tcg Annual Report 2006–2007 Paving the way for 0n March 26, 2007, I was heartily welcomed into the TCG family as executive director. Since that time, I’ve been privileged to work the future with a dynamic staff and inspiring leaders across the country. I was so fortunate to have Gigi Bolt in the position of interim executive director • teresa Eyring and Abel López as board president when I arrived. The focus, brilliance Executive Director and warmth of these two leaders were a huge inspiration to me in my first months. The two of them, along with the board of directors and staff, made it possible for TCG to continue delivering tremendous service to the field—even through this major leadership transition. As this report demonstrates, our services to the field are numerous and varied. One of TCG’s hallmarks is its ability to bring together a diverse range of theatre organizations and practitioners to collaborate, share information, and build the collective knowledge and strength of the whole. To this end, TCG offered convenings such as the Fall Forum on Governance and the June National Conference, educational workshops and teleconferences for artists and managers, and research on matters such as the state of the field’s fiscal health and its governance practices. TCG Books, the largest not-for-profit publisher of dramatic literature in the US, added 11 new titles to its roster of plays and anthologies, one of which was awarded the Pulitzer Prize for Drama in the spring. Addressing one of the most pressing stated needs of the field, TCG’s grant programs focused largely on professional and career development through programs such as our observerships and the New Generations program funded by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation. In addition, TCG continued its role as an advocacy leader through its key role in the American Arts Alliance; stepped up its activities in international programming as the US Center for the International Theatre Institute; and expanded its national Free Night of Theater program. Financially, we are pleased to report that TCG completed the year in a solid position. As explained in the financial overview beginning on page 20, overall assets decreased primarily as a result of a reduction in grants receivable as grant awards were made; however, an operating surplus helped the organization realize an increase in its unrestricted net assets. We were pleased to be able to maintain a very healthy ratio of program-related expenses at 86%, and we took heart in the continued growth of our membership. As we look ahead, TCG will continue to lead the theatre field by actively working to understand its key challenges and needs—while serving as a beacon that illuminates potential future issues. A strategy development process underway will inform new programs and approaches, as well as strengthening those longer-standing TCG programs that continue to provide clear benefit for our industry and its practitioners. I am energized and excited by the possibilities, and I look forward to working with a rich and diverse community of organizations, artists, administrators, funders and other stakeholders as we advance theatre in the 21st century. We so appreciate your support of and interest in TCG, and hope you enjoy perusing these pages.

Theatre Communications Group (TCG) was founded in 1961 at the outset of the regional theatre movement to develop and stabilize this emerging field. TCG was initially funded by the Ford Foundation and W. McNeil Lowry, who believed that a lack of communication and cooperation had impeded the growth of the theatre movement. Over the last 45 years, TCG’s constituency has grown from a tiny network of groundbreaking theatres to over 460 members across the country, as well as over 17,000 individuals nationwide. Today, our programs further our core values of fostering connection, embracing diversity and supporting artistry in the American theatre. In all our endeavors, TCG seeks to increase the organizational efficiency of our member theatres, cultivate and celebrate the artistic talent and achievements of the field, and promote a larger public understanding of and appreciation for the theatre. TCG is led by executive director Teresa Eyring and is governed by a national board of directors representing the theatre field. In 2005, TCG received the Tony Honors for Excellence in Theatre in recognition of our impact on the national field. TCG and our member theatres are major contributors to the American theatre sector, which employs more than 113,000 artists, administrators and production staff, and produces over 172,000 performances each year, reaching 30 million people. The sector contributes over $1.6 billion annually to the U.S. economy. Table of Contents

Board of Directors • •••••••••••••••••••••••••••••••••••••••••••••••• 2

National Council for the American Theatre ••••••••••••••••••••••••••• 3

Core Programs ••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 networking and knowledge-building 4

Professional Development Events

National Research

TCG Website

Grantmaking, Professional Development and Awards 9

The Fox Foundation Resident Actor Fellowships

New Generations Program

NEA/TCG Career Development Programs

NEA/TCG Theatre Residency Program for Playwrights

TCG/ITI Travel Grants

TCG Observership Program

National Theatre Criticism/Affiliated Writers Program

TCG Awards

Peter Zeisler Memorial Award

Alan Schneider Director’s Award

Publications 13

TCG Books

American Theatre

ARTSEARCH

TCG Bulletin feild-wide leadership 15

Advocacy

International Theatre Institute

Free Night of Theater

Programs for Theatre Educators

Constituency • •••••••••••••••••••••••••••••••••••••••••••••••••••• 1 7

Financial Overview • ••••••••••••••••••••••••••••••••••••••••••••••• 20

TCG Staff ••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 22

tcg Annual Report  table of contents Board of Directors TCG’s board of directors represents a diverse range of geographic, cultural, aesthetic and professional viewpoints. The board held three two-day meetings in 2006-2007, with additional committee meetings held throughout the year. Board members are elected for an initial term of four years, and are eligible to be re-elected for an additional term of two years. We would like to express our appreciation to all of our board members for their generous donation of time, expertise and counsel throughout 2006-2007.

GIGI BOLT DANNY HOCH DANIEL RENNER Interim Executive Director (Former) Writer & Performer Director of Education Theatre Communications Group New York, NY Denver Center New York, NY for the Performing Arts MELANIE JOSEPH Denver, CO SUSAN V. BOOTH Producing Artistic Director Vice President The Foundry Theatre ROSALBA ROLÓN Artistic Director New York, NY Artistic Director Alliance Theatre Pregones Theater Atlanta, GA RACHEL E. KRAFT Bronx, NY Executive Director PETER C. BROSIUS Lookingglass Theatre Company TIMOTHY J. SHIELDS Artistic Director Chicago, IL Vice President The Children’s Theatre Company Managing Director Minneapolis, MN MARTHA LAVEY Milwaukee Repertory Theater Artistic Director Milwaukee, WI CARLYLE BROWN Steppenwolf Theatre Company Artistic Director Chicago, IL MARK SHUGOLL Carlyle Brown & Company CEO Minneapolis, MN ROBERT H. LEONARD Shugoll Research Director Washington, DC CAROL BROWN Virginia Tech Pittsburgh Cultural Trust Blacksburg, VA MOLLY SMITH Pittsburgh, PA Artistic Director TODD LONDON Arena Stage DOUG BROWN Artistic Director Washington, DC Trustee New Dramatists Steppenwolf Theatre Company New York, NY SUSAN TRAPNELL Chicago, IL Secretary ABEL LÓPEZ Managing Director DAWN CHIANG President ACT Theatre Lighting Designer Associate Producing Director Seattle, WA Bridgeport, CT GALA Hispanic Theatre Washington, DC SHAY WAFER JEFF CHURCH Managing Director Producing Artistic Director MARC MASTERSON Cornerstone Theater Company The Coterie Theatre Artistic Director Los Angeles, CA Kansas City, MO Actors Theatre of Louisville Louisville, KY KATE WARNER PETER DUBOIS Artistic Director Associate Producer ELLEN McLAUGHLIN Dad’s Garage The Public Theater Playwright & Actor Atlanta, GA New York, NY Nyack, NY TIM WEISS TERESA EYRING BENJAMIN MOORE Trustee Executive Director Managing Director South Coast Repertory Theatre Communications Group Seattle Repertory Theatre Costa Mesa, CA New York, NY Seattle, WA JEFFREY WOODWARD PHILIP HIMBERG PAUL NICHOLSON Managing Director Producing Artistic Director Treasurer McCarter Theatre Center Sundance Institute Executive Director Princeton, NJ Theatre Program Oregon Shakespeare Festival Sundance, UT Ashland, OR CHAY YEW Playwright & Director Los Angeles, CA

tcg Annual Report  board of directors National Council The National Council for the American Theatre, comprised of 28 leading trustees from TCG member theatres around the country, guides TCG’s for the programs on governance and board development. This prestigious body serves as a brain trust not only for TCG but for the field as a whole. The American Theatre National Council has a direct impact on the design and implementation of TCG programs and services that, in turn, have a profound effect on the management and governance of America’s theatres. Successful programs and activities launched by the Council include the annual Fall Forum on Governance, special sessions for trustees at the annual TCG National Conference, the Centerpiece series on governance issues, and the Trustee Leadership Network.

The National Council for the American Theatre meets twice yearly in New York, including an annual joint meeting with TCG’s board of directors. Members are invited to participate in TCG committees, panels and/or advisory groups, host a trustee breakfast and moderate breakout sessions at the TCG National Conference, as interest and availability dictate. Members must be on the board of a TCG—member theatre, and are nominated by either managing or artistic directors.

EVE ALVORD ROBERT MANEGOLD JUDY RUBIN Seattle Children’s Theatre Milwaukee Repertory Theater Chair Seattle, WA Milwaukee, WI Playwrights Horizons New York, NY DOUG BROWN MICHAEL MARGULIES Steppenwolf Theatre Company The Children’s Theatre Company JIM STEINBERG Chicago, IL Minneapolis, MN Denver Center Theatre Company Denver, CO LYNN DEERING JERRY MEYER CENTERSTAGE Long Wharf Theatre JEAN Z. STRUNSKY Baltimore, MD New Haven, CT Berkeley Repertory Theatre Berkeley, CA NANCY DONAHUE ROYANNE MINSKOFF Merrimack Repertory Theatre Idaho Shakespeare Festival MOYA VAZQUEZ Lowell, MA Boise, ID Intiman Theatre Seattle, WA JANE EPSTEIN ELISABETH MORTEN Playwrights Horizons Westport Country Playhouse ELAINE WEINBERG New York, NY Westport, CT South Coast Repertory Costa Mesa, CA BRAD FOWLER ELEANOR NOLAN ACT Theatre Seattle Children’s Theatre TIM WEISS Seattle, WA Seattle, WA South Coast Repertory Costa Mesa, CA LISA NAPARSTEK GREEN JUDY LYNN PRINCE Lookingglass Theatre Company Arena Stage JAAN WHITEHEAD Chicago, IL Washington, DC The SITI Company New York, NY JUDY HANSEN TONI REMBE Milwaukee Repertory Theater American Conservatory Theater DONNA OVERHOLT WILLIS Milwaukee, WI San Francisco, CA Actor’s Express Atlanta, GA BRUCE E.H. JOHNSON TED ROGERS Seattle Repertory Theatre Theatre for a New Audience Seattle, WA New York, NY

CAROLE KRUMLAND DEEDIE ROSE Berkeley Repertory Theatre Dallas Theater Center Berkeley, CA Dallas, TX

tcg Annual Report  national council for the american theatre Core programs • networking and Knowledge-Building

As the key focus of its mission, TCG provides year-round networking and professional development opportunities for theatre professionals. Through its conferences and forums, TCG offers its members practical tools for their daily work, promotes in-depth reflection on crucial issues and seeds field connections that sustain participants long after these meetings adjourn. Through research and our website, TCG harnesses the knowledge of our members for the benefit of the collective whole.

