“Phantom of the Opera” Rights holder,Really Useful Group,Under Scrutiny as Korean Productions Seek Access
Seoul,South Korea – August 7,2024 – A recent inquiry into the licensing process for the globally renowned musical “The Phantom of the Opera” has revealed a complex and,to some,opaque system controlled by the Really Useful Group (RUG),the company founded by composer Andrew Lloyd Webber. Korean production companies, including early attempts by Samsung Film Division and EX (a subsidiary of the Doojin Group) in 1995, have reportedly faced meaningful hurdles in securing rights to stage the iconic production, raising questions about RUG’s selection criteria.
“The Phantom of the opera” has captivated audiences worldwide, amassing over 140 million viewers and earning critical acclaim alongside controversy, including seven major awards, notably the 1988 Tony Award. The musical’s enduring appeal stems from Andrew Lloyd Webber’s evocative score and the theatrical vision of producer Cameron Macintosh, often dubbed the “stage alchemist.” However,accessing that magic for productions outside of core markets appears to be a tightly controlled process.A Deep Dive into the Really Useful Group
Founded in 1977 by Andrew Lloyd webber, RUG has evolved from a theatrical production house into a multifaceted entertainment conglomerate. Beyond stage productions, the company is involved in film production, concerts, record labels, and magazine publishing. RUG operates wiht a dual-headquarters structure: its London office manages European operations, while a new York branch oversees Asia (including Korea and China), Australia, and the Pacific region through its subsidiary, Reality Youth Pool Company Asia Pacific (RUC).
RUG’s portfolio boasts a string of blockbuster musicals,including “Jesus Christ superstar,” “Evita,” “Cats,” “Starlight Express,” “The phantom of the Opera,” “The Beautiful Game,” “The Sound of Music,” and “School of Rock.” Crucially, RUG retains complete ownership of the intellectual property (IP) for all of Andrew Lloyd Webber’s compositions, enabling it to control adaptations into films, albums, and other media.
While RUG remains a privately held company, making a precise valuation difficult, publicly available financial data for the 2023-24 fiscal year indicates annual sales of £34.3 million (approximately ₩43 billion, or roughly $32.5 million USD as of August 7, 2024).
The original article highlights the frustration experienced by Korean companies attempting to licence “The Phantom of the Opera” in the 1990s. The implication is that RUG demanded a level of directorial control – potentially requiring auditions or certifications – that was perceived as unusual and restrictive. This raises questions about the criteria RUG uses to select production partners and whether these criteria are consistently applied across different regions.
Beyond the Numbers: Key Players and Recent Developments
andrew Lloyd Webber: The composer and driving force behind RUG, known for his meticulous control over his works.He was recently seen with Korean soprano Cho Sumi during the Asian promotion of “Love Never Dies,” a 2010 sequel to “the Phantom of the Opera.”
Cameron Macintosh: The renowned producer who brought “The Phantom of the Opera” to the stage, known for his innovative staging and production values. Samsung Film division & EX (Doojin Group): Early Korean companies that attempted to secure rights to “The Phantom of the Opera” in 1995, facing apparent difficulties with RUG’s requirements.
S&C: The source of the 2023 performance highlights image featured in the original article.
Really Useful Group LTD. (RUG): The primary rights holder and controlling entity for Andrew Lloyd Webber’s works.
Reality Youth pool Company Asia Pacific (RUC): RUG’s New York-based subsidiary responsible for managing rights and productions in Asia and Australia.
This renewed scrutiny of RUG’s licensing practices comes as international interest in bringing “The Phantom of the Opera” to new audiences continues to grow. understanding the company’s structure and its control over the IP is crucial for any production company hoping to stage this enduring theatrical masterpiece.
