. ^~ ~ 7 ~ t 1 9 9 0 ` Return of Organization Exempt From Income Tax Under section 501(c), 527, or 4947(a)(1) of the Internal Revenue Code (except black lung Department of the Treasury benefit trust or private foundation) Internal Revenue Service " The organization may have to use a copy of this return to satisfy state reporting requirements A For the 2002 calends ear or tax ear be Innin 0 7/ 01 2002 and endin 0066 // 3300 // 2003 B Check II .pplaWe Please C Name of organization D Employer Identification number Addrasf use IR S ehanpa B. )OKLYN ACADEMY OF MUSIC INC . 11-2201344 label or Name change print or Number and street (or P.O . box if mail is not delivered to street address) Room/suite E Telephone number Initial return type. See Final redm specific LAL''AZP:'1'1'Z AVL''1VUt~' /ltf b:sb-911U Amended return Instrue- City or town, state or country, and ZIP + 4 m`.in~°a".tn° Cash UX Accrual ApDliutlon Uone. pending 1 L ~ Other (specly) I III, Section 601(c)(3) organizations and 4947(a)(1) nonexempt charitable H and I are not applicable to section 527 organizations trusts must attach a completed Schedule A (Form 990 or 990-EZ) . H(a) Is this a group return for affiliates? F1 Yes rx-1 No d Web site : K4A H(b) If "Yes," enter number of affiliates 1 ~ J Organization type (check only one) 1 )( 501(c) ( 3 ) 1 (insert no) 4947(a)(1) or 527 H(c) Are all affiliates included? Yes -Ei No I"~ (If "No," attach a list See instructions K Check here 1 d the organization's gross receipts are normally not more than $25,000 The H(d) Is this a separate return flied by an ~~ ~~ organization need not file a return with the IRS, but if the organization received a Form 990 Package oraanlzatbn covered by a aroun rullna9l l Yes I X I NO in the mail, it should file a return without financial data Some states require a complete return. I Enter 4-digd GEN M Check 1 u if the organization is not required L Gross receipts Add lines 6b, 8b, 9b, and 10b to line 12 1 34 942 297 . to attach Sch B (Forth 990, 990-EZ, or 990-PF) Revenue Expenses, and Changes In Net Assets or Fund Balances See page 17 of the instructions 1 Contributions, gifts, grants, and similar amounts received . a Direct public support , , , , , , , , , , , , , , , , , , , , , , , , 1 a 11 , 461 , 608 . b Indirect public support , , , , , , , , , , , , , , , , , , , , , , , 1 b c Government contributions (grants) , , , , , , , , , , , , , , , , , le i 3 , 579 , 723 . d Total (add lines Is through 1c) (cash $ 8,536,721 . noncasn S 6,50 4 ,610 . ) 1 d 15 041 331 . 2 Program service revenue including government fees and contracts (from Part VII, line 93) , , , , , , , , 2 10 , 182 , 119e 3 Membership dues and assessments , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 4 Interest on savings and temporary cash investments , , , , , , , , , , , , , , , , , , , , , , , , " 4 18 , 721 . 5 Dividends and interest from securities , , , , , , , , , , , , , , , , , , , , , , , 5 8 a Gross rents , , , , , , , , , , , , , , , , , , , , , , , , , , , , 6a 1 107 148 . b Less: rental expensT s _ ...... 6b 323 416 . c Net rental income r (loss) (suth9'pt llne'6bfrom line 6a) . " " " " " " Sc 783 , 732 . C1 7 C 7 Other investment i come (describe " . . " " ~ . " " " . "' . ~ " " . " " " " " 7 W 8 a Gross amount frosalesn f s~~ts?o th r ~`(A) Securities (s) other cry . 1 C " UU than inventory , , ~ . . 6 811 756 . 8a b Less: cost or other baslis=end=sales expenses . ' ` 6 , 735 , 486 . 8 b c Gain or (loss) (atta h sch~dy~le T~~x 76 , 270 . ~Sc d Net gain or (loss) combl7e'Ilne°Bc; columns-(A)-and~(B)) , , , , , , , , , , , , , , , , , , , , , , , , 8 Special events and activities (attach schedule) a Gross revenue (not including $ 1 , 288 , 315 . of contributions reported on line 1a), , , , ,STM ,1, , , , $TM, ? 8a 1 , 525 , 368 . b Less: direct expenses other than fundraising expenses , , , , , , , , 19 b l 1,927, 485 . c Net income or (loss) from special events (subtract line 9b from line 9a) " " " " " 10a Gross sales of inventory, less returns and allowances , , , , , , , , oa b Less: cost of goods sold , , , , , , , , , , , , , , , , , , , , , , ob c Gross profit or (loss) from sales of inventory (attach schedule) (subtract line 10b from line 10a) , , , , , 11 Other revenue (from Part VII, line 103) , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 1 2 Total revenue (add lines 1d . 2. 3. 4. 5. 6c . 7. 8d . 9c . 10c_ and 11) ...... 13 Program services (from line 44, column (B)) , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 14 Management and general (from line 44, column (C)) , , , , , , , , , , , , , , , , , , , , , , , , , , 4,797,498 . GiP 15 Fundraising (from line 44, column (D)) , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 2,351,379 . 16 Payments to affiliates (attach schedule)                 17 Total expenses add lines 16 and 44 column A 27,381,654 . v 18 Excess or (deficit) for the year (subtract line 17 from line 12) , , , , , , , , , , , , , , , , , , , , , , -1,425,744 . 19 Net assets or fund balances at beginning of year (from line 73, column (A)) , , , , , , , , , , , , , , , 9,361,930 . 20 Other changes m net assets or fund balances (attach explanation) , , , , , S WT ,3, , , , , , , , , 20 . 21 Net assets or fund balances at end of ear combine lines 18 19 and 20 7,936,206 . n/ (j ~/ ~ For Paperwork Reduction Act Notice, see the separate Instructions . Form 990 (2002) ' V ~=~E 1010 1 000

