1. INFRASTUCTURE OVERHAUL: BECOMING A NEW GATE OF
OPPURTUNITY
In order to create more sustainable resources for artists in the
WoodshedCollective community, I see the strategy as: redefining current
infrastructure,implementing new outreach programs, especially
Audience/Constituency Outreach,and finally approachingfunders with our
new infrastructure. I realize some of these words might make people
bristle…but the marketplace – audiences, critics, investors,philanthropists–
seems to be constantly changingand theatres like W.C may do well to commit
to the hard task of changing successfully with it. As much as unique artists
don’t want theirwork berated or stigmatized,artists can’t be befuddled by the
market and opposed to the work it takes to make a professionalcareer as a
unique storyteller. The restructuring suggested below strives to be authentic to
W.C.’s passion and institution. It is essentially restructuring from the inside
out.
First steps. Self-evaluation and reflection. What about W.C lacks
effectiveness? What areas are riddled with disorganization? Are there not
enough resources to successfully develop new works? What resources are there
and what is theirmeasure of impact? Are production opportunities limited and
do they compromise creative and economic impactdue to lack of funding,
disorganization, and weak audience relationships. etc.? Is there a lot of doing,
but the outcome seems muddled,not satisfying to W.C. or to the artists
involved? Is there a “sweat equity” system locked down instead? You may
know more questions that need to be asked here.
Second step. Redefine and reconstruct. In orderto find the best possible
answers and solutions to all the above,the W.C. community should find
specific answers to these:
What is W.C’s vision?
There’s a lot of language to describe artistic vision, “vision speak” you
might call it. Words like “artist-focused,” “emerging artist,”“development,”
“diversity,” etc. These words should be useful, but only as they specifically
define what they mean to the W.C. passion and us. I love the idea of our vision
being a passion for unique, immersive story telling.
The second key vision to define is the relationship between W.C. and the
artist (artist and institution relationship). It seems the most successful
institutions central endeavor is to use all their programmingand
productions towards supportingan artist, and not the other way round.

2. Artists who come through our gate must be assured that they’re here as prime
candidatesfor achieving a level and style of unique, quality story telling,
simultaneous with our centralendeavor to support their work. Maintaining this
relationship, which takes diligence & rigor, inspires positive outcomes that
support the authenticity and effectiveness ofthe W.C. institution among our
constituents, funders, and in the market. More questions to follow are: Is there
a selection process? Do we reach out through strategic resources to find artists
of all backgrounds? Can we be sure all artists coming through our gate will
commit to the development and production ofhigh quality story telling? Is
W.C. the best gate of opportunity forthese artists? Is the development process
truthful to the artists work or to W.C? Does W.C. have an adequate budget to
compensate the artist’s production costs, development,marketing,and staff?
Any vision language we use as our “Mission” or“Who We Are” should be a
clear indicator of our goals, our process and the relationships we foster in order
to achieve this vision,which leads to 
How do we want to achieve this vision?
Answering this requires a detailed, strategic plan. It seems the most
successful ways for achieving a vision will need to be flexible, case-to-case
based to ensure artistic authenticity,howeverthe overall strategy should
consistently demonstrate the effectiveness and impact ofW.C. upon artists and
the market. Ways to achieve vision can begin with these resources:
* Funding – CrackingInto the Venture Mindset
I believe W.C. is an umbrella organization,acceptingdonations at the
Field Organization? Has anyone attempted serious, ambitious grant writing? I
studied proposals and wrote one while at Rattlestick…Definitely do more!!!
Again someone might bristle at this, but there shouldn’t be an economic-return
stigma. That pigeonholes the entire W.C. community into isolation and
weakness. The way of the world is that funding confirms an institution’s
market effectiveness and their quality of work as a formidable and compelling
leverage. I know funding is baffling and soul eroding,but at the end of the
day,or 15 years from now, why should your friends have to give up what they
love to survive?!
How to Start
First the infrastructure needs to be redefined. Now we have everything
we need to approach investors,a period which might take 5 years at first.

