget from the beginning.

This is where those 30%, 50%, 75% and 100% capacity calculations become useful.

If your royalties increase because you've sold more tickets, that's a good problem to have. But remember that the additional ticket revenue isn't all available to spend elsewhere.

I'd much rather discover after closing night that we've made more money than expected than discover halfway through rehearsals that our budget only worked if every performance sold out.

What If the Musical Is Based on a Public Domain Story?

A musical being based on a public domain story does not necessarily mean the musical itself is in the public domain or free to perform.

This is an important distinction.

Stories such as Peter Pan, Pinocchio, Robin Hood and Winnie-the-Pooh have source material that may be in the public domain in particular countries. That can allow people to create new adaptations based on the public domain material.

But that new adaptation is itself a creative work.

Imagine a writer takes a public domain story and creates a new stage musical from it. They might:

write an entirely new script or book
compose new songs and lyrics
create new arrangements and orchestrations
introduce new characters, dialogue or scenes
restructure the original story for the stage
create original production materials, recordings and artwork

Those new creative elements can be protected by copyright even though the underlying source material is in the public domain.

So if you license a modern musical adaptation of Peter Pan, for example, you're not simply paying for the right to tell the underlying Peter Pan story. You're licensing that particular writer and composer's adaptation of it.

You couldn't take their script, songs or score and perform them without permission simply because the original source material is in the public domain.

In some circumstances, you could instead go back to material that is genuinely in the public domain in your territory and create or perform something based solely on that material. But you need to be careful here: public domain status varies between countries, and later adaptations, characters, songs, artwork and other additions may still be protected separately.

We'll go into public domain musicals — including what you can and can't safely use — in much more detail later in this guide.

For now, the important distinction is:

Public domain source material ≠ public domain musical adaptation.

If you're performing somebody else's copyrighted adaptation, you still need the appropriate license and will need to pay the royalties required under that license.

Key Takeaways!

Royalties are what you pay for the right to perform a copyrighted musical.
A common structure is a percentage of gross box office or a minimum royalty — whichever is greater.
Minimum royalties are often paid upfront, with any additional royalty reconciled after your season.
Calculate your maximum possible box office before licensing — you may find your minimum royalty already covers you.
Free performances, schools and not-for-profits still need a license for copyrighted musicals.
Compare the total licensing cost, including materials, currency, tax and other fees — not just the royalty percentage.

What Do You Get When You License a Musical?

When you license a musical, you'll usually receive or gain access to the scripts, music and production resources needed to rehearse and perform the show. Depending on the licensing company and title, these can include scripts, sheet music, rehearsal and performance tracks, casting and audition resources, choreography materials, marketing assets and other practical production tools.

But production packages vary enormously.

And, in our experience, the important question isn't simply:

“How many resources are included?”

It's:

“Were these resources actually designed to make producing the musical easier?”

That's a distinction we care about a lot.

What Is a Musical Production Pack?

A musical Production Pack is the collection of scripts, music and practical production resources supplied or made available for your licensed production.

Different licensing companies use different terminology. You might see Production Pack, production materials, show materials, rental materials, ShowKit or something similar.

Depending on the musical and publisher, your production materials might include:

Cast Scripts
Director's or Stage Manager's Scripts
Piano/Vocal or Music Director's Scores
rehearsal tracks
performance backing tracks
orchestral or instrumental parts
casting guidelines
audition materials
choreography resources
Director's Guides
printable run orders and production documents
marketing materials and approved artwork
scenic projections
other show-specific production resources

Some licensing companies provide quite extensive production resources. Others provide the essential script and music materials and leave more of the production preparation to your creative team.

Neither the size of the pack nor the number of files necessarily tells you how useful it will be.

A really useful Production Pack solves practical problems before your creative team encounters them.

What Should a Good Musical Production Pack Include?

There isn't one universal list of resources every production needs.

A school with an experienced Music Director and live orchestra has different requirements from a performing arts studio working with backing tracks. A community theatre with its own choreographer has different needs again.

But after writing, developing, teaching, producing and licensing musicals ourselves, there are some resources we've found can make a significant practical difference.

Printable Digital Scripts

If scripts are supplied digitally, check what “digital” actually means.

Can you print them?

How many copies are you permitted to print?

Is the PDF supplied in a genuinely printable format?

Some licensing companies charge separately for digital scripts, and the permissions attached to digital materials vary. Don't assume that receiving a PDF automatically gives you permission to print as many rehearsal copies as your cast needs.

A digital script isn't particularly helpful if your cast needs physical copies and you discover the PDF won't print properly — or that your license doesn't actually allow you to print it.

For BeXD productions, our digital Cast Scripts are supplied with permission to print as many copies as required for your licensed production, and our files are provided in easy-to-print formats.

Particularly when you're working with a large school or youth cast, getting a usable script into everyone's hands shouldn't become another production problem to solve.

Can You Print a Digital Musical Script?

Only if your licensing terms allow you to. A digital musical script does not automatically come with permission to print or reproduce unlimited copies.

It's worth checking whether your digital scripts can actually be downloaded and printed, how many copies you're permitted to make, and whether there are any restrictions on sharing or reproduction.

Likewise, don't assume that purchasing or renting a physical script gives you permission to photocopy it. If your production needs more copies, check the terms of your license or ask the licensing company.

The important thing isn't whether a script is labelled digital or physical.

It's whether your cast can practically use it in rehearsal.