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 3 ii-2zoisaa` Form 990 (2002) r Page 2 Statement of All organizations must complete column (A) Columns (B), (C), and (D) are required for section 501(c)(3) and (4) organizations Functional Ex enses and section 4947(a)(1) nonexempt charitable trusts but optional for others (See page 21 of the instructions ) Do not include amounts. or reportedart on 1. line (A) Total (B) Program (C) Management (D) Fundraising 6b . 8b . 9b . 10b 16 ci services and eneral 22 Grants and allocations (attach schedule) (cash $ noncash E ) 22 NO NONE 23 Specific assistance to individuals (attach schedule) 23 24 Benefits paid to or for members (attach schedule) 24 25 Compensation of officers, directors, etc . 25 919 300 . 627 256 . 161 122 . 130 , 922 . 26 Other salaries and wages , , , , , , , 26 10 568 206 . 7 , 438 , 399 . 2 , 071 , 330 . 1 , 058 , 477 . 27 Pension plan contributions , , , , , , 27 28 Other employee benefits , , , , , , , 28 29 Payroll taxes , , , , , , , , , , , , , , 28 2 , 893 , 651 . 1 825 164 . 955 516 . 112 971 . 30 Professional fundraising fees , , , , , 30 34 , 282 . 34 , 282 . 31 Accounting fees , , , , , , , , , , , , 31 99 , 330 . 99 , 330 . 32 Legal fees , , , , , , , , , , , , , , , 32 75 , 126 . 75 , 126 . 33 Supplies         33 264 151 . 120 493 . 121 798 . 21 , 860 . 34 Telephone , , , , , , , , , , , , , , , 34 180 812 . 1 , 633 . 178 941 . 238 . 35 Postage and shipping , , , , , , , , , 35 405 311 . 349 , 392 . 2 1 854 . 53 , 065 . 36 Occupancy        38 185 506 . 23 , 093 . 162 , 413 . 37 Equipment rental and maintenance . , 37 38 Printing and publications , , , , , , , 38 39 Travel         39 1 , 458 , 826 . 1 , 43-5 , 395 . 16 , 921 . 6 , 510 . 40 Conferences, conventions, and meetings , 40 41 Interest, , 41 503 595 . 140 . 201 606 . 301 , 849 . 42 Depreciation, depletion, etc ~ ch sch g), , 42 322 121 . 234 , 768 . 60 , 305 . 27 , 048 . 43 Other expenses notcovered above (ttemize)ETMT 4 3a 9 , 471 , 437 . 8- 177 , 044 . 655 954 . 638 , 439 . b 3b c 3c d 3d 3e 44 Total functional expenses (add Ilnes 22 through 43) OrgaNradons canpleNn columns (B)(D), carry these rotalstolines l3-~5, , , 1 44 27 381 654 . 20 232 777 . 4 , 797 , 498 . 2 351 379 . Joint Costs. Check " if you are following SOP 98-2. Are any joint costs from a combined educational campaign and fundraising solicitation reported in (B) Program services? , , , , , " a Yes ~X No It "Yes," enter (i) the aggregate amount of these joint costs $ ; (ii) the amount allocated to Program services $ ui the amount allocated to Mana gement and general ' and iv the amount allocated to Fundralsln KERTM Statement of Program Service Accomplishments See page 24 of the instructions . Program Service What is the organization's primary exempt purpose? " STMT 5 Expenses (Required for 501 (c)(3) and All organizations must describe their exempt purpose achievements In a clear and concise manner . State the number 501(c)(3) and (4) (4) orgs , and 4947(a)(1) of clients served, publications issued, etc. Discuss achievements that are not measurable . (Section trusts, but optional for organizations and 4947(a)(1) nonexempt charitable trusts must also enter the amount of grants and allocations to others.) others ) a OPERA - SEE STATEMENT ------113 ------(Grants and allocations $ ) ~ 2 . 498 .166 b THEATRE/DANCE---SEE_STATEMENT-J-==------(Grants and allocations $ C DANCE -AFRICA-- SEE STATEMENT 00 ------(Grants and allocations $ ) d ------(Grants and allocations $ e Other program services (attach schedule) (Grants and allocations $ NoNIC ~ 13,899,513 . JSA f Total of Program Service Expenses (should equal line 44, column (B), Program services), . . , , , . , , , . " 20,232,777 . 2eio2o 1 o0o Form 990 (2002) 72HOTH 1534 05/14/2004 15 :39 :09 V02-8 4 11-2201344' Form 990 (2002) -' -' Page $ " Balance Sheets See page 24 of the instructions . Note : Where required, attached schedules and amounts within the description (A) (B) column should be for end-of-year amounts only Beginning of year End of year 45 Cash - non-interest-bearing ...... , , 1 , 763 , 921 . 45 1 , 900 , 151 . 48 Savings and temporary cash investments , , , , , , , , , , , , , , , , , , , , 2 014 , 072 . 46 6 , 315 , 172 .

