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Composing for Theatre

Theatre commissions often take a variety of forms in how they are structured, developed and delivered, so it is a good idea to take some time to understand what is being asked of you. 

Last updated: 06 October 2026

It is important to understand your role from the outset and ideally before you start composing.  While initial discussions may begin with a verbal agreement, this should always be followed by a written contract confirming the terms, including what you’re being asked to compose and how long or how much music is needed; your fee, royalties, credits, deadlines, rights and how the music will be used, where and for how long. 

Types of Theatre Composing Commissions 

Working as a composer in theatre can involve a wide range of responsibilities, depending on the type of production and the creative direction of the team. In musical theatre, the composer typically writes the score, which includes both songs and underscore, often in collaboration with a lyricist or book writer. In contrast, for non-musical plays, a composer or a sound designer might be commissioned to create musical elements such as transition cues, ambient textures, or motifs that support the storytelling. 

However, the role of “composer” may not always be what you expect. You might be a player in the production, for example, asked to create smaller elements, such as horn lines or short cues, which still contribute compositionally to the overall sound of the show. This is why it is important to be clear about what is being asked of you, and to ensure the scope of the work is reflected in the terms and amount offered.
 

Composing for Theatre

Your Working Rights and Personal Wellbeing are Important

Equality, Diversity & Inclusion

In some cases of commissioned work, it is not uncommon for an underrepresented composer to be commissioned for a project centred around their lived experience, granting them an opportunity to support underrepresented works and share safe spaces. There can be moments of tokenism in which hired creatives are expected to undertake unpaid or low-paid work, or are not treated comparably, on the grounds that they’re supporting a diverse project or uplifting underrepresented communities. It’s important to ensure that the commissioning fee properly reflects the scope and value of the work, and that appropriate safe working practices are upheld throughout.

Health and Wellbeing

As with any work, it is important to look after your health and wellbeing. On the MU website we have a health and wellbeing pack where you can find advice and services useful in maintaining your wellbeing whilst working as a composer. You can also view guidance on tackling burnout.

Accessibility 

As with any work accepted, you should discuss any accessibility requirements needed to be able to safely carry out your work. You may be able to negotiate an additional accessibility expense budget as part of your contract. 

Find out about what neurodiversity means, how to support colleagues in the workplace, and where to find further support and help

Find out about access riders and how they can help clearly communicate how your needs can be met.

Take your time to read the commissioning contract offered and don’t be afraid to negotiate!

Open discussions help everyone understand the scope of the work clearly and ensure the agreement is fair and productive for all parties. The MU offers contracts advice, helping you make sure your agreement is fair and includes all the necessary clauses and protections.