Theatre Design & Technology - Summer 2013 - 71
Templates plus CD-ROM
As noted above, the forms come as templates, with blanks to fill
in and clauses to include or remove as circumstances require.
But the forms aren't just printed in the book; Grippo has included a CD-ROM of them in writable PDF, RTF, and MS Word
files. This CD-ROM alone has likely pushed the book into this
second edition.
A new edition indicates that a book has some life span to
it and that the contents have benefitted from updating. Where
the original version of Business and Legal Forms from 2004
contained twenty-five agreements, this edition has thirty-three,
the growth being almost exclusively in labor/personal services
contracts. The initial edition contained no forms for retaining
designers or stage managers; the revised version contains five.
Regrettably, it omits a work agreement for sound designers. But
the book is laid out well enough that a careful reader could
craft such a contract from the other material presented here.
Grippo makes surprisingly little mention of the distinction
between persons working as employees and persons working
as independent contractors. While not a simple issue, the liability exposure it can bring to producers and producing organizations merits explanation and words of guidance. Aside
from possible tax and benefit obligations, the ownership status
of intellectual property hinges on whether personnel work inhouse or on-hire. These nuances are perfectly clear to Grippo,
as an attorney, but they will not be clear to the majority of his
readers.
The book quickly states that you don't always need a lawyer to assemble contracts. Yet it adds that there is no substitute
for trained legal judgment when navigating complex agreements. Thus, it ends with a useful appendix about selecting and
managing the services of performing arts attorneys.
Business and Legal Forms enhances the profession
of the theatre by encouraging methodical and clear business
practices. All readers can find immediate value in the subdiscipline that aligns most closely with their own work, but the
other agreements readily teach about other theatre jobs. As a
reference, it merits a place on any arts manager's or theatre
professional's bookshelf.
Patrick Donnelly is director of theatre operations for
the Kauffman Center for the Performing Arts in Kansas
City, Missouri.
s u m m e r 2013
theatre design
& technology
69
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2013
Contents
Theatre Design & Technology - Summer 2013 - 1
Theatre Design & Technology - Summer 2013 - 2
Theatre Design & Technology - Summer 2013 - 3
Theatre Design & Technology - Summer 2013 - Contents
Theatre Design & Technology - Summer 2013 - 5
Theatre Design & Technology - Summer 2013 - 6
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Theatre Design & Technology - Summer 2013 - 8
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