Professional Development Events

Expanding the Theatre Manager’s Professional Development Repertoire 2006 for Artistic and Managing Leaders August 7–8, 2006 Detroit, MI Dual Leadership: For the ninth consecutive year, TCG and Target Corporation were pleased Partnering from the Inside Out to offer Expanding the Theatre Manager’s Repertoire, our invaluable February 25-27, 2007 Philadelphia, PA and popular human resources training program. The 2006 program Building on our commitment to develop a wide array of professional was held on August 7-8 in Detroit, Michigan. Building on Target’s own development programs for the field, TCG, along with partners Dance/USA, human resources training methods, which exemplify the best practices the national service organization for dance, and the Institute for Cultural in the corporate sector, this training is specifically tailored for theatre Policy and Practice at Virginia Tech, announced this unique program in managers. Sixty-five theatre staff who manage personnel, ranging fiscal year 2007. Dual Leadership brings artistic and managing leaders from production managers and tech directors to box office managers from theatre and dance companies together and builds their understanding and artistic directors, spent two days in a highly interactive learning of the unique challenges involved in developing sustainable and effective environment led by consultant Robbin Walker, who shared vital information dual leadership structures. This highly engaging seminar focused on and practical solutions adapted to work in the theatre. Topics at the the competencies and practices required to build strong team-based Detroit convening included coaching and developing, managing conflict, leadership models that support both the artistic vision and the institutional influencing others and mastering the change curve, giving participants resilience required for long-term impact. the opportunity to step back from day-to-day demands and explore best practices and management principles. Education Directors Workshop Building A National TEAM: Fall Forum on Governance Theatre Education Assessment Models Backstage with the Board: June 6, 2007 St. Paul, MN A Look at Art-Making TCG featured interactive training sessions for its two-years-in-the- November 10–12, 2006 New York, NY making assessment project, Building a National TEAM: Theatre Education TCG’s 2006 Fall Forum brought together approximately 150 participants, Assessment Models, in a full day workshop preceding the 2007 TCG including teams of artistic and managing leaders as well as trustees from National Conference. In conjunction with ASSITEJ/USA, the national TCG member theatres, to provide an opportunity for in-depth discussion service organization for the promotion of professional theatre for on governance issues. TCG’s Forums give theatre leaders the chance to young audiences, a Working Group of theatre educators from across hear some of the most provocative thinkers in the field and to engage the country created over 20 assessment models for American theatre with their peers in an intimate and informal setting. In 2006, we explored education directors’ use and reference. The TEAM group focused on the links between financial planning, governance and artistic mission by four areas of assessment: performance tasks, portfolio, observation providing a second year of conversations on art-making, this time with an and survey, developing templates in each of these areas that reflect emphasis on adaptation and design. Participants experienced interactive effective practices to assess participant learning and engagement. The workshops led by artists Robert Brill, David Budries, Dawn Chiang and pre-conference served as a training ground for 80 education directors Laura Crow, and attended a production of Martha Clarke’s Kaos at New from throughout the country, who came together to learn to adapt the York Theatre Workshop. Plenary sessions featured speakers Ping Chong, national models for use in their education programs, as well as to align Gordon Edelstein, Oskar Eustis, José Cruz González, Liz Lerman, Ellen the evaluation and assessment work with federal and state standards. McLaughlin and Ed Waterstreet. Led by TEAM consultant Robert Southworth, participants learned how to use the model templates to assess the growth of students and to collect information critical to school districts, parents, theatre leadership and funders.

tcg Annual Report 4 core programs Core programs TCG National Conference Artistry in a New Century • networking June 7-9, 2007 Minneapolis-St. Paul, MN and Knowledge-Building On June 7-9, 2007, TCG held its 17th National Conference in the Twin Cities. The goal of the conference was to examine new models of developing artistic work, investigate the creative process and explore the role of the artist as a catalyst for social change. The event was TCG’s largest gathering and reached a record-breaking number of 850 participants from 188 theatres and 13 nations. Participants were comprised of artistic leaders, managing leaders, trustees, actors, playwrights, directors, musicians, designers and other senior theatre staff. A majority of the conference programming was hosted at the Guthrie Theater with plenary sessions held in the Wurtele Thrust Stage and breakout sessions and workshops in the Guthrie’s classrooms and rehearsal spaces. Additional breakout sessions were held at the Open Book and the Mill City Museum, and late night events took place at the Children’s Theatre Company and Illusion Theatre. The TCG conference presented four plenary sessions, over 30 breakout sessions, 15 trend workshops and performances of award-winning plays. A mixture of programming was offered on artistic, management, governance, education and international topics to serve the range of theatre practitioners and individual artists in attendance. The opening night reception and the “Spotlight On…” reception/exhibit for grant recipients were both held at the Open Book. The conference officially began on Thursday, June 7, with opening plenary addresses by Joe Dowling, artistic director of the Guthrie Theater, and Molly Smith, artistic director of Arena Stage. The keynote address was delivered by Nobel Prize-winning playwright and activist Wole Soyinka, followed by a plenary that focused on the power of the artist as activist. Barbara Schaffer Bacon from Animating Democracy presented the panelists: spoken-word artist Rha Goddess, founder of the Los Angeles Poverty Department John Malpede, and solo performance artist Kathy Randels. On Saturday, two plenary sessions were presented: entitled “Visions of Tomorrow’s Theatre,” a roundtable discussion with an eclectic group of writers, directors, choreographers and producers, moderated by HERE’s artistic director Kristin Marting; and “Creating and Producing the New American Musical,” an exploration of the creative process specific to musicals, moderated by Sue Frost, with Duncan Sheik and Steven Sater of Spring Awakening, Mark Bennett and Jessica Hagedorn of Most Wanted and Steve Cosson and Michael Friedman of (I am) Nobody’s Lunch. Breakout sessions gave participants the opportunity to candidly discuss focused issues in small groups. The wide-ranging topics for breakout sessions included “Voices in Today’s African Theatre,” “Producing Theatre in Small Communities,” “Life in a New Building,” “Issues for Board Leaders,” “Nuts and Bolts for New Trustees,” “The Changing Face of Diversity and Youth” and “Casting Tomorrow’s Leadership.” Early morning Affinity Groups provided a chance for conferencegoers to participate in facilitated

l discussions with people who share their interests. The numerous group

anie sessions focused on subjects such as theatre for young audiences, classical l D l a h

ic theatre, ensemble companies, puppetry, and political/social theatre. y M y b During lunch breaks, participants got to know prominent figures in otos

h the theatre field—Lou Bellamy and Luis Valdez—as part of the Salon Series p ll

a interviews and had the opportunity to join Bill O’Brien, Director of Theater Top row, performers from In the Heart of the Beast Puppet and Mask Theatre open the and Musical Theater, for “Lunch with the NEA.” TCG Business Affiliates conference on the Guthrie Theater’s Endless Bridge, overlooking the Mississippi River introduced attendees to their services at the vendor fair and offered Trend and the Stone Arch Bridge; Guthrie Theater artistic director Joe Dowling, backed by Tyrone Guthrie; second row, plenary speaker Wole Soyinka; Eric Booth, consultant for the Workshops on business solutions to common problems such as “Spring 2008 National Performing Arts Convention, at TCG’s annual meeting; third row, TCG Award Cleaning: Evaluating Your Donor Database” and “Attracting and Keeping recipients, Robert Komula of Humana Inc., corporate award; Mary Pickard of Travelers Foundation, regional funder award; Joel Sass, Alan Schneider Director Award; Luis Valdez Your Single-Ticket Buyers: Retention Strategies That Work.” of El Teatro Campesino, Theatre Practioner Award; fourth row, Anne Erbe, Melanie Joseph For the first time, TCG held artistic workshops with master artists and Sunder Ganglani of the Foundry Theatre, Peter Zeisler Memorial Award; Arena Stage’s Molly Smith gives the keynote. during conference registration, featuring playwright Laurie Brooks on

tcg Annual Report  core programs post-performance discussion techniques, director Tina Landau on the Managers’ Teleconferences basics of the popular Viewpoints training technique, and director Michael Ongoing Rohd on “civic theatre,” a term he coined to describe performance that Held twice per year on a rotating basis, teleconferences enable engages citizens at all levels of creative development. Another new geographically separated managers to share information and ideas and feature was Saturday afternoon meetings springboarded from TCG’s to work with peers to find solutions to common problems. During fiscal 2006 Conversations in the Field, a discussion series created to gauge the year 2007, teleconferences for finance directors and literary managers state of the theatre field and identify the challenges facing the field today. from TCG member theatres were moderated by Suzanne Sweeney, Called Issue-Based Forums, these discussions featured “The Economy of director of finance and administration at Indiana Repertory Theatre, Theatre,” “Individual Artists: Sustaining a Career and Creative Voice,” and and Elissa Adams, director of new play development at the Children’s “Diversity and Identity.” Theatre Company. Attendees also had the opportunity to view performances, meet artists, take backstage tours, and gain a sense of the full range of artistic work in the field. A performance of In the Continuum, written and performed by Education Directors’ Danai Gurira and Nikkole Salter, was presented at the Guthrie Theater, and Teleconferences late night events “Uncooked: Readings in the Raw” and “Global Tapas” at Ongoing Illusion Theatre and the Children’s Theatre Company featured a taste of TCG offered three series of teleconferences for education directors, artistic work by both national and international playwrights. Book signings moderated by Andrea Allen, director of education at Seattle Repertory were also held throughout the event with TCG authors such as Jessica Theatre. Topics addressed during these calls included establishing Hagedorn, Tina Landau, Suzan-Lori Parks and Wole Soyinka. partnerships and alliances, building stronger student matinee and touring programs, integrating approaches to education through arts in public schools, internal and external advocacy, assessment, long-range planning and training artists. Thirty-seven educators from throughout the country participated in 2006-2007. l anie l D l a h ic y M y b

otos h p ll a

Top row, “The Artist as Activist” plenary with, from left, Barbara Schaffer Bacon, Rha Goddess, Kathy Randels and John Malpede; second row, Caitlin Miller performs “The Song of Progressive Disenchantment” during the plenary session “Creating and Producing the New American Musical”; bottom row, “Visions of Tomorrow’s Theatre” with, from left, Kristin Marting, Sean San José, Dan Rothenberg, Clove Galilee, Ruben Polendo and Joseph Haj.