Digital or Physical Scripts: Which Is Better?

Neither digital nor physical musical scripts are automatically better. Digital materials can be faster to access, easier to distribute and more flexible for large casts, while physical scripts can be easier for some performers to annotate and use during rehearsals.

Digital materials can be particularly convenient when your cast changes.

If another five performers join your ensemble, being able to print additional permitted copies yourself is considerably easier than ordering five more scripts and waiting for them to arrive.

And if someone loses their script three weeks before opening night?

You can probably guess which system we're particularly fond of at that moment.

Physical scripts have their own advantages. Performers can highlight lines, write blocking and make notes without needing a device, login or charged battery. For younger performers in particular, paper scripts can sometimes be considerably easier to manage in a rehearsal room.

If physical materials are supplied by your licensing company, check whether you're purchasing or renting them. Rental materials may need to be returned after your production, and lost or damaged copies may incur additional charges.

If they're being shipped — particularly internationally — also allow for delivery times and shipping costs.

And you don't necessarily have to choose one system.

A creative team might keep digital files for easy reference while performers work from printed scripts. Your Music Director might use a printed score at the piano while working with digital rehearsal tracks.

The best format is the one that creates the least unnecessary work for your particular cast and creative team.

Rehearsal and Performance Tracks

Rehearsal tracks help performers learn and practise the music. Performance tracks provide the accompaniment used during the actual show when a production is performing to tracks rather than live musicians.

Rehearsal tracks may contain guide vocals or an instrumental guide designed to help performers learn their parts.

Performance tracks are designed for your cast to perform with.

If your school, studio or theatre isn't using a live orchestra, make sure you confirm before licensing that suitable performance tracks actually exist, how they're supplied and whether they're included or cost extra.

We've learned not to assume that “tracks available” necessarily means “everything our production needs is ready to use”.

For schools, youth theatres and performing arts studios without regular access to a pit orchestra, good rehearsal and performance tracks can make an enormous practical difference.

If you do have an orchestra, check that the musical you're licensing has the orchestrated score and instrumental parts your musicians will actually need.

Tracks in Alternate Keys

Another feature that's particularly useful when working with young performers is having tracks available in alternate keys.

The original key of a song won't necessarily suit the performer you ultimately cast. That's particularly relevant if you're casting a different voice type from the original production or working with students who have a more limited vocal range.

Alternate-key tracks give directors and Music Directors more flexibility to choose a key that better suits the performer without having to create or commission an entirely new backing track — or resort to dodgy online software that reduces the quality of your track or leaves an audio watermark over it.

Not every song needs multiple keys.

But where they're useful, BeXD provides alternate-key tracks for relevant songs in our musicals.

It's a relatively small resource that can solve a very real casting and rehearsal-room problem.

Sheet Music That Actually Works With the Tracks

Sheet music needs to do more than technically contain the right notes.

If you're rehearsing with backing tracks, your Music Director needs to be able to move efficiently between the score and the recording.

One practical feature we include in BeXD sheet music is timestamps that correspond with the tracks.

That makes it much easier for a Music Director to identify a point in the score and quickly find the corresponding place in the recording.

It sounds like a tiny detail.

During an actual music rehearsal, it really isn't.

Finding the section, finding the same spot in the track, rewinding, realising you've gone five seconds too far, starting again... those little bits of friction add up across days or weeks of rehearsals.

This is the kind of production resource we find most valuable: not an extra file included so the Production Pack looks impressive, but something that makes the creative team's actual job easier.

Casting Guidelines

For large-cast and youth musicals, casting isn't always as straightforward as assigning one performer to every character listed in the script.

You may need to know which roles can be doubled, where ensemble performers can be added, how featured roles function and where there's flexibility for a larger or smaller group.

Good casting guidelines can help a director understand how the musical has been designed to work before auditions begin.

This is particularly useful when you're producing with young performers because the cast that actually walks through the audition-room door may look quite different from the one you imagined when you chose the show.

At BeXD, flexible casting is something we consider while our musicals are being developed and tested, rather than trying to reverse-engineer flexibility after the show is finished.

That experience can then be built into the casting guidance supplied to other directors.

Audition Materials and Templates

A useful Production Pack can start saving your creative team time before rehearsals even begin.

BeXD Production Packs include an audition brief template that directors can adapt for their own production.

That gives you a practical starting point for communicating audition information rather than creating every document from scratch.

For teachers and volunteer creative teams in particular, those small time-savers matter.

You're probably not sitting around wondering how you're going to fill all your spare hours before auditions.

Choreography Demonstrations

Choreography resources can also be genuinely useful — provided they're there to support your creative team rather than dictate what every production should look like.

BeXD provides choreography demonstration videos for relevant material.

Your choreographer can use them as a reference or starting point when developing choreography for your production.

Or, where appropriate, a demonstration can be sent directly to auditionees and used as a dance audition combination.

That's the kind of dual-purpose production resource we particularly like.

It isn't there simply so we can put “choreography included” on a list.

It solves an actual production task.

And if you have a choreographer who wants to create everything from scratch? Fantastic. The resources are there to help, not to make every production identical.

Printable Run Orders and Practical Production Documents

Some of the least glamorous resources in a Production Pack can end up being some of the most useful.

BeXD provides a printable run order that gives the production team a clear overview of the sequence of the show.

Documents like this can be useful across the creative and technical team, including directors, Stage Managers and Music Directors.