47a Accounts receivable , , , , , , , , , , , , , , , , 47a 552 , 100 m Less' allowance for doubtful accounts , , , , , , 47b 482 585 . 47c 552 , 100 .

48a Pledges receivable , , , , , , , , , , , , , , , , , 48a 3, 968 950 . b less : allowance for doubtful accounts , , , , , , , 48b 41,114 . 4 , 278 , 748 .48C 3 , 927 , 836 . 49 Grants receivable  49 50 Receivables from officers, directors, trustees, and key employees (attach schedule)  , 50 51a Other notes and loans receivable (attach schedule) , 51 a dy b less: allowance .for doubtful accounts " .~ . . . .~ ." 51 b 51C Q 52 Inventories for sale or use , , , , , , , , , , , , , , , , , , , , , , , , , , , . 52 53 Prepaid expenses and deferred charges ...... STMT 6 . . 588,368 . 53 790 , 692 . 54 Investments - securities (attach schedule) S=T ,7, " [:] Cost 6L] FMV 79 . 54 99 . 55a Investments - land, buildings, and equipment : basis          55a b Less: accumulated depreciation (attach schedule ) , , , , , , , , , , , , , , , , , , , , , , 5 5 b 55C 56 Investments - other (attach schedule) , , , , , , , , , , , , , , , , , , , 56 57a Land, buildings, and equipment: basis , , , " 57a " 5 , 627 , 270 . b Less: accumulate d~,,, depreciation (attach schedule) , , , , ','; ",~",',~~,/ mil, , , , , , 57b 2 , 741 , 827 . 3 , 017 , 490 . 57c 2 , 885 , 443 . 58 Other assets (describe " STMT 8 ) NO 58 197 , 800 .

