
The Other side
book and lyrics Paul Western Pittard music and lyrics Yuri Worontschak
The Other side
book and lyrics Paul Western Pittard music and lyrics Yuri Worontschak
The Other Side
Another musical by the Lizardry pair, Yuri and Paul. Osten is a internet super fan but afraid to leave his own apartment. He lives a vicarious life through Marika, a Euro- pop star. But when Marika apparently dies he finds himself in an emotional vacuum. The musical is a story of freedom, obsession and love in a post truth age. What's it really like on the other side?
The Other Side
Another musical by the Lizardry pair, Yuri and Paul. Osten is a internet super fan but afraid to leave his own apartment. He lives a vicarious life through Marika, a Euro- pop star. But when Marika apparently dies he finds himself in an emotional vacuum. The musical is a story of freedom, obsession and love in a post truth age. What's it really like on the other side?
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Investing in Original Musicals: Building Copyright from the Ground Up
In the creative economy, intellectual property (IP) is the primary source of long-term value. Musicals are unique in that they generate three distinct forms of copyright: music, book (script), and lyrics. When these elements are created in-house from the ground up, investors secure ownership of the entire rights package, enabling both control and repeat monetisation across multiple channels.
Global musical theatre market: valued at over USD $20 billion annually within the wider live performance sector, with sustained post-pandemic growth.IP leverage: Successful musicals generate ongoing licensing revenue for decades (e.g., Les Misérables, Hamilton).Cross-platform demand: Original works are increasingly adapted into streaming, film, and digital formats, significantly expanding return potential.
By investing at the creation stage, stakeholders secure equity in wholly original musicals. This translates into:
Primary revenues – ticket sales, touring, regional licensing.
Secondary revenues – cast recordings, soundtrack publishing, merchandise.
Tertiary revenues – sync licensing (film/TV/advertising), education rights, digital adaptations.Long-tail revenues – ongoing royalties from licensed productions worldwide.
Each musical, therefore, functions as an IP asset portfolio with multiple monetisation streams and enduring global relevance.
Total IP ownership: Unlike revivals or derivative works, our model ensures exclusive rights across music, script, and lyrics.
Portfolio scalability: Each new production expands the catalogue, compounding value for investors.
AI-resilient sector: Algorithms can replicate style but cannot originate live theatrical experience or audience connection.
Investing in musicals built from the ground up is not only culturally significant but strategically lucrative. Ownership of complete IP rights maximises control, scalability, and long-term revenue. In a market increasingly defined by AI replication, original musicals represent one of the few truly defensible creative asset classes—positioning investors to benefit from both cultural impact and sustained financial returns.