Again, it's not particularly exciting.

It just makes producing the show easier.

And we think that's rather the point.

Marketing Materials

Once you've cast and rehearsed the musical, you still need people to come and see it.

Check what marketing resources your licensing company provides and what your license actually permits you to use.

Depending on the musical, these might include approved show logos, artwork, poster materials, social media assets or other promotional resources.

BeXD provides marketing materials for licensed productions so organisations have approved show assets available when promoting their season.

It's also important to check the usage conditions attached to any artwork you receive.

Licensing a musical doesn't automatically give you permission to use every image, logo or piece of artwork associated with the underlying title or story.

💬 From Our Experience

We're quite particular about production resources because we've been on the receiving end of both genuinely useful materials and materials that created a surprising amount of extra work.

We've licensed a musical where the music supplied didn't properly match the script we were rehearsing.

We've helped another company rebuild music resources when the licensed materials they received effectively gave them lyrics without the usable sheet music and backing tracks their production needed.

And we've encountered performance materials that technically existed but were supplied on a physical CD that was out of stock. In 2024.

None of these things makes rehearsing a musical impossible. But they are a pain in the butt.

And when you're already trying to direct a cast, teach music, organise costumes, answer emails and somehow get everyone on stage at the right time, you really don't need your production materials creating another job for you.

Those experiences have heavily influenced how we build our own Production Packs. Our musicals are developed, workshopped and tested with real performers before they're released for licensing. That means we get to find some of the annoying bits ourselves :)

We see where a director needs more information, where young performers struggle, what slows a rehearsal down, what a Music Director actually needs from the score, where casting flexibility matters and which resources genuinely get used.

Then we can build those lessons back into the materials before another creative team gets the show.

For us, that's the difference between a folder containing lots of files and a genuinely useful Production Pack.

Good production resources should remove unnecessary work from your creative team, not create more of it.

More Production Resources Aren't Necessarily Better

We don't think a licensing company should win this comparison simply by having the longest list of inclusions.

A 60-page guide nobody uses isn't inherently more valuable than a two-page document that solves a genuine production problem.

A choreography resource isn't particularly useful if you have an experienced choreographer who doesn't want it.

Scenic projections might be enormously valuable to a school with limited set-building capacity and completely unnecessary to a community theatre with a brilliant scenic department.

What matters is whether the resources are practical, usable and relevant to the way you're actually producing the show.

That's why we'd look for production materials that appear to have been created with an actual rehearsal room in mind.

What Should You Check Before Licensing a Musical?

Before committing to a show, we'd check:

Can our cast actually use the scripts?
Are they physical or digital, can digital copies be printed, and do we have permission for the number we need?

Do we have the music resources we need?
Check sheet music, Music Director resources, rehearsal tracks, performance backing tracks and orchestral materials where relevant.

Are alternate keys available where appropriate?

Do the score and tracks work together practically?

Are useful casting and audition resources included?

Are choreography resources available?

What practical production-management resources are provided?

What approved marketing materials can we use?

Are any resources optional extras?

Are there additional rental, printing, shipping or material costs?

When will our creative team receive access to everything?

You may not need every resource on that list.

The point is to identify what your production actually needs and make sure the licensing package provides it.

Key Takeaways!

Check exactly what's included with your musical license.
Make sure your scripts, scores and tracks are actually practical to use.
Digital doesn't automatically mean downloadable or printable.
Look for production resources that solve real rehearsal-room problems.
The best Production Pack isn't the one with the most files — it's the one that makes the musical easier to produce.

What Can You Do Once You've Licensed a Musical?

A musical license gives you permission to produce a particular show within the terms of your licensing agreement. It doesn't give you unrestricted permission to change the script, add performances, record the show or use its music, artwork and other intellectual property however you like.

Exactly what you can and can't do varies between musicals and licensing companies.

So once you've been approved, read the agreement.

And if something isn't clear, ask.

It's much easier to sort out a licensing question before rehearsals than after you've already built your production around the answer you thought was right.

Can You Change the Script, Lyrics or Music of a Licensed Musical?

Usually, you shouldn't change the script, dialogue, lyrics, music or songs in a licensed musical unless your licensing agreement permits it or you've received permission from the licensing company or rights holder.

You're licensing a particular version of someone else's work, rather than purchasing the underlying copyright.

But that doesn't mean you can't ask.

Sometimes there's a perfectly practical reason for wanting a change: your performers, audience, venue, educational context or accessibility requirements.

At BeXD, we expressly invite licensees to ask about changes that would better suit their production. Where a change is approved, it needs to be confirmed in writing before it's used.

That's a useful rule whoever you're licensing from:

Ask rather than assume.

Can You Cut Songs or Scenes From a Licensed Musical?

Don't assume you can cut songs, scenes or other material from a licensed musical without permission.

Wanting a shorter runtime, having a performer drop out or deciding a scene doesn't suit your group doesn't automatically give you permission to rewrite the licensed version.

If runtime is important, it's worth looking for an authorised one-act, junior, school or youth version of the musical where one exists.

And if something isn't working for your particular production, ask the licensing company what options are available.

Creating your own shortened version and choosing an existing authorised version aren't necessarily the same thing.

Can You Change the Casting or Double Roles?

Casting flexibility depends on the musical and its licensing terms. Some shows allow considerable flexibility, while others have specific casting requirements.

There's also a difference between casting a role differently and rewriting that character's dialogue, lyrics or identity.