59 Total assets add lines 45 through 58 must equal line 74 ~ " " " " " " " " ~ 12 , 145 , 263 . 59 16 , 569 , 293 . 60 Accounts payable and accrued expenses , , , , , , , , , , , , , , , , , , , , 2 , 046 , 897 . 60 3 , 876 , 729 . 61 Grants payable  61 62 Deferred revenue ...... , . . , , . . . . , . , . . , . , , , , , , , , , i79 , 600 . 62 191 , 296 . 63 Loans from officers, directors, trustees, and key employees (attach schedule) ...... 63 j 64a Tax-exempt bond liabilities (attach schedule) , , , , , , , , , , , , , , , , , , 64a b Mortgages and other notes payable (attach schedule) , , , , , , , , , , , , , 64b 65 Other liabilities (describe " STMT 9 ) 256 836 . 65 4 , 565 , 062 .

66 Total liabilities add lines 60 through 65 ...... 2,783,333 . 68 8 , 633 , 087 . Organizations that follow SFAS 117, check here " U and complete lines 67 through 69 and lines 73 and 74. 6 7 Unrestricted , , , , , , , , , , , , , , , , , , , , , , , , , , , . , , , , , , , 2 189 , 435 . 8 7 . 2 , 112 , 187 . 88 Temporarily restricted , , , , , , , , , , , , , , , , , , , , , , , , 5 990 341 . 68 4 , 510 , 526 . ,-~v 69 Permanently restricted ...... , . , 1 182 154 . 69 1 , 313 , 493 . m Organizations that do not follow SFAS 117, check here " ~ and complete lines 70 through 74. 0 70 Capital stock, trust principal, or current funds , , , , , , , , , , , , , , , , , , TO 71 Paid-in or capital surplus, or land, building, and equipment fund , , , , , , , , 71 N 72 Retained earnings, endowment, accumulated income, or other funds , , , , , 72 a 73 Total net assets or fund balances (add lines 67 through 69 or lines 70 through 72, column (A) must equal line 19; column (B) must equal line 21) , , , , , , , , 9 361 930 . 73 7 , 936 , 206 . 74 Total liabilities and net assets I fund balances add lines 66 and 73 . 12 145 , 263 . 74 16 , 569 , 293 . Form 990 is available for public inspection and, for some people, serves as the primary or sole source of information about a particular organization. How the public perceives an organization in such cases may be determined by the information presented on its return . Therefore, please make sure the return is complete and accurate and fully describes, in Part III, the organization's programs and accomplishments . JSA 2121030 1 000 72HOTH 1534 05/14/2004 15 :39 :09 V02-8 5 R . 11-210134d~ Form 990 (2002) -` 4 Page 4 r rinanciai statements wits es per Return a Total revenue, gains, and other support a Total expenses and losses per per audited financial statements , , audited financial statements , , 8 .281 .602 . b Amounts included on line a but not on b Amounts included on line a but not line 12, Form 990- on line 17, Form 990. (1) Net unrealized gains (1) Donated services on investments , , $ 20 . and use of facilities $ 576,532 . (2) Donated services (2) Prior year adjustments and use of facilities $ 576,532 . reported on line 20, (3) Recoveries of prior Form 990 , , , , , $ year grants , , , , _ (3) Losses reported on (4) Other (specify) : line 20, Form 990 ; (4) Other (specify): STMT 10 $ 323,416 . Add amounts on lines (1) through (4) "~ STMT 11 $ 323,416 . Add amounts on lines (1) through (4) , , Pp, b c Line a minus line b c Line a minus line b , , , , , , , , , " c d Amounts included on line 12, d Amounts included on line 17, Form 990 but not on line a: Form 990 but not on line a: (1) Investment expenses (1) Investment expenses not Included on line not included on line 6b, Form 990 , , , $ 6b, Form 990 , , ,: (2) Other (specify) . (2) Other (specify),

s s Add amounts on lines (1) and (2) , , " d Add amounts on lines (1) and (2) , , " d e Total revenue per line 12, Form 990 e Total expenses per line 17, Form 990 (line c plus line d ...... " e 25 , 955 , 910 . line c plus line d " " " " " " " - " " " e 27 , 381 , 654 . List of Officers, Directors, Trustees, and Key Employees (List each one even if not compensated; see page 26 of

75 Did any officer, director, trustee, or key employee receive aggregate compensation of more than $100,000 from your organization and all related organizations, of which more than $10,000 was provided by the related organizations? " a Yes aX No I( "Yes," attach schedule - see page 26 of the instructions .