tcg Annual Report  core programs Core programs National Research TCG is a vital source of national research on the fiscal state of the • networking American not-for-profit theatre. Through two annual national surveys, and Knowledge-Building the Fiscal Survey and Salary Survey, we analyze industry finances and productivity, employment trends and employee compensation levels. For over 30 years, TCG has published Theatre Facts, which draws from the Fiscal Survey and offers an analysis of the attendance, performance and fiscal health of the American not-for-profit theatre field. Survey results provide benchmarks for theatre managers and arm the field with factual information to use as a tool in advocacy and policy-making. Theatre Facts 2006 The report is a compilation of information gathered for the fiscal year completed by theatres anytime between September 30, 2005, and August 31, 2006. Written by Zannie Giraud Voss, associate professor, Duke University, and Glenn B. Voss, assistant professor, North Carolina State University, along with TCG staff members Christopher Shuff and Ilana B. Rose, the report examines unrestricted income and expenses, balance sheets, attendance, pricing and performance details and is organized into three sections that offer different perspectives. Theatre Facts 2006 reported a year of continued growth for the field’s health over a five-year period as both earned and contributed income outpaced expenses. The report revealed that theatres continue to make tremendous contributions to the nation’s artistic legacy, to their communities and to the economy—despite ongoing challenges.

Theatre Facts 2006 Summary of Findings The Universe section provides the broadest snapshot of the industry for 2006, examining an overview of 1,893 theatres—201 theatres that completed survey information and 1,692 theatres that filed IRS Form 990. Using an extrapolation formula based on annual expenses findings include: Not-for-profit theatres contributed over $1.67 billion to the U.S. economy through payments for goods, services and employee salaries and benefits. Theatres offered 172,000 performances that attracted over 30.5 million attendees. The majority of theatres’ employees are engaged in artistic positions, with an average workplace consisting of 62% artistic, 25% technical and 13% administrative personnel. 52% of total income came from earned sources and 48% from contributions.

The Trend Theatres section focuses on the 105 theatres that have responded to the long form TCG Fiscal Survey in each of the past five years. wartz h This analysis examines trends in earned income, expenses, contributed sc

income and attendance figures. The trend analysis, although encouraging, craig also highlights areas of concern. Findings include: Michael Arden, above, and Charlie Neshyba-Hodges in Twyla Tharp and Bob Dylan’s The Times They Are A-Changin’ at the Old Globe Theatre in California. 65% of theatres ended 2006 in the black and deficits have been less severe in the past two years, while surpluses have been greater. Earned income growth exceeded expense growth, with earned income rising 8% in the past year alone and outpacing inflation by 17.8% over the five-year period. Adjusting for inflation, contributed income rose 11.6%, total income was up 15.1%, while expenses rose 6.2%. Over the five-year period, total attendance declined 8% and subscription numbers continued to drop with 7% fewer subscription tickets purchased. Working capital has been negative in each of the last five years and was at its worst in 2006, indicating that theatres are carrying accumulated debt and are borrowing funds to meet daily operating needs.

The Profiled Theatres section provides the greatest level of detail for the 201 theatres that completed the long form TCG Fiscal Survey 2006. This analysis breaks down earned and contributed income, expenses, attendance, pricing and performance information by budget group and in aggregate. Findings include: On the whole, earned income financed 61.8% of total expenses and contributed income financed 46.9%, which shows that total income exceeded total

tcg Annual Report  core programs expenses by 8.7%. Theatres attracted 5.1 million single-ticket buyers and of a provocative roundtable session held in February 2007 in order to 1 million subscribers/season-ticket holders in 2006. Education and outreach probe the problem of not-for-profit access to investment capital. In the programs served an audience of 3.2 million people through 1,253 programs. face of concerns about a workforce crisis in the not-for-profit sector, Theatres produced 310 world premieres and earned $3.4 million from 332 survey results revealed in the project’s eighth “sounding,” The Nonprofit royalty properties. Workforce Crisis: Real or Imagined?, indicated that not-for-profits have By collecting comparative data from a large universe of theatres been surprisingly successful in recruiting professional and support staff year after year, TCG identifies patterns and trends that help theatres despite significant challenges. understand their own financial condition in a national context. The last five years have shown significant shifts in audience behavior, with single-ticket sales exceeding traditional subscription sales, as well as TCG Website shifts in funding patterns, with increased reliance on contributed income, In an effort to stay up to date on the changing technology in the particularly from individual donors. This year’s indications are hopeful professional world, TCG launched a major website redesign on June in many respects—income is up and fewer theatres are experiencing 30, 2006, and has since enjoyed a full year with the benefits of the new deficits. But the continued decline in attendance suggests that audience design. The website is an important conduit of information to and from development remains an urgent priority for theatres nationwide. the field. The site provides breaking news in the “What’s New” section; updates and registrations for TCG events; guidelines and applications for Education Survey all of our grant programs; access to the latest publications from the TCG TCG conducts an annual survey of the programming, fiscal health and bookstore; and online versions of our periodical publications and press goals of its member theatre education departments. Now in its eighth releases. In addition to descriptions of TCG programs, the education, year, the Education Survey captures a wealth of knowledge benefiting advocacy and International Theatre Institute pages link members to a small but enormously effective, essential sector of the theatre field important external resources. as a whole. Through classroom residencies, student matinee programs, The majority of TCG’s surveys—Fiscal Survey, Education Survey and workshops and classes, and after-school and summer camp programs, Snapshot Surveys—are conducted and published online. Visitors can also TCG’s theatre educators reach millions of students and adult learners look up season information in Theatre Profiles, a database of TCG member every year. The Education Survey data is collected via the TCG website theatres; as well as look up study guides and other information from member and released to the field through various online reporting tools, featuring theatre’s education programs. Both the Education and Fiscal Survey have flexible filtering options and custom reports. A full tabulation of survey features which enable users to generate customized reports. data is published in TCG’s Education Centerpiece. For more information on TCG education programs please refer to the Education section of the annual report. Snapshot Surveys Snapshot Surveys focus on various topics such as software and technology, international collaborations and touring in the theatre field. This format allows TCG to gather and disseminate information quickly and to identify new areas for investigation. Some Snapshot Surveys, such as the Employee Benefits Survey and Governing Boards Surveys, are more comprehensive and are administered at regular intervals. Interdisciplinary Research In addition to its multitude of in-house research projects, TCG routinely participates in interdisciplinary collaborative research projects with organizations like the League of American Orchestras, the Association of Performing Arts Presenters, Dance/USA and Opera America. Among these projects is the Nonprofit Listening Post Project. Organized by the Johns Hopkins University, the project involves over 1,000 not-for- profit organizations from various fields including social services, health, environment, community and economic development, and arts and culture (represented by members of TCG and the American Association of Museums). These organizations serve as “listening posts” on the major developments in the not-for-profit field. Periodic surveys are administered covering a variety of subjects, including indicators of financial health, partnering, governance, human capital development and technology, with regular “soundings” of findings disseminated over a five-year period. Published during TCG’s 2007 fiscal year, the sixth “sounding” examines not-for-profit fiscal trends and challenges and shows that, despite continuing fiscal challenges, the percentage of not-for-profits reporting severe fiscal stress fell between 2003 and 2006. The project’s seventh “sounding” summarizes the major findings

tcg Annual Report  core programs Core programs New Generations Program Cooperatively designed by the Doris Duke Charitable Foundation, the • Grantmaking, Andrew W. Mellon Foundation and TCG, the New Generations Program Professional Development has distributed over $10 million in two-year grants to 149 theatres since 2001. During fiscal year 2007, the program awarded 28 grants in the and Awards following categories: Future Leaders, the cultivation of a new generation of theatre leadership through mentorships with established leaders in the theatre field; Future Audiences, the expansion and bolstering of TCG offers programs in partnership with government existing audience development programs that have proven effective and foundation funders that provide career development in reaching young and/or culturally specific audiences; and Future opportunities for theatre professionals, facilitate the creation Collaborations for unrestricted international travel, enabling artists of new work, sustain collaborative artistic relationships, to share ideas and/or collaborate with colleagues around the world. and recognize achievement in the field. TCG utilizes a Future Collaborations was reconceived in fiscal year 2007 from the peer-panel review process in all selections, with different former Future Leaders: International Fellowships program where theatre groups of panelists convened for each program. professionals from abroad spend six months in residency at an American theatre. The New Generations Program is open to both TCG member theatres and to non-member theatres. 2006-2007 New Generations Program Future Leaders Recipients Center Theatre Group’s (Los Angeles, CA) associate producer and director of new play production Diane Rodriguez to mentor Jesus Reyes, concentrating primarily on the New Play Production Program. Childsplay’s (Tempe, AZ) artistic director David Saar to mentor Andy Alcala in artistic directing, including responsibilities in new play development such as dramaturgy, script evaluation and planning playwright workshops that better serve the theatre’s growing Latino audience. Clubbed Thumb’s (New York, NY) co-directors Maria Striar and Meg MacCary to mentor Diana Konopka in artistic leadership, teaching the necessary management, The Fox Foundation administrative and artistic duties of the leader of a small theatre company. Resident Actor Fellowships Cornerstone Theater Company’s (Los Angeles, CA) managing director Shay Wafer to mentor T Keaton-Woods in theatre management. In fiscal year 2007, TCG was pleased to announce the six recipients Long Wharf Theatre’s (New Haven, CT) managing director Joan Channick to for the first round of the Fox Foundation Resident Actor Fellowships, mentor Deeksha Gaur, to serve as assistant managing director, focusing on issues supported by the William & Eva Fox Foundation and administered by TCG. of institutional planning and strategy. The program is designed to support an individual actor’s professional The Playwrights’ Center’s (Minneapolis, MN) producing artistic director Polly Carl and artistic development, to enrich relationships with the not-for-profit to mentor director Hayley Finn in work on the Playwrights’ Center’s development theatre and ensure continued professional commitment to live theatre. Lab and their annual PlayLabs Festival. The fellowships are divided into two categories: Extraordinary Potential Pregones Theater’s (Bronx, NY) associate artistic director Alvan Colón Lespier to mentor Jessica Moya in the area of technical production. and Distinguished Achievement. Recipients in the Distinguished The Public Theater’s (New York, NY) artistic director Oskar Eustis to mentor Achievement category have considerable experience in professional Niegel Smith as an artistic leadership associate. theatre with a substantial body of work and receive a $25,000 award. Roadside Theater’s (Norton, VA) artistic director Dudley Cocke to mentor Nick Recipients in the Extraordinary Potential category are early- to mid- Szuberla in playwriting, directing, producing and advocacy. career actors who have completed their training within the last 10 years. They receive an award of $15,000, with up to an additional $10,000 available to relieve student loans. The host theatre companies receive grants of $5,000 in support of the residency. Actors may propose a Fox fellowship with TCG member theatres that have a minimum annual operating budget of $500,000. In addition, a small group of British theatres were invited by TCG and the Fox Foundation to submit proposals with British actors. 2006-2007 Fox Foundation Resident Actor Fellowship Recipients Distinguished Achievement F. Murray Abraham and Theatre for a New Audience (New York, NY) Karen Kandel and Mabou Mines (New York, NY) Joan Schirle and Dell’Arte International (Blue Lake, CA) Andrew Weems and Intiman Theatre (Seattle, WA) ARDTERMINE Extraordinary Potential H RIC