For BeXD productions, casting decisions — including double casting — are at the licensee's discretion.

For schools and youth theatres especially, this is worth checking before choosing a musical. The cast that actually walks through the audition-room door has a habit of ignoring the casting plan you made three months earlier.

Do You Have to Use the Supplied Choreography, Costumes or Staging?

Not necessarily. Whether production guides are compulsory or optional depends on the musical and licensing agreement.

A choreography guide might be there as a resource rather than a requirement. The same can apply to costume suggestions, staging ideas and other production guidance.

BeXD encourages directors to create their own artistic interpretation through direction, choreography, staging, design, casting and technical choices. Unless specifically stated otherwise, our production guides are optional: you can use them, adapt them or create your own approach.

We'd rather give you a useful starting point than dictate what every production should look like.

Can You Add Performances or Change Your Dates or Venue?

Changes to the performances covered by a musical license will usually need to be discussed with the licensing company.

Your agreement may specify your venue, performance dates, number of performances and territory.

So if your three performances sell out and you suddenly want a fourth — excellent problem.

Just don't put it on sale before checking.

Under BeXD's current agreement, changes to the licensed venue, performance dates, number of performances or territory require prior written approval.

The exact process varies between licensing companies, but the practical rule is simple:

If the production you've been approved for changes, tell them.

Can You Share Scripts, Scores and Tracks With Your Cast?

You can only distribute licensed production materials in the ways permitted by your agreement.

Receiving a digital script, score or track doesn't automatically give you permission to upload it publicly or share it with another organisation.

BeXD licensees can download, print and distribute Production Materials internally to the cast, production staff, volunteers and others directly involved in the licensed production. Those materials can't then be publicly uploaded as standalone files or passed on to unrelated third parties without permission.

In other words:

“I can send this to my cast” doesn't mean “I can put it in a public Google Drive.”

And having the files left over afterwards doesn't give you permission to use them for another unlicensed production.

Can You Record a Licensed Musical?

Not automatically. Performance rights and recording rights can be separate, so don't assume that permission to perform a musical also gives you permission to record or publish it.

This is something we'd check before promising families they'll receive a recording.

Policies vary significantly. A licensing company might prohibit recording, provide a separate video or streaming license, or permit particular kinds of non-commercial recording.

BeXD takes a deliberately flexible approach here. Our current agreement allows licensed productions to be photographed and recorded, with recordings shared publicly for non-commercial promotional, educational, archival and community purposes, including through websites, social media and video-sharing platforms. Required billing and credits still apply.

Commercial use — such as selling the recording, paid streaming or directly monetising it — requires prior written approval.

And remember that musical rights aren't the only permissions involved. Your organisation is still responsible for obtaining any necessary permission to photograph or record the people appearing in the production, particularly children and young performers.

Can You Make Your Own Poster and Marketing Materials?

Often, but check the artwork, branding and billing requirements attached to your license.

A licensing company may provide approved show artwork or allow you to create your own.

BeXD licensees can use the supplied show artwork and branding assets or create original promotional artwork for their production, provided it follows the approved title and billing requirements and doesn't suggest an association with another adaptation or rights holder.

That last point is particularly important with familiar stories.

Licensing one adaptation of Peter Pan doesn't give you permission to use the logo, artwork or character designs from a completely different adaptation of Peter Pan.

We'll come back to that in the public-domain section.

What Credits Do You Need for a Licensed Musical?

Your licensing agreement will usually specify how the musical, writers and licensing arrangement must be credited. Use the approved billing supplied with your license rather than creating your own version.

Depending on the agreement, those credits may need to appear on posters, programs, ticketing pages, websites, press materials and other places where the production is identified.

BeXD provides the approved title and billing requirements within each production's Licensing Agreement.

It's a small detail that's very easy to get right when you check it early.

Can You Sell Merchandise for a Licensed Musical?

Don't assume that a musical performance license automatically includes merchandise rights. Check your agreement before producing or selling show merchandise.

Policies vary considerably depending on the musical and rights holder.

BeXD's current agreement allows licensees to create and sell original merchandise relating to their licensed production, subject to the agreement's intellectual-property and branding conditions.

That's a BeXD permission rather than a general rule, so check separately when licensing another show.

What Happens If You Have to Cancel or Reschedule?

Contact the licensing company as soon as possible. Cancellation, refund and rescheduling policies vary between agreements.

Things happen. Performers get sick. Venues become unavailable. Schools close. Weather has absolutely no respect for opening night.

BeXD's current agreement provides for us to work with the organisation in good faith to reschedule where circumstances beyond either party's reasonable control prevent the performances from proceeding. Where appropriate, minimum royalties may be transferred to revised dates at BeXD's discretion; Production Pack fees remain non-refundable unless otherwise agreed.

Whatever company you're licensing from, don't assume what happens to your dates or fees.

Ask.

What If Something Changes After You've Licensed the Musical?

It probably will.

A performer leaves. Your venue changes. You sell out and want another performance. Your school asks for an adjustment. Someone wants to film the show.

Talk to your licensing company.

One of the things we've learned from sitting on both sides of musical licensing is that a surprising number of apparent licensing problems are really just questions that need answering.

Tell them what you're trying to achieve.

There may already be an authorised solution. They may be able to approve the change. Or they may tell you it isn't possible and explain why.

Either way, it's considerably better than guessing.

Key Takeaways!