Form 990 (2002)

JSA 2E 1040 1 000 72HOTH 1534 05/14/2004 15 :39 :09 V02-8 6 990 Other InforAnation See page 27 of the instructions. Yes No 76 Did the organization engage in any activity not previously reported to the IRS? Ii "Yes;" attach a detailed description of each activity , , 76 X 77 Were any changes made in the organizing or governing documents but not reported to the IRS? , , , , , , , , , , , , , , , , , , , 77 X If "Yes," attach a conformed copy of the changes 78a Did the organization have unrelated business gross Income of $1,000 or more during the year covered by this return? , , , , , , , , , 78a X b If "Yes," has it filed a tax return on Form 990-T for this yeah , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 78b X 79 Was there a liquidation, dissolution, termination, or substantial contraction during the year? If "Yes," attach a statement , , , , , , , , 79 X 80a Is the organization related (other than by association with a statewide or nationwide organization) through common membership, governing bodies, trustees, officers, etc., to any other exempt or nonexempt organization? , , , . , . . . . , STMT. 14 BOa X b If "Yes," enter the name of the organization, and check whether it Is X exempt or nonexempt . 81a Enter direct or Indirect political expenditures . See line 81 instructions , , , , , , , , , , , , , , , , 1 81a NONE b Did the organization file Form 1120-POL for this yeah , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 81b X 82a Did the organization receive donated services or the use of materials, equipment, or facilities at no charge or at substantially less than fair rental value? , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 82a X b If "Yep," you may indicate the value of these items here . Do not include this amount as revenue in Part 1 or as an expense fn Part II (See Instructions in Part III .) , , , , , , , , , , , , , , 82b 83a Did the organization comply with the public inspection requirements for returns and exemption applications? , , , , , , , , , , , , , B3a X b Did the organization comply with the disclosure requirements relating to quid pro quo contributions? , , , , , , , , , , , , , , , , , 83b X 84a Did the organization solicit any contributions or gifts that were not tax deductible? , , , , , , , , , , , , , , , , , , , , , , , , , , Boa X b If "Yes," did the organization include with every solicitation an express statement that such contributions or gifts were not tax deductible? , , , , , , 84b N 85 501(c)(4), (5), or (6) organizations. a Were substantially all dues nondeductible by members? , , , , , , , , , , , , , , , , 86a N b Did the organization make only in-house lobbying expenditures of $2,000 or less? ...... , , . . , . , . 86b N If "Yes" was answered to either 85a or SSb, do not complete 85c through 85h below unless I'thehe organization received a waiver for proxy tax owed for the prior year . c Dues, assessments, and similar amounts from members , ...... , . . . . , , , . . . . . , 86c N/A d Section 162(e) lobbying and political expenditures , , , , , , , , , , , , , , , , , , , , , , , , , Bbd N/A e Aggregate nondeductible amount of section 6033(e)(1)(A) dues notices , , , , , , , , , , , , , , , He N/A t Taxable amount of lobbying and political expenditures (line 85d less 85e) . . , , , , , , , , , , , , 86f N/A g Does the organization elect to pay the section 6033(e) tax on the amount on line 85f? , , , , 86 N h If section 6033(e)(1)(A) dues notices were sent, does the organization agree to add the amount on line 85f to its seasonable estimate of dues allocable to nondeductible lobbying and political expenditures for the following tax year?, , , , , , , , , , , , , 85h N 86 501(c)(7) orgs. Enter. a Initiation fees and capital contributions included on line 12 , , , , , 86a N/A b Gross receipts, included on line 12, for public use of club facilities , , , , , , , , , , , , 86b N/A 87 501(c)(12) orgs. Enter: a Gross income from members or shareholders . . , . , , , , . , . , , , , , 87a N/A b Gross Income from other sources (Do not net amounts due or paid to other sources against amounts due or received from them.) , , , , , , , , , , , , , , , , , , , , , , , , 87b N/A 88 At any time during the year, did the organization own a 50°h or greater interest m a taxable corporation or partnership, or an entity disregarded as separate from the organization under Regulations sections 301 .7701-2 and 301 .7701-3? If "Yes," complete Part IX ...... , . . . , . . . . , , . , ...... , . , . . , , , . 88 89a 501(c)(3) organizations. Enter: Amount of tax Imposed on the organization during the year under: section 4911 1 NONE ; section 4912 " NONE ; section 4955 " NONE b 501(c)(3) and 501(c)(4) orgs. Did the organization engage in any section 4958 excess benefit transaction during the year or did it become aware of an excess benefit transaction from a prior year? If "Yes," attach a statement explaining each transaction . . , ...... , . . , . . . . , , , ...... , ...... , . B9b X c Enter: Amount of tax Imposed on the organization managers or disqualified persons during the year under sections4912,4955,and4958 . . . ., ...... , . . ., ., . .  , . .  . .  , . .  , ., . " NONE d Enter: Amount of tax on line 89c, above, reimbursed by the organization . . . , . . , . . . , ...... , . . , . , . , . . . " NONE 90 a List the states with which a copy of this return Is filed ANEW YORK b Number of employees employed in the pay period that includes March 12, 2002 (See instructions) , , , , , , , , , , , , , , , , , , 190b 1350 81 The books are In care of 1 PETER GEE Telephone no " 718-636-4153 Located at 1 BROOKLYN ACADEMY OF MUSIC, BROOKLYN, NY ZIP + 4 1 11217 92 Section 4941(a)(>) nonexempt charitable trusts fling Form 990 in lieu o1 Form 1041-Check here , , , , , , , , , , , , , , 1 u and enter the amount of tax-exempt interest received or accrued during the tax year . . " "192 "1 N/A Forth 980 (2002)