Jonathan Broadbent and Bristol Old Vic Theatre (Bristol, England) From left, Kristine Nielsen, Julyana Soelistyo and Andrew Weems in Theatre for New Juan Rivera Lebron and Oregon Shakespeare Festival (Ashland, OR) Audience’s Pericles in New York City.

tcg Annual Report  core programs 2006-2007 New Generations Program NEA/TCG Career Development Future Audiences Recipients Programs Brava Theater Center (San Francisco, CA) to expand and improve its audience development work for multicultural lesbian and Spanish speaking audiences by TCG administers the NEA/TCG Career Development Program (CDP) with launching a broad-based media campaign, engaging not-for-profit organizations major support by the National Endowment for the Arts and additional and networking with social, cultural and affinity groups that serve these support from the Ford Foundation’s New Works Program. The program constituencies. for directors began in 1987 and expanded to include designers in 1990. Center for Puppetry Arts (Atlanta, GA) to expand its Latino audience development Early-career directors, as well as costume, lighting, scenic and sound initiatives, specifically the production of bilingual marketing materials and presentation of bilingual puppetry performances. designers, benefit from the opportunity to spend six months within a The Children’s Theatre Company (Minneapolis, MN) to expand its teen liaison two-year period developing their creative skills and expanding their program, planning to recruit approximately twenty teens from local high schools knowledge of the field. Each recipient’s program is hand-tailored to to paid positions in the 2007-2008 season. match its goals to appropriate and challenging assignments. Program Free Street Theater (Chicago, IL) to expand its audience development plan for activities may include assistantships, observation, research and travel. Chicago’s Polish community and the residents of neighborhoods on the south and west sides of the city through the production of six new works. Recipients may also direct or design projects under the guidance of one or more designated mentors. Recipients are chosen by an independent, The Neo-Futurists (Chicago, IL) to enhance marketing to its under-30 audience by extending their marketing coordinator’s responsibilities and resources and national selection panel composed of theatre professionals. Stipends enhancing the design and functionality of their website. of $22,500 are provided to seven stage directors and seven designers Oregon Children’s Theatre (Portland, OR) to expand its audience development plan who are exceptionally talented and seek a career in America’s not-for- for children, teens and young adult parents through internet-based engagement. profit professional theatre. Recipients receive an additional $1,000 for Out Of Hand Theater (Atlanta, GA) to strengthen its events programming for life needs, such as health insurance, child care or aging parental care. younger adults through enhanced marketing efforts, the purchase of audience The program alternates yearly grantmaking cycles with the NEA/TCG tracking software and technical equipment, and increasing design budgets. Theatre Residency Program for Playwrights. Pasadena Playhouse (Pasadena, CA) to enhance its outreach program for at-risk teenagers by training additional volunteers, cultivating additional organizational partners, solidifying plans for the addition of a literacy component and expanding the theatre’s ability to arrange interactions between group participants and Playhouse artists. Passage Theatre Company (Trenton, NJ) to expand its audience development plan for middle and high school students, members of the Trenton community and surrounding areas of Mercer County by producing new theatre works as part of the Anti-Violence Arts Initiative (AVAI). Perseverance Theatre (Douglas, AK) to expand its audience development plan to reach Alaska Native audiences statewide by extending the responsibilities of the director of outreach and developing Exodus from Ugiuvaq, an original, documentary- style examination of the forced exodus of the King Island people from their home in the Bering Sea in the 1960s. 2006-2007 New Generations Program Future Collaborations Recipients The Civilians’ (New York, NY) artistic director Steven Cosson to travel to Colombia and Venezuela to plan for future collaboration, particularly with Teatro San Martin in Caracas, Venezuela, and Mapa Teatro in Bogotá, Colombia. Golden Thread Productions (San Francisco, CA) to host Israeli playwright Motti Lerner to collaborate with the creative team developing Benedictus, a new play created by artists from Iran, Israel and the U.S. Director Ricardo Khan (Hoboken, NJ) to travel to the Theatre Royal Stratford East in the United Kingdom and the Market Theatre in the Republic of South Africa to meet with artistic leaders to explore future collaboration ideas. Director, dramaturg and teacher Roberta Levitow (Santa Monica, CA) to travel to four East African countries, Kenya, Rwanda, Tanzania and Uganda, to develop and strengthen artistic links between U.S. and East African artists. Playwright Danai Gurira to travel to Liberia to work with various women’s organizations, UN organizations who work specifically with female ex-combatants, and the Truth and Reconciliation Commission to conduct research for a new play that she will be further developing at McCarter Theatre Center (Princeton, NJ). Independent theatre artist Artemis Preeshl (Roseville, MN) to travel to the Republic of Albania to collaborate with Albanian director Arben Kumbaro. Stages Theatre Company’s (Hopkins, MN) artistic director Sandy Boren-Barrett to travel to Theatre Royal Bath’s Egg Theatre in the United Kingdom to explore the idea of forming a youth exchange in which actors from both companies will perform together in a co-commissioned musical. Director Ivan Taligancic (New York, NY) to travel to Zagreb, Croatia, to work with Zagrebacko Kazaliste Mladih (Zagreb Youth Theatre) to get acquainted with the theatre’s acting ensemble, facilities and working methods. Teatro del Pueblo’s (St. Paul, MN) artistic director Alberto Justiniano to travel to Peru along with playwright Kiseung Rhee to finish work on Mr. Rhee’s latest piece, Nesian.

tcg Annual Report 10 core programs Core programs TCG/ITI Travel Grants TCG/ITI Travel Grants, funded by the Trust for Mutual Understanding, are • Grantmaking, designed to foster cultural exchange and artistic partnerships between Professional Development theatre professionals in the United States and their counterparts in Russia and Eastern and Central Europe. These $3,000 grants support and Awards travel in either direction between theatre artists, administrators and educators, enabling them to share ideas, gain exposure to each other’s cultural traditions and communicate contemporary theatre techniques. Recipients may be either of the following: a U.S. not-for-profit theatre applying on behalf of a theatre professional or an individual theatre professional who is a U.S. citizen or permanent resident. 2006-2007 TCG/ITI Travel Grants Recipients Double Edge Theatre (Ashfield, MA) to host two Polish artists, composer Jacek Ostaszewski and visual artist Mira Zelechower-Aleksiun, to collaborate with the company on Republic of Dreams, an original work based on the writings and life of Polish-Jewish artist Bruno Schulz. Ron Bieganski, artistic director of Free Street Theater (Chicago, IL) and Free Street creative director Anita Evans to travel to Goleniow, Poland, to partner with NEA/TCG Theatre Residency Teatr Brama to exchange ideas and practices in youth training and community Program for Playwrights building through theatre. Since 1997, the NEA/TCG Theatre Residency Program for Playwrights Playwright Ashlin Halfnight, dramaturg Emily Long and producer Melanie Sylvan to has helped playwrights create new work while in residence at a host travel from New York City to Budapest to collaborate with the Merlin International Theatre and company members from the Hungarian National Theatre on a workshop theatre, and encouraged them to become an integral part of the theatre’s of Mr. Halfnight’s play Family Dinner. artistic life and community activities. Each cycle of the program provides Steve Bailey, education director of Jump Start Performance Co. (San Antonio, stipends of $25,000 to 11 playwrights, while the host theatres receive TX) to travel to Banska Bystrica, Slovakia, to observe the work of Divadlo z Pasaze $4,500 to enhance their ability to support the residencies. The Ford (Theatre from the Passage). Both companies work with individuals who have mental Foundation’s New Works Program awards playwrights up to an additional illness and/or learning disabilities and Mr. Bailey’s trip will allow an exchange of performance techniques and arts education methodologies. $1,000 to provide individual ongoing life needs such as health insurance Perseverance Theatre (Douglas, AK) to host Moscow-based movement instructor and child care. Natalia Fedorova. Ms. Fedorova will choreograph the company’s production of Equus 2006-2007 NEA/TCG Theatre Residency Program by Peter Shaffer and lead workshops for the acting company. for Playwrights Recipients Rosalba Rolón, artistic director of Pregones Theater (Bronx, NY) to travel to Banska Lydia R. Diamond and Steppenwolf Theatre Company (Chicago, IL) Bystrica, Slovakia, with composer Desmar Guevara and Pregones’ associate artistic director Jorge Merced. They will collaborate with Flemish and Slovakian theatre Dan Dietz and Salvage Vanguard Theater (Austin, TX) companies on Brides, a new musical that blends multiple cultures, languages and Leigh Fondakowski and About Face Theatre (Chicago, IL) performance styles to present iconic representations of women and weddings. Marcus Gardley and Yale Repertory Theatre (New Haven, CT) Company members of Trap Door Theatre (Chicago, IL), including founding Josefina Lopez and Brava Theater Center (San Francisco, CA) artistic director Beata Pilch, to travel to several international theatre festivals in Romania, where they will perform Old Clown Wanted, by Romanian playwright Ellen Maddow and The Talking Band (New York, NY) Matei Visniec. Ellen McLaughlin and American Repertory Theatre (Cambridge, MA) Will Power and McCarter Theatre Center (Princeton, NJ) Laura Schellhardt and Trinity Repertory Company (Providence, RI) Betty Shamieh and Magic Theatre (San Francisco, CA) C. Denby Swanson and Zachary Scott Theatre Center (Austin, TX) son k ric E L es l ar T. Ch T. TOMBRAZI