A musical license gives you specific rights, not unrestricted use of the show.
Ask before changing the show or your licensed performances.
Check your rights before recording, sharing or monetising a production.
Follow the supplied artwork, title and credit requirements.
If your plans change, ask your licensing company rather than guessing.

What Does Public Domain Mean for Musical Theatre?

A work in the public domain is no longer protected by copyright in a particular jurisdiction, which can allow people to use that material without obtaining permission from the former copyright owner. But a musical based on a public domain story can still be a new copyrighted work that requires a license to perform.

That distinction is really important.

Stories such as Peter Pan, Pinocchio, Robin Hood and Winnie-the-Pooh have histories that reach well beyond any single modern stage or screen adaptation.

But that doesn't mean every version of those stories is free to use.

You need to separate:

the underlying source material

from

the new adaptation someone has created from it.

What Is a Public Domain Musical?

The phrase “public domain musical” can be misleading because there are several different layers of copyright involved in a stage musical.

An old story might be in the public domain while a modern musical based on that story contains an entirely new:

script
score
lyrics
arrangements and orchestrations
dialogue
scenes
characters
recordings
artwork
production materials

Those new elements may have their own copyright protection.

So if a writer creates a new musical adaptation of a public domain story, the fact that they didn't invent the original story doesn't mean their musical is public domain too.

Public domain source material ≠ public domain musical adaptation.

If a Story Is in the Public Domain, Can You Perform Any Version of It?

No. A story being in the public domain doesn't give you permission to perform somebody else's copyrighted adaptation of that story.

This is probably the easiest way to understand it.

Imagine two writers independently create musicals based on the same public domain story.

They may both be entitled to draw from the underlying material available to them.

But Writer A doesn't therefore own Writer B's songs.

And Writer B can't simply take Writer A's script.

The same applies when you're producing the show.

If you license a particular musical adaptation of Pinocchio, for example, you're licensing that script, those songs and that adaptation.

You aren't simply paying for permission to use the name Pinocchio.

Can You Create Your Own Musical From a Public Domain Story?

Potentially, yes — but you need to establish exactly which source material is actually in the public domain where you're creating and performing the work.

This is where things become more complicated than: “The book is old, so we're fine.”

A work may be public domain in one territory and still protected in another. Different versions, translations, illustrations and later additions can also have their own copyright status.

And even where the original work is public domain, you need to make sure you're actually drawing from that material, rather than accidentally borrowing protected elements introduced by a later adaptation.

For example, watching a famous film version and then writing your own stage adaptation from memory isn't necessarily the same thing as going back to the public domain source.

What About Familiar Characters From Films and Other Adaptations?

A public domain character can have later versions that contain protected creative elements.

This is particularly relevant when a story has been adapted many times.

A character's original description may be available for use, while a distinctive costume, visual design, new character, song, catchphrase or other element introduced by a later adaptation may not be.

So:

“This character is public domain” does not mean “every version of this character is public domain.”

This also matters when you're designing posters, sets, costumes and marketing materials.

If you're producing one adaptation of a familiar story, don't simply copy the visual identity of the version everybody knows from a completely different rights holder.

Does Public Domain Mean You Don't Have to Pay Royalties?

Only if the material you're actually performing is available for you to use without a license. A new copyrighted musical based on public domain material can still require performance rights and royalties.

This connects back to the distinction we made earlier.

You might not need to pay somebody for the underlying public domain story.

But if you're performing a modern musical adaptation, you're using the new creative work of its writers and composers.

That's the work you're licensing.

At BeXD, several of our musicals draw from classic source material. We create new scripts, songs, arrangements and production resources around those stories.

When an organisation licenses one of those shows, it's licensing our musical adaptation, not paying BeXD for ownership of the centuries-old story underneath it.

That distinction matters both legally and creatively.

Is Public Domain the Same in Every Country?

No. Public-domain status can vary between countries because copyright laws, copyright terms and special statutory provisions aren't identical around the world.

This is one of the reasons we'd be very cautious with articles that simply declare:

“X is now public domain!”

The useful next question is:

Where?

You also need to know which particular work or version has entered the public domain.

A book, play, translation, illustration, film, song and later adaptation connected with the same story can all have different rights attached to them.

Peter Pan is an especially good example of why broad assumptions are risky: the work has an unusual rights history, including special provisions relating to Great Ormond Street Hospital in the United Kingdom.

So if you're planning to create or perform something directly from public domain source material, check the status of the specific work in the territory where you'll be using it.

Does Public Domain Mean You Can Use the Name or Logo?

Not necessarily. Copyright and trademark are different areas of intellectual property law.

A source work entering the public domain doesn't automatically mean every title treatment, logo, brand identity or piece of artwork associated with later adaptations becomes available to use.

This is another reason to be careful when promoting productions based on familiar stories.

Use the approved title and artwork supplied with the musical you're actually licensing, or create original marketing materials where your license allows it.

Don't assume that artwork found online belongs to the public domain simply because the original story does.

💬 From Our Experience

Public domain is particularly relevant to us because we work with it from both sides.

We're not just licensing musicals based on classic stories. We've had to go back to source material, understand what we're actually entitled to adapt, and then build something new from there.

And that process makes the distinction very clear.

The original story is the starting point.

The musical adaptation is the new work.

The script still has to be written. The songs still have to be composed. Characters have to work dramatically on stage. The show has to be structured, arranged, developed, workshopped and turned into something another organisation can actually produce.