3. Who To Ask & How
Private philanthropists M.O.is being the first to support a trend,a
higherquality of life – what better way than to support the local arts which do
reflect and affect so many nuances of quality of life. There are so many
foundations to write us a check,but they don’t understandhow to invest,or
they see that unique, small institutions are riddled with threatening,isolating
productions. A case hasn’t been made that smaller institutions do impact the
biggerpicture institutions they support. I’m sure we could make an effective,
specific W.C. case, sell these people on theirrole as Venturists in our home.
Like the stories we tell and the way we tell them,W.C. is unique enough in its
engaging,non-threateningproductions to be many cuts above all the other
frenzied org’s asking for money. Some foundations to reach out to: Harold &
Mimi Steinberg Charitable Trust, Edgerton Foundation,Robina Foundation,
Theatre Development Fund,Mellon Foundation, NationalPerformance
Network. Of course our proposed budget needs to address operatingissues,
strategic plans, benchmarks & timelines, modest investment proposals, etc.
Showing investors that we aren’t afraid to talk this language is also key.
I’ve looked into the FoundationCenter’s resources. They offer free
seminars on grant writing for non-profits. I’d love to go on W.C’s behalf in
January. One of my bosses used to write grants in Canada and raised $1
million dollars for the non-profit arts…andhe was awarded some humanitarian
distinction from ToniMorrison….do yousee the dots connecting?!
* CommunityOutreach
I noticed there was some of this going on in the early years. Expanding
on it might especially suit an institution whose creative process runs through a
spectrum of aesthetic forms. Strength in numbers! Any outreach should be
customized to W.C’s vision, focused,calendar consistent,and work against the
“muddled” stigma that outreachlends itself to low quality work. For example,
I’ve just started attending Lark Play Development public readings. Why not
approach theirteam and coordinate a meet and greet night? There are so many
play development centers to approach,hordes of valuable creative folks
without an MFA behind them. What about groups past W.C artists have gone
on to work with? Media production companies? Who is our community,in
fact?
* UniversityOutreach
I noticed the outreach with Vassar. Why not continue? Set up meet and
greet nights between playwrights, designers, musicians, actors. Invite them to
shows. Considering the installations W.C creates you could visit SVA,
Brooklyn College Grad Programs in Digital Art, Drawing,Music Composition,

4. Performing Arts, etc. any of the visual arts schools, etc. There are gems of
talent and insight here.
* Festivals &Events
As in the previous two outreaches, arrange a meet and greet at new play
festivals, new music festivals, installation and performance events. Finally, of
all the outreach programs, select two shows/artists peryear to usher into a
Development Program 
* Development Program
The Center Theatre Group of LA totally revamped theirinstitution and
is one of the leaders of new work support. (They also stopped takinga
percentage ofthe playwright’s earnings). 2 productions out ofthe program can
take place in the W.C. off-season,before or after a main stage show’s run.
Development,if not clearly defined and strategized,can be a dead lock
for everyone involved, weakening artists and the institution behind them. The
end result of W.C development has to be production. I’d go further and
promise each artist a second production,anotherexcellent demonstrationof
W.C’s effective infrastructure both for the artists and the market. (Good work
does happen here,we support professionalcareers longevity!) Readings,
workshops, retreats within the development programshould be private –
allowing audiences to see work as it’s developing may lend more credence to
the “new work=low quality” stigma, thwart interest in new pieces and in us,
plus free readings/workshopsin free spaces may not be useful at all for the
artists and institutions who want to produce quality work professionally. ----
The program should give Cast & Crew the artistic and real-world tools to work
and navigate the professionaltheatre industry. Cast & Crew should be selected
by W.C based on their candidacy as artists who achieve the W.C. vision. ---- A
development calendaris needed,specifically planned with optionalflexibility
but rigorous benchmarks& deadlines. ------ Will we accept submissions?
What are the guidelines? ----- Invite funding folks to the productions! Offer
them extra’s i.e. cast & crew meet and greets, tours of the set, opening night
party invites.
* Audience Outreach
This is probably the priority outreach program and resource for W.C.
Let’s develop a method to broaden and develop our constituency. This ties in
critically with our funding value. Constituents are our testimony ofsuccess and
quality. Is there a record of ticket buyers? Are there extended theatres and
creative groups who have gone on to work with past W.C artists? Let’s
reconnect to our fans and invite them back for more shows and events

5. constantly (but tastefully). Who are our primary funders? What groups do they
fund? Let’s find them. The larger and more active our constituentsare,the
greatergate of opportunity W.C.demonstrates forall people And press! You
directed Sleep No More, I saw one artist went on to be accepted at
Sundance…these are indicators that people take stock in, and that inspire and
truly legitimize.
I’d love to talk more about this, contact me about anything. And if I’ve been
repetitive or said too much of the obvious, I apologize. I loved researching this.
Thank you for taking the time!
Happy Thanksgiving