Lydia Diamond’s The Bluest Eye at Hartford Stage in Connecticut. Ellen Maddow’s Painted Snake in a Painted Chair at La MaMa ETC in New York City.

tcg Annual Report 11 core programs TCG Observership Program TCG Awards The Observership Program is TCG’s oldest grant program and the only Since 2001, the TCG Awards have saluted extraordinary contributions one funded solely by TCG. For nearly four decades, this program has to the American theatre community through recognition at the TCG provided opportunities for artistic or management personnel at TCG’s National Conference. The TCG Awards are given to corporate, foundation member theatres to observe the administration and artistic work of and regional funders that have evidenced national leadership and other theatres and meet with colleagues in other parts of the country provided sustained outstanding support of the theatre. The Theatre and abroad. Grants of up to $2,000 are awarded for travel purposes Practitioner award recognizes an individual—artist or administrator, that will broaden theatre leaders’ exposure to the field and aid in their institutionally affiliated or unaffiliated—whose work in the American professional growth. theatre has evidenced exemplary achievement over time and who has 2006-2007 TCG Observership Program Recipients contributed significantly to the development of the larger field. While the award was originally designed to honor an individual, nominations for Clay Benning, resident sound designer of Alliance Theatre (Atlanta, GA), to observe technical rehearsals with Acme Sound Partners (New York City) and then travel to an ensemble, collective or partnership are considered in cases in which the Guthrie Theater (Minneapolis, MN) to learn about the cutting-edge technology joint/collective contribution makes it difficult to pinpoint the primacy used by the Guthrie in their its performance facility. of a single individual. Kate Warner, artistic director of Dad’s Garage (Atlanta, GA), to travel to several festivals in North America to observe their practices in planning, building city 2006-2007 TCG Award Recipients support and developing younger artists and audiences. She will travel to SXSW Corporate: The Humana Foundation (Austin, TX), Philly Fringe (Philadelphia, PA), Hip Hop Theatre Festival (Chicago, Foundation: Nathan Cummings Foundation IL) and Improvaganza (Edmonton, Alberta). Regional Funder: Travelers Foundation Olga Sanchez, an artistic director of Miracle Theatre Group (Portland, OR), to attend the XI Festival Iberoamericano de teatro de Bogotá (Bogotá, Colombia) Theatre Practitioner: Elizabeth LeCompte, founding member of as well as attend workshops and seminars to immerse herself in the works of a wide The Wooster Group; Luis Valdez, playwright variety of Latin American theatre companies to better understand the aesthetic that characterizes modern Latin American theatre. Dito van Reigersberg and Dan Rothenberg, co-artistic directors of Pig Iron Theatre Peter Zeisler Memorial Award Company (Philadelphia, PA), to travel to Rio de Janeiro to observe two Brazilian In tribute to longtime TCG executive director Peter Zeisler, this award experimental theatre companies, Lia Rodrigues and Cia dos Atores. This trip will recognizes an individual or organization whose work exemplifies innovative give them tools for structuring their work, new kinds of improvisational and warm-up exercises, new collaborators and new models for the collaborative process. or untraditional practices, is dedicated to the freedom of expression and Heidi Howard, education director of 7 Stages (Atlanta, GA), to travel to the Tweetakt has not yet been recognized in the national field for this work. It carries Youth Theatre Festival in Utrecht, Netherlands, to observe theatre companies a $1,000 stipend. who work with youth in creating theatre performances and who provide training techniques to emerging artists in Amsterdam and Rotterdam. 2006-2007 Peter Zeisler Memorial Award Recipient Peter Ellenstein, artistic director of William Inge Center for the Arts (Independence, The Foundry Theatre (New York, NY) KS), to visit several summer theatre festivals in the U.S. that operate in repertory, focus on new plays, associate with colleges and universities and operate in low- population areas. This research will aid him when launching a summer repertory Alan Schneider Director’s Award theatre at the Inge Center. Ellenstein will travel to West Virginia, Pennsylvania, The Alan Schneider Director’s Award was established in honor of Alan Texas, Illinois and Utah. Schneider’s significant contribution to the American theatre and his lifelong concern for the development of career opportunities for freelance National Theatre Criticism/ directors. The award is designed to identify and assist exceptional directors Affiliated Writers Program whose talent has been demonstrated through work in specific regions, In 1989, with the support of the Jerome Foundation, TCG launched the but who are not known nationally. It carries a $10,000 stipend. National Theatre Criticism/Affiliated Writers Program to help young writers 2006-2007 Alan Schneider Director Award Recipient from Minnesota and New York City develop careers in arts journalism. The Joel Sass, director, designer and adapter (Minneapolis, MN) program has enabled American Theatre magazine to greatly expand its coverage of the national theatre scene while simultaneously encouraging a new generation of cultural reporters and critics. 2006–2007 National Theatre Criticism/Affiliated Writers Program Recipients David Ng is a journalist based in New York City who has written about the arts for the Village Voice, the Los Angeles Times, City Pages (Minneapolis, MN), Salon, The Believer and other publications. He received his M.A. from the Cultural Reporting and Criticism program at New York University. Mark Blankenship is a freelance critic and reporter who based in New York City writes regularly for Variety and Back Stage. His work has also appeared in The Advocate, the New York Times and American Theatre. Sarah Lemanczyk is a freelance reporter and producer for Public Radio International, with an extensive broadcast history as well as publishing and performance credits. She earned her B.A. in English literature from the University of Minnesota in 1996. She lives in St. Paul. l anie l D l a h ic M

Pericles at Minneapolis Guthrie Lab, directed by Joel Sass.

tcg Annual Report 12 core programs Core programs TCG Books In our 31-year history as a publisher, TCG Books has published the work • Publications of more than 250 playwrights and other theatre professionals in single volumes and anthologies, and sold over two million books. Our authors boast ten Pulitzer Prizes, eight Tony Awards for Best Play or Book of a Musical and one Nobel Prize for Literature, in addition to countless OBIEs, Drama Desk awards and other national and international prizes. TCG also serves as the exclusive U.S. distributor for the following publishers based in Toronto, London, Los Angeles and New York: Aurora Metro Publications, League of Professional Theatre Women, Martin E. Segal Theatre Center Publications, Nick Hern Books, Oberon Books, Padua Playwrights Press, PAJ Publications and Playwrights Canada Press. TCG Books now represents over 1,400 titles. As a publisher of new plays and emerging playwrights, TCG Books has a dual objective: to bring new literary voices to public attention and to cultivate individual relationships with our playwrights that nurture their careers. Many of America’s finest contemporary playwrights got their first publications with TCG Books, including Tony Kushner, Craig Lucas, Donald Margulies, Lynn Nottage, Suzan-Lori Parks, José Rivera, Sarah Ruhl and Paula Vogel. Every play published by TCG since 1984 is still in print. Our book program published 15 new titles in 2006-2007. New releases from current TCG playwrights included Dirty Story and Other Plays by John Patrick Shanley, Rodney’s Wife by Richard Nelson, Intimate Apparel/Fabulation by Lynn Nottage, Talk Radio by Eric Bogosian, Gem of the Ocean by August Wilson and 365 Days/365 Plays by Suzan-Lori Parks, which was performed by over 600 different theatre companies taking part in the year-long “365 Festival.” Other new play titles included two Tony Award-winning musicals, Spring Awakening by Steven Sater and Duncan Sheik and The Light in the Piazza by Adam Guettel and Craig Lucas; the first collection of Sarah Ruhl’s work, The Clean House and Other Plays and Bone Songs by noted director and author, Andre Gregory. A groundbreaking new book, Beyond Victims and Villains: Contemporary Plays by Disabled Playwrights, edited by Victoria Ann Lewis, which included work by David Freeman, Lynn Manning, Mike Ervin, John Belluso, Charles L. Mee and Susan Nussbaum, was also first released. In addition to new plays, TCG Books continued to publish books for theatre students and professionals, such as Theatre Directory 2006-2007, Dramatists Sourcebook, 24th edition, a new edition of Declan Donnellan’s The Actor and the Target and a new book exploring American acting techniques, Training of the American Actor, edited by Arthur Bartow.

American Theatre As the only national magazine dedicated to theatre art and practice, American Theatre has served the field as a critical source of news, information and analysis since its inception in 1984. Published 10 times a year with a readership of more than 75,000, the magazine has a subscriber base that includes all 50 states and 90 foreign countries. Its articles have been reprinted in 13 different languages and in hundreds of individual theatre programs. American Theatre’s pages cover all of the traditional disciplines of theatre—acting, directing, design, playwriting—and follow new developments in the arenas of international theatre, emerging genres and related art forms, theatre publications, government policy and arts management. American Theatre continues its aim for an ever-stronger focus on artists’ voices, the exploration of key issues and controversies, and the showcasing of the richness and diversity of theatre nationally and beyond. In the past year the magazine has featured the voices of such theatrical forces and legends as Julie Taymor, George Tsypin, Tony

tcg Annual Report 13 core programs Taccone, Suzan-Lori Parks, A.R. Gurney, Yasmina Reza, Michelle Hensley, F. Murray Abraham, Daniel Sullivan, Philip Kan Gotanda, Erik Ehn, Lee Breuer, Ruth Maleczech and Ntozake Shange. The annual “Approaches to Theatre Training” in January centered on theatre management training and included such thinkers as Joan Channick, Steven Chaikelson, Debbie Chinn, Criss Henderson, Melanie Joseph, Edward A. Martenson, Susan Medak and Jim Volz. Complete playscripts included Lee Blessing’s A Body of Water, Rolin Jones’s The Intelligent Design of Jenny Chow, Tanya Barfield’s Blue Door, Naomi Iizuka’s Anon(ymous) and Anne Washburn’s The Internationalist. Our global coverage continues to expand. We have now built in regular snapshots of international theatre events in our “Global Spotlight” column. The May/June international issue, now an annual tradition, previews theatre festivals worldwide. In 2007, the international issue was titled “Translation in Action,” and focused on a hot topic in the field. Featured are exchanges between artists in America and Romania, Mexico, Slovenia, Japan, Argentina and France. The magazine continued such regular features as its précis of Theatre Facts, TCG’s annual survey of the finances and productivity of America’s not-for-profit theatres; and the Season Preview, an annual compilation of productions, dates and directors for the coming season at theatres coast-to-coast. The content of American Theatre is also featured monthly on the TCG website, with selected articles from each new issue, including editorials by TCG’s executive director; additional articles or features exclusive to the web; full awards listings; and a database of productions happening each month. Past issues are archived on the web, and the site includes an index of plays published in the magazine, as well as a historical list of each season’s top 10 most-produced plays, dating back to the 1994–1995 season.