How Do You Check Whether Something Is in the Public Domain?

If you're relying on public-domain status rather than licensing an existing adaptation, identify:

The exact source work you want to use.
Who created it and when.
Which version, edition, translation or illustration you're using.
The country or countries where you'll use the material.
Whether later adaptations have introduced elements you plan to use.
Whether other rights, including trademarks, may be relevant.

For a straightforward school production, licensing an existing musical means the licensing company has already identified the work it's granting you permission to perform.

If you're creating your own adaptation, however, the underlying rights research becomes your responsibility.

For anything uncertain or commercially significant, that's an appropriate point to obtain qualified intellectual-property advice rather than relying on a blog post — including this one.

Key Takeaways!

Public domain status depends on the specific work and territory.
A public domain story can still have copyrighted modern adaptations.
Licensing a modern adaptation means licensing that adaptation, not the original story.
Don't copy protected elements from later films, musicals or artwork.
Public domain source material ≠ public domain musical adaptation.

How Do You Choose a Musical Licensing Company?

When choosing a musical licensing company, start with the musical itself — then compare the licensing terms, total cost, production materials, flexibility and support that come with it.

In reality, you won't always get to choose your licensing company.

If you've decided your school absolutely wants to produce a particular musical, you'll generally need to license that adaptation through whoever controls its performance rights.

But if you're still deciding which musical to produce, the licensing company behind it is worth considering too.

Because you're not just choosing a script and score.

You're choosing the company you'll be dealing with from application through to closing night.

What Should You Compare Between Musical Licensing Companies?

We'd look at six things:

1. Is the Musical Actually Right for Your Cast?

This still comes first.

A brilliant licensing experience won't make the wrong musical right for your performers.

Before comparing prices or Production Packs, look at the things we covered earlier in this guide: cast size, ages, vocal requirements, ensemble opportunities, runtime, production demands and suitability for your audience.

Choose the show first. Compare the licensing experience second.

2. What Is the Total Cost to License the Musical?

Don't compare licensing companies using one headline number.

Look at the whole production cost.

That can include:

Production Pack or materials fees
minimum royalties
percentage royalties
additional scripts
score or orchestration rentals
rehearsal or performance tracks
shipping
booking or administration fees
optional resources such as projections
applicable taxes and currency conversion

A lower Production Pack price doesn't necessarily mean a lower total licensing cost.

And a slightly more expensive package may represent better value if it includes resources you'd otherwise need to purchase, create or organise yourself.

Compare what you'll actually pay for the production you intend to stage.

3. What Production Materials Are Included?

By this point in the guide, you know we care about this one.

Don't just count files.

Look at whether the materials actually suit the way you're planning to produce the musical.

If you're performing to tracks, are proper performance tracks included?

If you have a large cast, can you practically get scripts to everyone?

If you're working with young performers, are there casting, audition or rehearsal resources that will genuinely help?

If you're using an orchestra, are the musical materials your musicians need available?

The question isn't:

“Which company gives me the most stuff?”

It's:

“Which package removes the most unnecessary work from my production?”

4. How Flexible Is the License?

If flexibility matters to your production, find out what the license actually allows.

Can roles be doubled?

Can the cast size expand?

Are production guides optional?

Can you develop your own choreography and staging?

What happens if you need an adjustment for your performers?

Can the production be recorded?

Can you create your own marketing artwork?

The answers won't be identical for every musical or licensing company.

And that's okay.

Some rights holders intentionally maintain very specific requirements around their work. Others allow considerably more production-level flexibility.

What matters is knowing before you commit whether the license fits the production you're trying to create.

5. What Support Is Available If Something Goes Wrong?

You probably won't need your licensing company very often.

But when you do, you may really need them.

A performer drops out.

Your dates change.

You can't work out a track.

Something in the score doesn't make sense.

Your school asks whether you can alter a line.

You suddenly need to add another performance.

Look at how easy it is to contact the licensing company and what kind of production support they provide.

This is one area where being an independent licensing company shapes how we work at BeXD. The people answering licensing and production questions are closely connected to the people who write, develop, workshop and produce the musicals themselves.

We think that's useful.

But whichever company you're considering, the broader question is the same:

If we need help halfway through this production, who are we actually going to be talking to?

6. Do You Understand What You're Agreeing To?

You shouldn't need a law degree to license a school musical.

But you should understand your agreement.

Before signing, make sure you're comfortable with:

what performances are authorised
what you're paying and when
how royalties are calculated
what materials you'll receive
what you can and can't change
recording and streaming permissions
artwork and billing requirements
what happens if dates or venues change
cancellation or rescheduling terms
post-production reporting

If something isn't clear, ask.

A good licensing relationship should begin with both sides understanding what has actually been agreed.

Is a Large or Independent Musical Licensing Company Better?

Neither is automatically better. Larger mainstream licensing companies and smaller independent musical licensing companies can offer different advantages, and the better choice depends on the show and what your organisation needs.

Large theatrical publishers may represent enormous catalogues, including famous Broadway and West End titles, and have established systems for licensing productions at scale.

Independent publishers may have smaller catalogues but can sometimes offer more direct communication with the people behind the work, unique and fresh shows, different production resources or greater flexibility where they control the relevant rights themselves.

We've licensed shows from large companies ourselves.

We also now run an independent licensing company.

There are good reasons to work with both.

The name above the licensing agreement matters considerably less than whether the musical, materials, terms and support are right for your production.

