The summer of 1936 remains etched in history as one of the hottest on record. Amidst the sweltering heat, a dedicated group of playwrights and agents secretly convened, driven by a shared vision: to establish a new theatrical licensing company. Their ambition was to inject much-needed competition into the amateur theatre licensing landscape, then largely dominated by Samuel French, a long-established giant in the field. This pivotal moment gave birth to the Dramatists Play Service (DPS), an organization fundamentally rooted in serving the playwright.
The Genesis of an Idea: Competition and Playwright Empowerment
Spearheading this initiative was Sidney Howard, the esteemed head of the Dramatists Guild and celebrated author of stage successes such as They Knew What They Wanted and The Silver Cord, later recognized for his screenplay adaptation of Gone With The Wind. The Dramatists Guild was riding high on the success of its newly implemented Minimum Basic Agreement, a significant upgrade from the 1931 Minimum Standard Contract, offering playwrights enhanced protections across various aspects of their work. Howard Lindsay, renowned co-author of Life With Father and a fellow Guild officer, also played a crucial role in these formative discussions. Representing the agents was the respected dramatic literary agent Harold Freedman. Together, these key figures, in collaboration with the Guild, meticulously crafted an agreement that laid the groundwork for a novel company, one that prioritized the playwright above all else. This foundational principle is clearly articulated in the “Preliminary Plan” for the nascent company, which declared the intention “to use a name which shows the connection with the Dramatists’ Guild and to include in the name the word ‘service’ to indicate the cooperative character of the service.” Thus, Dramatists Play Service was inaugurated, signaling a new era in play licensing.
An Endorsement from Theatre’s Luminaries
The fledgling Dramatists Play Service quickly garnered the trust and support of virtually every prominent playwright of the era. A remarkable roster of theatrical legends, including George Abbott, Maxwell Anderson, Marc Connelly, Rachel Crothers, Russel Crouse, Edna Ferber, Moss Hart, Ben Hecht, Lillian Hellman, Du Bose Heyward, George S. Kaufman, Clifford Odets, Eugene O’Neill, Elmer Rice, Robert E. Sherwood, and Bella and Sam Spewack, entrusted their plays to DPS. These theatrical titans, demonstrating their faith in the organization’s mission, largely forwent advance payments from the startup, a testament to their belief in the cooperative ethos of Dramatists Play Service.
Leadership Through the Decades: Guiding DPS’s Growth
Barret H. Clark assumed the mantle of Executive Director from Dramatists Play Service’s inception, leading the organization until his passing in 1953, with Howard Lindsay serving as President. Clark’s stewardship was succeeded by Margaret Sherman, followed by F. Andrew Leslie, who took on the Executive Director role with Samuel Taylor as President. Bradley G. Kalos then held the position of Executive Director, with A.R. Gurney as President. In 1994, Stephen Sultan was appointed President, marking the retirement of the Executive Director position in 1992. Peter Hagan assumed the presidency on January 1, 2014, appointed by the Board of Directors. This board is composed of four distinguished writers – Donald Margulies, Lynn Nottage, Polly Pen, and John Patrick Shanley – and three prominent agents – William Craver, Mary Harden, and Patrick Herold (with Hagan himself previously serving as the fourth agent member).
This historical overview underscores the enduring and unique relationship between playwrights, agents, and Dramatists Play Service. This bond, forged at the company’s very inception, remains a cornerstone of DPS’s identity. Agents are integral to this relationship; Stephen Sultan, during his two-decade tenure at DPS, consistently emphasized that the play licensing business is agent-driven. Of course, agents are ultimately guided by their playwright clients. For individuals like Peter Hagan, transitioning from a successful career as an agent to leading DPS was a natural progression. His extensive 30-year career as an agent, encompassing tenures at William Morris, Writers and Artists, The Gersh Agency, and Abrams Artists Agency, provided him with a deep understanding of the playwright-agent dynamic and the nuances of the play licensing world.
A Cooperative Spirit: The Heart of Theatre and DPS
The collaborative spirit exhibited by the founders of Dramatists Play Service in 1936 remains profoundly relevant. Theatre, by its very nature, thrives on cooperation, both creatively and commercially. A successful production hinges on the harmonious collaboration of playwrights, directors, designers, and actors. Similarly, the synergy between agents and producers is essential to bring theatrical works to the stage.
Maintaining and strengthening the collaborative relationship between the Dramatists Guild and Dramatists Play Service is crucial as DPS enters its ninth decade. The Dramatists Guild Foundation benefits significantly from the financial success of DPS, a direct consequence of the Guild’s pivotal role in the Play Service’s establishment. A substantial portion of DPS’s profits is channeled directly to the Foundation, with the remaining portion distributed proportionally among the agents representing the licensed plays. While the four Guild members on the DPS Board contribute valuable expertise and time, exploring additional avenues for creative and productive collaboration between these two organizations is essential to perpetuate the synergy that defined their beginnings.
Addressing Modern Challenges and Embracing Future Opportunities
One pressing area for collaboration is combating online piracy. Playwrights and the Dramatists Guild are acutely aware of the escalating threat of online piracy. DPS seeks to collaborate with the Guild to develop effective and cost-efficient strategies to mitigate this growing challenge.
Beyond piracy, other collaborative opportunities exist. One promising avenue is fostering emerging playwrights and amplifying voices from diverse backgrounds. Reaching underserved communities and dispelling the misconception that theatre is exclusively for the affluent are vital steps in expanding the reach and relevance of theatre. Dramatists Play Service actively encourages input from Guild members and welcomes collaborative initiatives in these and other areas.
Peter Hagan’s personal anecdote powerfully illustrates the impact of Dramatists Play Service. As a high school student with theatrical aspirations, his drama teacher procured plays from DPS, igniting his passion for theatre. This experience resonates with countless individuals across the globe who continue to discover, read, write, and perform plays through resources provided by DPS. Being part of an organization dedicated to serving this fundamental need, in close partnership with the Dramatists Guild of America, is both a humbling and inspiring privilege for those at Dramatists Play Service.