ARTSEARCH TCG Bulletin The ARTSEARCH employment bulletin, now in its 27th year, is the leading The monthly online TCG Bulletin informs our members about current source of information on administrative, artistic, production, technical, national issues and deadlines requiring immediate attention, and includes education, internship and apprentice positions in the arts. ARTSEARCH news updates, research and survey results and legislative alerts. The currently has more than 6,000 subscribers, and an estimated readership Bulletin is available on our website, and an email directing members to of 40,000, representing individuals of all experience levels, from among the site is sent monthly as each issue is released. The Bulletin provides the full range of disciplines and specialties in the performing arts and links to the executive director Field Letter and the online library of arts administration. The bulletin is updated in print bimonthly and on the Centerpiece articles. TCG website every three business days. On the TCG website, job seekers In the monthly Field Letter, TCG’s executive director provides a can now search for positions by over 200 job titles or categories and save personal and direct summary of current ideas, trends and resources their selections in their own online file. ARTSEARCH contains over 500 shaping the field. Over the span of fiscal year 2007, Field Letters were advertisements online and 300 advertisements per bimonthly printed provided by TCG’s former executive director Ben Cameron, board chair edition with an average of 2,000 organizations advertising annually. Abel López, TCG’s former interim executive director Gigi Bolt, and TCG’s current executive director, Teresa Eyring. Directed to theatre staff and board members, the Centerpiece offers in-depth analyses, case studies and resource tools on specific management issues, as well as reports on research conducted by TCG’s management programs department. Topics include governance, marketing, development, education and general management issues and are curated by specialists in each area. In fiscal year 2007, TCG published its yearly Education Centerpiece entitled “Moving Forward: Education Survey 2005” by Daniel Renner, director of education at Denver Center Theatre Company, and Robert A. Southworth, Jr., Ed.D., of the SchoolWorks Lab, Inc. This two- part Centerpiece introduced the impetus for TCG’s new education project, Building A National TEAM: Theatre Education Assessment Models, and presented the results of the 2005 Education Survey.

tcg Annual Report 14 core programs Core programs Advocacy TCG continues to advocate for federal policies that strengthen the • Field-wide Leadership performing arts by educating elected officials and policy makers in Washington, DC, on issues of importance to the theatre field. Through distribution of Action Alerts to the field, TCG mobilizes theatre leaders to express their support for the NEA and other important issues during the annual appropriations cycle, generating scores of grassroots letters and phone calls to elected officials. Highlights of the past year include: As a founding member of the American Arts Alliance, TCG continued its work with the League of American Orchestras, Association of Performing Arts Presenters, Dance/USA and OPERA America and our newest member, National Alliance for Musical Theatre, to advocate for favorable legislation for the performing arts. The American Arts Alliance’s website, www. americanartsalliance.org, continues to provide theatres, opera companies, dance companies, presenters, symphony orchestras and the public access to an easy-to-use action-oriented resource. The website includes information on a range of issues that affect performing arts organizations, as well as actions to be taken on these issues. The American Arts Alliance publishes a monthly electronic newsletter, the Advocacy Report, to keep all members updated on the full range of issues between Action Alerts. TCG continued its partnership with Americans for the Arts, which encompasses a membership of local arts councils and united arts funds. Americans for the Arts is well known for its economic impact studies, “Art: Ask for More” PSA campaign and annual Arts Advocacy Day. Benefits for TCG member theatres now automatically include membership with the Americans for the Arts Action Fund, a membership organization that utilizes state-of- the-art advocacy tools to educate and mobilize thousands of grassroots arts organizations and concerned citizens to advance arts-friendly legislation and support arts-friendly candidates running for federal office. On March 12-13, 2007, TCG representatives and other arts advocates converged in Washington, DC, for Arts Advocacy Day. Robert MacNeil delivered the 20th annual Nancy Hanks Lecture, and arts advocacy training workshops were the focus of the events on March 12th. There were legislative issue briefings on NEA appropriations, arts education funding, charitable tax incentives, improving the visa process for international artists and funding for cultural exchange. The day for Hill visits was March 13. Joining TCG staff in Washington, DC, were Benjamin Moore, managing director of Seattle Repertory Theatre, and Rachel E. Kraft, executive director of Lookingglass Theatre in Chicago, both of whom also serve on the TCG board of directors. Lisa Naparstek Green, chairman of Lookingglass and a member of TCG’s National Council for the American Theatre joined the delegation. Margaret McKowen, managing director, and Lissa Cobetto, business manager, of the Contemporary American Theater Festival in Shepherdstown, WV, rounded out our advocacy team. The TCG delegation met with Congresswoman Shelley Moore Capito (R-WV), Congressman Jim McDermott (D-WA), Congressman Danny Davis (D-IL), Congressman Norm Dicks (D-WA), as well as arts staffers in the offices of Congresswoman Janice Schakowsky (D-IL), Senator Patty Murray (D-WA), Senator Richard Durbin (D-IL) and Senator Robert Byrd (D-WV). TCG delegation advocating for the arts in the 2007 Arts Advocacy Day in Washington, DC, Members of Congress were urged to support an increase in the NEA’s during one of our Hill visits; from left: Peggy McKowen, associate producing director, appropriation and arts education funding within the U.S. Department of Contemporary American Theater Festival in Shepherdstown, WV, Benjamin Moore, managing director, Seattle Repertory Theatre and TCG board member, Congressman Education. Congress was asked to support legislation that will reduce the Norm Dicks (D-WA), Laurie Baskin, director of government and education programs at TCG, total processing times for O and P visa petitions filed by nonprofit arts Lissa Cobetto, business manager, Contemporary American Theater Festival in Shepherdstown, WV. organizations to a maximum of 45 days. Congress was urged to increase funding for cultural exchange through the State Department and to reject the proposed funding cuts to the Corporation for Public Broadcasting in the 2007-2008 appropriations bill. Members of Congress were also urged to support increased tax incentives for charitable giving, such as extending the IRA Rollover provision.

tcg Annual Report 15 field-wide leadership International Theatre Institute Free Night of Theater was conceived at TCG’s National Conference The International Theatre Institute (ITI) was founded by UNESCO in the in 2003 as a way to remove perceived barriers to attending not-for-profit aftermath of World War II to support the ideal of theatre without borders, theatre. The program continues to grow in size and success every year, and protecting the rights of theatre artists around the world and insuring now has its own web domain, www.freenightoftheater.net, which contains their right to communicate. TCG serves on the U.S. National Commission information on TCG’s regional managing partners as well as a complete for UNESCO and on the International UNESCO board, one of the few not- listing of participating theatres. for-profit organizations to hold that position. ITI’s mission is to encourage exchange and cooperation between theatre artists all over the world to promote mutual understanding and peaceful coexistence. Today the ITI network includes 90 national centers on six continents. TCG is honored to have served as the U.S. Center since 1999. In our capacity as ITI/U.S., TCG supports cross-cultural exchange and provides assistance to traveling theatre professionals. We provide support letters for theatres seeking visas to bring foreign guest artists to the United States, and advocate for less restrictive federal policies regarding the exchange of artists. The spirit of internationalism is fully embodied in everything we do at TCG, from our publications to our grantmaking programs to our advocacy activities. The following are highlights of our international activities in 2006-2007: • A series of Field Conversations focusing on the challenges involved in international work were held in late spring/summer 2007. The first two conversations brought together theatre leaders, individual artists and presenters experienced in the challenges and rewards of international collaboration. The third focused on translations, and included participants such as playwrights, translators, directors, dramaturgs and producers. The last in the series gathered together theatre professionals with an interest in international projects. • As part of TCG conference programming, “Global Tapas: Excerpts from Translations” was held as a late-night event at the Children’s Theatre Company on June 7, 2007. Theatre professionals nominated plays that have been developed and/or produced at regional theatres, including work from France, Japan, Mexico, Morocco, Romania and Serbia. • The Future Collaborations component of TCG’s New Generations grant program provides geographically unrestricted travel grants that promote cross-cultural collaboration. Seventeen travel grants were awarded and supported travel between U.S. artists and their colleagues in countries including South Africa, Norway, Peru and Japan. • We awarded 15 TCG/ITI Travel Grants to support travel in both Programs for Theatre Educators directions for theatre practitioners in the U.S. and their counterparts in TCG’s education programs provide necessary support for theatre education Russia and Central/Eastern Europe. departments and staff. Through field research, a teleconference series • American Theatre featured a monthly “Global Spotlight” column, and for education directors and professional development opportunities, TCG the May/June 2007 issue again previewed theatre festivals worldwide provides theatre educators with visibility for their efforts and support and featured articles by American theatre artists abroad. of their work. We are proud to announce that during fiscal year 2007, we culminated our work on our national education initiative, Building a National TEAM: Free Night of Theater Theatre Education Assessment Models. In consortium with ASSITEJ/USA, Free Night of Theater is TCG’s national program to attract new audiences the American organization of theatres for young people and children, TCG to live theatre, and on Thursday, October 19, 2006, theatres from Boston spearheaded the project and created more than 15 national assessment to Los Angeles and Atlanta to Seattle opened their doors to more than models that are adaptable, reliable and useful to the field. The project 35,000 theatregoers free of charge. The 2006 Free Night program made was guided by consultant Robert Southworth and a working group of 35,627 tickets available to 522 performances at 387 participating theatres 10 education directors from theatres of different sizes and geographic from coast to coast. Interest in the program generated an unprecedented locations. A TEAM training session was held in June, 2007, as the pre- run on tickets with entire inventories in many communities gone within conference meeting to the TCG National Conference in the Twin Cities. hours of the program’s launch. As a result of the overwhelming demand More information on TCG’s education programs is available on the TCG for tickets, local theatre companies offered almost 8,000 additional website, including a searchable database of study guides and education tickets to the program, and several theatre companies across the country programming at TCG member theatres, and the Education Centerpiece continued to present performances through the end of the month. Based report on the results of TCG’s eighth annual education survey. The page also on the success of this second year of the program, TCG plans to expand contains announcements of federal arts education initiatives and funding the campaign to a broader national stage in fiscal year 2008. opportunities, along with links to important arts education research.