Should You Choose a Musical Because It's From a Famous Licensing Company?

Probably not.

The licensing company isn't appearing on stage.

Your performers are.

A well-known title from a major publisher can absolutely be the right choice. So can a musical you've never encountered before from a much smaller company.

If you're open to discovering something new, compare the actual shows.

Read perusals.

Listen to the music.

Look at the roles.

Consider your ensemble.

Check the production requirements.

Compare the costs and materials.

Then ask:

“Which of these musicals gives this particular group the best chance of putting on a great production?”

That's a much more useful decision than choosing based on the size of the logo at the bottom of the licensing page.

💬 From Our Experience

We've been the customer of musical licensing companies, and now we're the licensing company too. That's given us quite a long list of things we appreciate.

Clear pricing.

Useful materials.

Straight answers.

Being able to ask a slightly weird production-specific question and actually get an answer.

And, above all, knowing what we're getting before we've committed the cast, booked the theatre and announced the show.

Those experiences have shaped BeXD, but they're also the standard we'd use when licensing a musical from anybody else.

The licensing company shouldn't need to become the main character in your production.

It should make it easier for you to produce the musical you've chosen.

Key Takeaways!

Choose the right musical first, then consider the company licensing it.
Compare the total licensing cost, not one headline fee.
Look closely at the materials, flexibility and support included.
Large and independent licensing companies can both be good options.
Choose the combination of show + license + resources that works for your production.

Common Musical Licensing Mistakes — and How to Avoid Them

Most musical licensing mistakes aren't dramatic copyright disasters.

They're much more ordinary.

Choosing a show before checking whether it suits your cast. Comparing only the headline licensing fee. Assuming a digital script can be printed. Announcing a production before the rights are secured. Discovering halfway through rehearsals that the tracks or production materials aren't what you expected.

Most are also avoidable.

Here are the ones we'd watch for.

1. Choosing the Musical Before Thinking About Your Cast

One of the biggest mistakes is choosing the title you want to produce before working out whether it actually suits the performers you have.

We learned this one very early.

Our first licensed production needed more principal performers than we ultimately had audition.

We made it work.

We would not recommend this as a production-planning strategy.

Before choosing a musical, consider your likely cast size, ages, vocal ability, experience, ensemble, rehearsal time and the number of performers who need meaningful opportunities.

The best-known musical isn't necessarily the best musical for your group.

2. Announcing the Musical Before the Rights Are Secured

Don't publicly announce a musical as your confirmed production until you know you have the necessary performance rights.

Finding a show on a licensing website doesn't necessarily mean it's available for your dates, venue or territory.

Rights can be affected by availability restrictions, competing productions, territory, rights-holder approval and other title-specific conditions.

Apply first.

Celebrate second.

It saves potentially having to explain to an entire cast — and Facebook — why you're suddenly doing something else.

3. Comparing only the Production Pack Price, only the Royalty.

The advertised materials fee isn't necessarily the total cost of licensing a musical.

Remember to consider royalties, minimum royalties, additional scripts, music materials, shipping, administration fees, optional resources, tax and currency where applicable.

And then consider what isn't included.

A cheaper package can become considerably less cheap if your creative team has to source or create resources you assumed would be provided.

Compare the cost of producing the show, not just the first number on the licensing page.

4. Assuming You Know What the Production Materials Include

“Scripts and tracks included” can hide quite a lot of detail.

Are the digital scripts printable?

Are there enough copies?

Are the tracks rehearsal tracks, performance tracks or both?

Is usable sheet music included?

If you're using live musicians, are the required orchestral materials available?

Do resources cost extra?

Check the actual contents and permissions before licensing.

We've encountered enough surprises in production materials ourselves that this is now one of the first things we'd look at.

In 2024, “the performance CD is currently out of stock” was not a sentence we expected to encounter.

Yet here we are.

5. Assuming You Can Change Whatever Doesn't Work

Licensing a musical doesn't usually give you unrestricted permission to rewrite it.

A line doesn't suit your school.

A song is too high.

You need to lose ten minutes.

A character doesn't fit the performers who auditioned.

All perfectly reasonable production problems.

But the solution isn't automatically to alter the licensed material yourself.

Check your agreement and ask the licensing company what flexibility exists.

There may already be an approved alternative — and if there isn't, they may be able to help.

6. Forgetting About Recording, Artwork and Other Rights

The stage performance isn't the only place rights can matter.

Can you record the show?

Upload it?

Livestream it?

Use the supplied logo?

Design your own poster?

Sell merchandise?

Don't assume that permission to perform the musical automatically answers every other rights question.

Your licensing agreement should be your starting point.

This is also an area where policies can differ substantially between licensing companies, so something you were allowed to do with last year's musical may not be permitted with this year's.

7. Budgeting for a Sell-Out

Don't build a production budget that only works if every seat is filled. It's stressful and unrealistic.

Work out your maximum possible gross box office, but also model what happens at more conservative attendance levels.

As we discussed earlier, for a new production without reliable historical sales data, I'd much rather see a budget capable of breaking even at around 30–40% capacity than one requiring a packed house every night.

If you sell out, fantastic.

That's a much nicer surprise than discovering you needed to.

8. Forgetting About the Licensing Company Once You've Paid

Your licensing company can be a useful production resource, not just somewhere you send the application and money.

If something changes or you're unsure what the agreement permits, ask.

