Tag Archives: theatrical licensing

Sean Patrick Flahaven stands near the center of a theatrical empire that now controls or administers some of the most commercially valuable musical and dramatic properties in the English-speaking theater. Concord Theatricals combines the Andrew Lloyd Webber Collection, Rodgers & Hammerstein, Tams-Witmark, Samuel French, and additional major imprints under one ... Read More »

Concord Theatricals Is Run Mostly by Women. Its Legacy Catalog Was Written Mostly by Men. A department-by-department analysis of Concord Theatricals’ publicly listed UK and USA management and senior staff — 107 people in total — reveals a striking gender pattern: women hold nearly two-thirds of listed roles, and dominate ... Read More »

A side-by-side survey of the theater industry’s three dominant licensing houses — Music Theatre International, Theatrical Rights Worldwide, and Concord Theatricals — produces a clear ranking, and Concord, despite controlling the largest catalog of the three, comes in last. Now that BMG’s roughly $14 billion acquisition folds Concord into a ... Read More »

Overview Concord Theatricals has emerged as the dominant force in theatrical licensing through aggressive acquisitions, but its rapid growth has come with significant service quality concerns from theater directors, educators, and community theater practitioners. Industry feedback consistently points to slower response times, higher licensing fees, and customer service friction compared ... Read More »

On the eve of the United States’ 250th anniversary, Concord Theatricals’ website looks strikingly indifferent to the country whose theatre it sells. As of July 3, 2026, there is no visible semiquincentennial banner, no curated “America 250” catalogue, no July?4?themed collection on the main pages thatcasual visitor would naturally see. ... Read More »

Concord’s Pride Branding, Minus Gay Men Concord Theatricals failed to celebrate June Pride Month 2026. Concord identity around curated LGBTQIA+ collections, themed catalogs, and marketing language that invites producers to “show your pride with these shows,” yet the company’s treatment of its Peanuts musicals tells a different story. On Concord’s ... Read More »

The irony is brutal: Concord Theatricals, a cabal?like operation that licenses plays and musicals almost entirely created by men, now sells itself as the woke, feminist savior of the stage. In reality, it’s a corporate branding exercise run by music?industry outsiders, backed by a global merger with BMG Rights Management, ... Read More »

The Hollywood Pantages looks like a temple to art. In reality, it’s one of the most efficient profit centers in American theater—and a key node in a national system that turns hit musicals into long-term licensing revenue. Walk into a current run of Beauty and the Beast or Phantom of ... Read More »