Who I amOur topic of discussion: when you’re on the board of an ensemble, isn’t every board member a leader?
Ensemble theatre, new plays, embedded in Capital HillRevenue plateau, expect fixed costs to rise
5th season—we’re at a crossroads with big decisions to make
After speaking with the ensemble, you all (our Advisory Board), management colleagues, and experts in the field, this is the proposed processWhat I’m looking for from you: critical feedback and discussion
Last three are biggest decisions to makeOther priorities?Different order?
Other qualities?How many artists on the board?
The intersection of our current networkHow far outside of these communities should we look?
Is this realistic, given our time constraints?Who should be working on cultivation & recruitment?
This is why I was attracted to WETDoes this distinguish us from other board opportunities?How compelling is this prospect?
A longer-term perspectiveWhen/how do we begin to incorporate this into cultivation & recruitment?
Where are potential stumbling blocksWhat am I missing?
My Research: Fellow Network of Ensemble Theatres’ Members
Identifying Board Leaders
Identifying Future Board Leaders<br />a theatre in transition<br />
The basics: Washington Ensemble Theatre<br />We intend for our theatre to be a physical and creative intersection for community and artists in Seattle, by fostering a love of theatre's humanity, utility, and vitality. <br />49 seat Little Theatre<br />9 ensemble members<br />actors, directors, designers, stage managers<br />Associate Members & Guests: managers, playwrights<br />Annual Budget: $100,000 per year<br />$50K ticket sales<br />$40K contributed<br />$10K rental income<br />
The Little Theatre That Could<br />Inspired by a 2002 University of Washington MFA class project by Jon Jory. <br />In 2003, 14 (recently graduated) founding ensemble members renovate the Little Theatre in Seattle’s Capital Hill neighborhood from a movie theatre to a stage theatre. <br />2004’s inaugural season of 4 new plays is a smash (critical) success.<br />By 2010, only 1 founding ensemble member remains + no more subsidized rent =<br />critical juncture.<br />
Cornerstone<br />Los Angeles, CA (Geoff Korf)<br />Mission: community engagement<br />History<br />1986-91: itinerant <br />1992: settled in LA, commissioned by other theatres<br />12 Board members<br />3 Lawyers, <br />3 ensemble members, <br />3 Managers: arts, nonprofit, Hollywood<br />2 artists<br />1 banker<br />
SITI Company<br />New York, NY (Anne Bogart)<br />Mission: new work, physical training, international collaboration<br />History<br />Founded 1992 <br />Summer training + year around producing<br />10 Board members<br />4 ensemble members<br />2 Arts manager<br />Consultant (Board Pres)<br />Lawyer<br />Architect<br />
A Red Orchid Theatre<br />Chicago, IL (Kay Perdue)<br />Mission: new plays/artistic rigor/social compassion<br />History<br />Founded 1993 in 80 seat (renovated) theatre<br />2004: first 3 production season<br />6 Board members<br />2 lawyers<br />Entrepreneur<br />CEO<br />Corporate strategy consultant<br />Firefighter<br />
Rude Mechanicals<br />Austin, TX (Nicole Del Giudice)<br />Mission: collaboration, socially conscious work, mentor young artists, alliances with other artists<br />Founded in 1995, tours off-Broadway<br />6 Artistic Directors, 30 member ensemble<br />10 member Board<br />President: local CDO<br />VP: local arts manager<br />Treasurer: entrepreneur<br />Secretary: UT faculty<br />Members: 2 entrepreneurs, 3 UT faculty, arts mgr<br />12 member Advisory Council<br />