Fair Pay & Future-Proof Contracts – What Audio Theatre Agreements Must Include

Here's your complete Episode 3 description with accurate timestamps:Notes from The Grey Hill with Barry RobertsonEpisode 3: Fair Pay & Future-Proof Contracts – What Audio Theatre Agreements Must IncludeThe biggest barrier stopping UK theatres from going digital isn't technical capacity or audience interest. It's confidence. Confidence that they won't exploit creatives. Confidence that contracts are fair. Confidence that they're not risking their reputation by guessing what "fair payment" means in a digital context.For years, there were no established frameworks for audio theatre. No union guidance for this hybrid model where there's a live performance with ticket sales AND a digital recording. No standard contracts. No clarity on how BBC Radio Drama rates should adapt to theatre. Venues that wanted to explore digital simply didn't know where to start.In this episode, Barry Robertson shares the frameworks he built through years of consultation with WGGB, Equity, and author agents in Scotland — and why having proper contracts attached to audio theatre is a massive milestone that gives the entire sector confidence to move forward.Drawing on firsthand experience testing platforms and building fair payment models, Barry unpacks:Why audio theatre has different economics than pure audio formats — and why that mattersThe five questions every audio theatre contract must answer (upfront payment, royalty participation, escalation, creative control, transparency)How BBC Radio Drama rates were adapted for theatre contexts where live performance and digital meetWhy traditional platforms like Audible don't work for venues or communities — and what doesHow audio theatre generates income multiple ways: live performances, touring, and digital salesWhat "union-aligned" actually means — and why it's about confidence, not complianceWhy transparent definitions (net vs gross, expenses, audit rights) prevent disputes years down the lineHow writers keep their IP by default, but contracts can flex for exclusive rights when neededWhy fair contracts are good business — better talent, better morale, better workThis episode addresses the question theatre leaders are really asking: "Can we do this properly without spending years figuring it out ourselves?"The answer: Yes. The frameworks exist. The union conversations have happened. The work is done.If you're a CEO, artistic director, or producer wondering how to move quickly into audio theatre without exploitation, guesswork, or reputational risk — this episode shows you what's already been built and how to access it.Chapters:00:00 – Episode 3 Introduction01:48 – Why Contracts Matter More in Digital04:51 – The Five Questions Every Contract Must Answer08:06 – Audio Theatre Generates Income Multiple Ways09:17 – Why Platforms Don't Work – and What Does11:30 – What Union-Aligned Actually Means13:13 – What Writers Keep vs What Theatres License14:39 – Why Getting This Right Protects Theatres Too16:33 – On the Next EpisodePodcast links:The Grey Hill WebsiteBarry Robertson LinkedInMusic by https://www.bensound.comLicense code: 0YZPRSAEYDVUNFSEArtist: Benjamin Tissot