We'd much rather receive a slightly unusual email from a director than discover afterwards that they spent three weeks solving a problem we could have answered in three minutes.

That principle applies well beyond BeXD.

A licensing relationship works considerably better when the producer and licensor actually communicate.

Key Takeaways!

Choose for your cast, not just the title.
Secure the rights before announcing the show.
Compare the total cost and materials.
Don't assume you can change, record or reproduce licensed material.
When you're unsure, ask the licensing company.

Musical Licensing FAQ's

Do You Need a License to Perform a Musical?

Yes. If you're publicly performing a copyrighted musical, you need the appropriate performance rights from the rights holder or authorised licensing company.

Buying a script, sheet music or soundtrack doesn't give you the right to stage the musical.

Do Schools Need a License to Perform a Musical?

Yes. Schools need appropriate performance rights to publicly perform copyrighted musicals, even when the performers are students and the school isn't operating as a professional theatre.

Being an educational organisation doesn't automatically make a copyrighted musical free to perform.

Do You Need a License If the Musical Is Free to Attend?

Yes. Making admission free doesn't automatically remove the need for performance rights.

A free school performance, community presentation or charity event can still be a performance of copyrighted material requiring permission.

How Much Does It Cost to License a Musical?

There is no single price. The cost can include production materials, royalties and other title-specific fees, and may vary according to factors such as the musical, number of performances, venue and licensing arrangement.

When comparing shows, calculate the total licensing cost, not just the Production Pack price.

What Are Musical Theatre Royalties?

Royalties are payments for the right to perform a copyrighted musical.

A common model is a percentage of gross box office subject to a minimum royalty, although the exact structure varies between licensors and titles.

We covered the calculation in detail in the royalties section above.

How Far in Advance Should You License a Musical?

Apply as soon as you're reasonably confident about your show, venue and performance dates.

Some licenses can be approved quickly, while others require additional rights-holder or availability checks.

Allow extra time if your dates are fixed, your organisation has a slow purchasing process or physical materials need to be shipped.

What Is a Musical Perusal?

A perusal is a copy of a musical supplied so you can evaluate the show before committing to a production license.

It lets your creative team read the script and, depending on the licensor, may be accompanied by music or other materials that help you decide whether the show suits your cast.

A perusal isn't permission to perform the musical.

Can You License a Musical Before You Know Your Cast?

Yes. Many organisations choose and license their musical before auditions, but it's important to understand the show's casting requirements and flexibility first.

Look at the likely number, ages and abilities of your performers and consider what happens if audition turnout is larger, smaller or simply different from what you expect.

Flexible casting can be particularly valuable for schools, studios and youth theatres.

Can You Perform a Musical With Backing Tracks Instead of an Orchestra?

Yes, if suitable performance tracks are available and authorised for the musical you're licensing.

Don't assume every musical includes them. Check whether performance tracks exist, how they're supplied and whether they cost extra.

If tracks are essential to your production, confirm this before choosing the show.

Can You Record a School Musical?

It depends on the recording rights attached to the musical. A stage performance license doesn't automatically include permission to record or publish the production.

Check your licensing agreement or ask the licensing company.

BeXD's current licensing terms permit non-commercial recording and sharing of licensed productions, subject to the agreement's requirements and the organisation obtaining any necessary permissions from the people being recorded.

Can You Change a Musical to Suit Your Cast?

Only where the license permits the change or you've received the necessary approval.

Don't assume you can rewrite dialogue, lyrics, songs or other licensed material yourself.

If something doesn't suit your cast, ask. Depending on the musical and rights holder, there may be existing flexibility or an authorised solution.

Can You Perform a Musical Based on a Public Domain Story Without a License?

Not necessarily. A public domain story can be adapted into a new copyrighted musical that still requires a performance license.

You need to distinguish between the underlying source material and the particular script, songs and adaptation you're planning to perform.

What Is the Best Musical for a School or Youth Theatre?

The best musical is one that fits your actual performers, creative team, budget, audience and production capacity.

Start with cast size and ages, meaningful role opportunities, vocal and production demands, runtime and age appropriateness rather than choosing solely by title recognition.

That's also why we'd always recommend reading the script before making the final decision.

One Last Thing From Us

If you've made it this far, you probably (hopefully!) know considerably more about musical licensing than you expected to when you started looking for a show.

But the biggest thing we'd want you to take away is actually quite simple:

Licensing shouldn't be the complicated part of producing a musical.

Your energy belongs in the rehearsal room.

It belongs in casting the right people, teaching the music, finding the costume that disappeared immediately after dress rehearsal, working out why Scene 7 suddenly takes four minutes longer than it did yesterday, and eventually watching a group of performers turn months of work into a show.

We've been on that side of the process for years.

It's a big part of why BeXD Licensing works the way it does.

We write and develop our musicals with real performers. We workshop them. We produce them. We teach young performers. And then we take everything we've learned from actually putting the shows on stage and build it back into the scripts, music and production resources other organisations receive.

So whether you ultimately produce one of ours or something completely different, our advice is the same:

Choose the musical that works for the people you actually have.

Read the script.

Understand the costs.

Check the rights.

Make sure the production materials will actually help you.

Ask questions before something becomes a problem.

And then get on with making the show.

If you're currently looking for a musical for a school, studio, youth theatre or community theatre, you can browse the BeXD musical catalogue or request a free perusal to read a show before deciding whether it's right for your group.

Will & Katie
BeXD Licensing