tcg Annual Report 16 field-wide leadership constituency

BUDGET GROUP %OF MEMBERSHIP

$ 499,999 or less 35% $ 500,000 – $999,999 1 9 % $ 1 million – $2,999,999 26% $ 3 million – $4,999,999 7% $ 5 million – $9,999,999 % $ 10 million or more 5%

TCG Member Theatres Business Affiliates During fiscal year 2007, 462 theatres enjoyed the benefits of TCG The Business Affiliate program was created to provide companies with a membership. Member theatres span 47 states and the District of Columbia valuable connection to the national theatre community. Businesses have and reflect the diversity that characterizes the American not-for-profit an opportunity to reach out to managing and artistic leaders of more theatre. Our member theatres operate with annual budgets ranging than 460 theatres located throughout the country, and gain access to from $50,000 to $45 million. They represent a wide range of aesthetic the most current information about industry trends. Affiliates receive styles, serve and spring from diverse communities, embrace divergent subscriptions to American Theatre magazine and ARTSEARCH, copies missions, and together are responsible for producing thrilling, vibrant of the TCG Theatre Directory, Dramatists Sourcebook and Production theatrical work. A complete list of our member theatres is available on Notebooks, the monthly TCG Bulletin, and discounts on advertising with our website, www.tcg.org. TCG. They also receive discounted rates on participation in the annual Membership is available to all not-for-profit, tax-exempt theatres that TCG National Conference and opportunities to exhibit. During fiscal year meet TCG’s minimum requirements for professional leadership, orientation 2007, 36 businesses participated in the program. and standards. Applications for membership are accepted year-round and are evaluated on the basis of professionalism, length of time in operation, budget size, organizational stability, scope of performance and other Individual Members program activity. TCG membership is available to theatre professionals and the general public through subscriptions to American Theatre magazine. Individual members receive discounts on TCG books and resource materials, as well University Affiliates as discounts on theatre tickets from participating theatres. Currently, The University Affiliate program is designed for university and college there are approximately 17,000 individual TCG members. theatre programs that are not affiliated with professional theatres. The program was created to connect faculty and students to the national theatre community and to provide access to the field’s most up-to-date Trustee Leadership Network resources. Affiliates receive subscriptions to American Theatre magazine Initiated by the National Council for the American Theatre, the Trustee and ARTSEARCH, copies of the annual TCG Theatre Directory, Dramatists Leadership Network provides an enhanced form of individual membership Sourcebook and Production Notebooks, the monthly TCG Bulletin and for trustees of TCG member theatres. TCG takes a leadership role in discounts on advertising with TCG. In 2006-2007, we were pleased to providing services to theatre trustees and in pooling and sharing their count 75 University Affiliates among our membership. knowledge, experience and perspectives with the broader field. In addition to a subscription to American Theatre magazine, trustees receive email announcements with links to the monthly TCG Bulletin, which Funder Affiliates includes topical Centerpieces on theatre management and governance, The Funder Affiliate program provides a more comprehensive and and features the executive director’s monthly Field Letter. Trustees also candid dialogue between grant makers and grant seekers than is usually receive discounts on all TCG book titles. Members are encouraged to attend available through the grant review process. By joining TCG, funders can the annual Fall Forum on Governance, an annual event that focuses on gain an in-depth understanding of the issues facing the not-for-profit current management and governance issues. During fiscal year 2007, national theatre community, receive valuable insight into local theatre the Trustee Leadership Network included 70 trustees from theatres communities and craft more responsive and timely grant programs. across the country. Benefits include TCG resource books, subscriptions to American Theatre magazine and ARTSEARCH, as well as discounts on TCG books, plays and advertising. Through this program, we hope to foster a healthier philanthropic relationship between funders and the not-for-profit theatre and to strengthen our collective future. In the past fiscal year, eight funders participated in the program.

tcg Annual Report 17 constituency Individual donors • TCG Annual Fund constituency $10,000 and above Jerome H. Meyer, M.D. Eleanor C. Nolan TCG gratefully acknowledges the following organizations Toni Rembe and individuals for their generous support of our work Theodore C. Rogers on behalf of the not-for-profit American theatre. Judith O. and Robert E. Rubin Mark Shugoll Tim Weiss $5,000–$9,999 Eve Alvord Doug Brown Lynn R. Deering corporations, Nancy L. Donahue foundations Jane Epstein and government Agencies Brad Fowler $1,000,000 and Above Michael John Garcès Lisa Naparstek Green • Doris Duke Charitable Foundation • Judy Hansen The Andrew W. Mellon Foundation Bruce E.H. Johnson National Endowment for the Arts Carole Krumland $100,000–$999,999 Robert H. Manegold and Carol O. Manegold • Royanne Minskoff The Ford Foundation Elisabeth Morten • The William & Eva Fox Foundation • Judy Lynn Prince Trust for Mutual Understanding Edward W. Rose III Family Fund of The Dallas Foundation $25,000–$99,999 Jim Steinberg Jean Z. Strunsky The Paul G. Allen Family Foundation • Moya Vazquez Altria Group, Inc. Elaine J. Weinberg Carnegie Corporation of New York Jaan W. Whitehead The Nathan Cummings Foundation Donna Overholt Willis The Heinz Endowments • The William and Flora Hewlett Foundation $1,000–$4,999 • Jerome Foundation Susan V. Booth and Max Leventhal The JPMorgan Chase Foundation Martha W. Coigney • New York State Council on the Arts Kaatri B. Grigg The Shubert Foundation Martha Lavey Target Abel López Michael Margulies $10,000–25,000 Marc Masterson Bush Foundation Ellen McLaughlin The Max and Victoria Dreyfus Foundation Suzanne M. Sato and Tim Hawkins Ruth Easton Fund Timothy J. Shields and Megan A. Miller-Shields Esther B. Kahn Charitable Foundation Paula Tomei and David Emmes The McKnight Foundation Kate J. Warner The New York Times Company Foundation The Stage Channel $500–$999 Travelers Foundation André Bishop Village Voice Media and City Pages Peter C. Brosius Carol Brown $1,000–9,999 Bess EnLoe Barrette Family Fund of the New Hampshire Charitable Foundtion Marian A. Godfrey The Dramatists Guild Fund Jane Harmon Fisher Dachs Associates Thomas B. Harris and Doreen M. Kelly General Mills Foundation Barbara Janowitz and Peter Entin Jefferson Bus Lines Rachel E. Kraft Leon Levy Foundation Benjamin Moore Lindquist & Vennum, P.L.L.P Terry and Donna Nemeth The Minneapolis Foundation Paul Nicholson Minnesota State Arts Board William Resnick The Moore Family Fund for the Arts of The Minneapolis Foundation Ellen Richard James Starr Moore Memorial Foundation Rosalba Rolón Montana Arts Council Molly D. Smith Proskauer Rose LLP Richard and Alison Stein Target Resource Group Julie Taymor Jerry and Jeanne Taylor Family Foundation Harry Weintraub and Steve Mohr Theatre Development Fund Tappan Wilder U.S. Trust Company Jeffrey Woodward Mary W. Vaughan Fund of The Minneapolis Foundation The Xerox Foundation $250–$499 Stanley Anderson •multi–year grant Carol and Judson Bemis, Jr. Fund of The Minneapolis Foundation Martin Benson Gigi Bolt Arvin Brown James A. Bundy Paula Butzi Joan Channick, in memory of Nancy Roche Peter Culman and Anne LeFarge Culman Gordon Davidson Peter T. DuBois Sheldon L. Epps

tcg Annual Report 18 constituency Martha D. Fehsenfeld Tom Parrish Angelina Fiordellisi Aaron Posner Linda Hartzell Martin Prentice Jeffrey Hatcher and Elizabeth McNaught Stevens Blake Robison David Hawkanson Steven Robman Richard L. Hay David Saltonstall Philip Himberg Sarah Schilling Joan M. Hotchkis Roche E. Schulfer Robert L. and Jill Klinow Jaffe Rick Shiomi Fran E. Kumin and Richard Ticktin Nancy Simon Steven B. Libman Christopher A. Smith Ann C. Lynn Margaret Spear Jill Matichak Edward Stern Charles Newell and Kathleen Collins Kitty Suen Warren Nichols and Ellen Nichols Dorothy L. Swerdlove Kathleen Kund Nolan Fontaine Syer and Henry M. Woronicz William Rauch and Christopher Liam Moore Gerald Taylor Daniel Renner Joan Vail Thorne M. Edgar Rosenblum Jennifer Tipton Daniel Steinhorn Zannie Giraud Voss Susan Baird Trapnell Honey Waldman Katherine L. Vaughns Chip Walton Jack Viertel Robert Wildman Shay Wafer Harold Wolpert and Rui Rita Chay Yew Joy Zinoman $100–$249 $50–$99 Victoria Abrash and Bruce Allardice Stephanie K. Arnold Joseph Adler Melvin Bernhardt Esthy Adler William Blake Jane Alexander and Edwin Sherin Phoebe H. Bowers Laurinda Barrett Nancy F. Charles Elizabeth Benedict Ping Chong Mark D. Bernstein Megan Cole Risa Brainin Anna E. Crouse Roger Brookfield and Kathie Brookfield Laura J. Crow Carlyle Brown Bixby Elliot Ben Cameron Elizabeth Engelman Frances Sternhagen Carlin Jean Burch Falls Dawn Chiang Robyn Flatt Casey Childs Moses Goldberg Jeff Church Christine Mack Gordon Brooke W. Ciardelli Grace E. Grillet Chris Coleman Michael Hammond Michael J. Connolly Joan Holden Laura Crary Jessica Jenen G. B. Crump Melanie Joseph Marcia J. Decker August Kiso and Miriam Kiso Charles Dillingham, III, and Susan D. Clines Jeanne Klein John Dimeglio Rose K. Lansbury Cory & Bob Donnalley Charitable Foundation Deborah C. Lawlor Joe Dowling Bryn Magnus Laura L. Downing Ruth Mayleas John Clinton Eisner Hugh W. Morton, IV Katherine S. Fairhurst Colin T. Naylor, III Corky Garner Timothy Near Jeannette C. George Eric Nordholm John D. Gillesby M.H. Robins Dean and Jane T. Gladden Gary Rosenau José E. González and Dañel Malán Kathy Seger Barry and Maggie Grove Owen Sharkey Joseph Haj Constance Shute Michael Welsford Halberstam Deidre W. Simmons Michael E. Haney M. Diane Sinor Edwin P. Hart Robert L. Smith and Carol Payne Smith James D. Haskins Bou Tillisch Edward Hastings Mark and Rebecca Udden Margaret Heaman B. Wallace-Hoffman Cheryl Ikemiya Thomas S. Watson Joanne Jacobson Carl Weber Lynn K. Jeffries Sam and Constance Weisman Michael Kahn John Wesley Paul E. King David F. Wheeler Joel Leavitt Hubert H. Whitlow Jr. Robert Leonard Jack Young and Christina Keefe June K. Lewin Lindy Zesch Romulus Linney Ellen L. Livingston Todd London Martha Moody Jacobs Jon Nakagawa Lynn Nottage Peter and Meg O’Brien Dael Orlandersmith Sharon Ott

tcg Annual Report 19 constituency financial overview At the close of fiscal year 2006-2007, TCG’s financial situation continues to remain healthy. Net assets at the end of this fiscal year were $9,406,361 broken out between a permanently restricted endowment of $1,150,986 and the remaining split between $7,080,348 in temporarily restricted net assets and $1,175,027 in unrestricted net assets. All not-for-profit organizations strive to create diverse sources of revenue to help protect against being too heavily reliant on one area of income. TCG continues to enjoy diverse sources of income, with support from foundations, corporations, individuals and government grants representing 18% of our income; 41% from book sales; 13% from subscriptions; 16% from theatre memberships; 6% from investment gains and interest and the remaining amount from other areas. Continuing to emphasize our programs and services allows TCG to better serve our members and we are pleased to report that in 2006- 2007 we maintained an 86% ratio of program expenses to administrative expenses. TCG’s auditors have noted that the organization sustains an excellent level of spending on programmatic expenses.

Exhibit A Statement of Activities YEAR ENDED JUNE 30, 2007 (With Summarized Financial Information for the Year Ended June 30, 2006) Temporarily Permanently Total Unrestricted Restricted Restricted 2007 2006 revenues, gains and other support . Government $ 71,215 $ 179,530 $ 250,745 $ 575,587 Foundations 125,000 512,620 637,620 4,216,100 Corporations 73,500 67,000 140,500 186,500 Individuals 261,194 20,977 1,750 283,921 398,541 Honorarium donations 7,150 In–kind contributions 6,673 6,673 8,200 Contracts 124,841 124,841 431,299 Books 1,805,520 1,805,520 1,586,658 Periodicals 1,636,584 1,636,584 1,618,357 Individual membership 488,583 488,583 469,743 Affiliates’ membership 45,941 45,941 44,458 Theatre registration fees 1,160,356 1,160,356 1,102,555 Conferences 310,895 310,895 354,817 Interest and dividends 153,589 202,900 356,489 203,844 Net gain (loss) on investments 180,002 (88,632) 91,370 80,014 Other revenues 23,465 23,465 20,354 Net assets released from restrictions $ 2,617,801 $ (2,617,801)

Total revenues, gains and other support $ 9,078,486 $ (1,716,733) $ 1,750 $7,363,503 $ 11,304,177

Expenses . Program services $ 7,509,461 $ 7,509,461 $ 7,313,792 Administration 854,561 854,561 804,621 Development 418,838 418,838 435,680

Total expenses $ 8,782,860 $ 8,782,860 $ 8,554,093 Change in net assets $ 295,626 $ (1,716,733) $ 1,750 $ (1,419,357) $ 2,750,084 Net assets – beginning of year $ 879,401 $ 8,797,081 $ 1,149,236 $ 10,825,718 $ 8,075,634

Net assets (deficit) – end of year (Exhibit B) $ 1,175,027 $ 7,080,348 $ 1,150,986 $ 9,406,361 $ 10,825,718

tcg Annual Report 20 financial overview Sources of Income Allocation of Expenses fyo7 FY07 INCOME FROM INVESTMENTS DEVELOPMENT OTHER INCOME ADMINISTRATION

SUBSCRIPTIONS

THEATRE REGISTRATION FEES BOOK SALES

INCOME FROM INVESTMENTS 6.08% $447,859 PROGRAMS AND SERVICES OTHER INCOME 6.86% SUPPORT INCOME $505,142

SUBSCRIPTIONS 12.69% DEVELOPMENT 4.77% $934,123 $418,838 THEATRE REGISTRATION FEES 15.76% ADMINISTRATION 9.73% $1,160,356 $854,561 SUPPORT INCOME 17.92% PROGRAMS AND SERVICES 85.50% $1,319,459 $7,509,461 BOOK SALES 40.69% TOTAL EXPENSES 100% $2,996,564 $8,782,860 TOTAL INCOME 100% $7,363,503

Exhibit b balance sheet JUNE 30, 2007 (With Summarized Financial Information for the Year Ended June 30, 2006)

2007 2006 ASSETS .

Cash and cash equivalents $ 1,153,636 $ 1,150,558 Investments 7,042,081 6,403,504 Accounts receivable (net of allowance for doubtful accounts of $2,450 in 2007 and 2006) 414,237 470,275 Contributions receivable – current 939,000 2,808,000 Government grants receivable 1,208,897 1,251,072 Accrued interest receivable 42,011 25,949 Prepaid expenses and other receivables 180,933 197,600 Inventory of books 599,818 583,781 Fixed assets-net 416,987 404,079

Total assets $ 11,997,600 $ 13,294,818

lIABILITIES AND NET ASSETS .

Liabilities Accounts payable and accrued expenses $ 936,323 $ 659,282 Deferred subscriptions and registration fees 1,356,962 1,538,950 Deferred compensation payable 297,954 270,868

Total liabilities $ 2,591,239 $ 2,469,100

Net assets (Exhibit A) Unrestricted $ 1,175,027 $ 879,401 Temporarily restricted 7,080,348 8,797,081 Permanently restricted 1,150,986 1,149,236

Total net assets $ 9,406,361 $ 10,825,718

Total liabilities and net assets $ 11,997,600 $ 13,294,818

tcg Annual Report 21 financial overview TCG Staff as of March 1, 2008

EXECUTIVE OFFICE American Theatre Magazine Teresa Eyring Executive Director Jim O’Quinn Editor Sandra Nance Executive Assistant Sarah Hart Managing Editor Randy Gener Senior Editor Finance Nicole Estvanik Associate Editor Elizabeth Morrow Selfridge Director of Finance and Administration Eliza Bent Editorial Assistant Jenny Lam Accountant Lucy Ormanova Accountant Website Mark Gordon Director of Web Services Information Systems Katie Barry Web Associate Warren Nichols Director of Information Systems and Operations Kelly Haydon Database Manager Communications Todd Courson Help Desk Technician Phillip Matthews Director of Communications

Membership and Customer Service Advertising and Marketing Jennifer Cleary Director of Membership Carol Van Keuren Director of Advertising Janelle Bernard Customer Service & Circulation Manager Leigh A. Zona Director of Marketing Rebecca Marzalek-Kelly Membership Coordinator Kathryn Walat Marketing Associate Gus Schulenburg Associate Customer Service Manager Heather Shock Advertising Assistant Camille Averso Customer Service Associate Jessica Conrad Customer Service Associate Art Department Kitty Suen Art Director Office Management Monet Cogbill Associate Art Director Demosthenes Chrysan Office Manager Lizbeth Alvarado Production Artist Steve Schmersal Assistant Office Manager Felicia Hudson Receptionist Development Martha Neighbors Director of Development Artistic and International Programs Connie Hall Development Associate Emilya Cachapero Director of Artistic Programs and Director of ITI/U.S. Tara Bracco Development Associate Casey Baltes Assistant Director of Artistic Programs Melissa Fendell Individual Giving Officer Michael Francis Artistic Programs Associate Roweena Mackay Artistic Programs Associate We are pleased to thank the following former staff David Nugent Artistic Programs Associate whose efforts made possible many Michael Shatara Artistic Programs Associate of our achievements over the past year:

Management Programs Gigi Bolt Interim Executive Director Chris Shuff Director of Management Programs Cate Brewer Advertising Associate Sarah McLellan Management Programs Associate Cassandra Csencsitz Associate Editor, Books Program Ilana Rose Management Programs Research Associate and Playscript Editor, American Theatre Magazine John Horgan Customer Service Representative Government and Education Programs Sheela Kangal Senior Artistic Programs Associate Laurie Baskin Director of Government and Education Programs Young Jean Lee Artistic Programs Associate Alissa Moore Government and Education Programs Assistant Liz Maestri Government and Educations Programs Associate and Development Associate National Conference Anna Shapiro Receptionist Jenni Werner National Conference Director Jason Schroeder Management Programs Associate Heather Denyer Conference Assistant Arthur Stanley Publications Associate Heather Heels Conference Assistant David Townsend Help Desk Technician A.C. Willment Managing Editor, TCG Books Books Program Terry Nemeth Publisher Kathy Sova Editorial Director Alex Barreto Associate Editor, Books Program Molly Smith Metzler Associate Editor, Books Program and Playscript Editor, American Theatre Magazine Tiffany Mischeshin Publications Associate

tcg Annual Report 22 tcg staff