JSA 2E1041 1 000

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 7 990(2002) ~..- 1 11-2201344 e s1 of the instrucnonsr.) Note: Enter gross amounts unless otherwise Unrelated business income Excluded b section 512 513 or 514 (E) Indicated. ~q) B S~) Related or Business Art~lount Ex c us ion Amount exempt function 93 Program service revenue . code code income a PERFORMANCE INCOME 8 , 391 , 818 . b BAM ROSE CINEMA 1 , 654 , 146 . c HAM ART REVENUE 136 155 . d e f Medicare/Medicaid payments , , , , , , g Fees and contracts from government agencies . 94 Membership dues and assessments , , , 96 Interest on savings and temporary cash Investments 14 18 , 721 . 96 Dividends and Interest from securities . . 97 Net rental income or (loss) from real estate' a debt-financed property ...... b not debt-financed property ...... 532000 63 , 495 . 16 720 , 237 . 98 Net rental income or (loss) horn personal property 99 Other investment income . . . . . , . 100 Gain or (loss) from sales of assets other than Inventory 18 7 6 , 270 . 101 Net Income or (loss) from special events , 01 -402 , 097 . 102 Gross profit or (loss) from sales of inventory , 103 Other revenue- a b STMT 15 22 , 264 . 233 570 . c d e 104 Subtotal (add columns (B), (D), and (E)) . . f ~ . 85 , 759 .1 646 ,701 . 1 10 ,182 ,119 . 106 Total (add line 104, columns (B), (D), and (E)) ...... 10. 10,914,579 . Note: Line 105 plus line 1d, Part l, should equal the amount on line 12, Part l.

Line No. Explain how each activity for which income is reported in column (E) of Part VII contributed importantly to the accomplishment i of the or ganization's exem pt purposes other than b providing funds for such purposes ) STMT 16

address, andEIN of corporation, I Percentage a I Nature of activities I Total Income I EndoEKyear iership, or disregarded entity ownerehla Interest assets

Information Regarding Transfers Associated with Personal Benefit Contracts See page 33 of the instructions . (a) Did the organization, during the year, receive any funds, directly or indirectly, to pay premiums on a personal benefit contract? Yes g No (b) Did the organization, during the , ay premiums, directly or indirectly, on a personal benefit contract? U Yes a No Note : If "Yes" to file Form 8870 d Fo 4720 see instnrcti Under penalties of pequ I de r at I have examined this r and belief, it is true, cor ect, d mple)~ Declaration of pre Please 9n 1 Signature of officer ` Here ' Type or print name and title Preparers PaidP re P re, arer's DELOITTE Use Only 2 JERicxc address, and ZIP + urs4 , ,.~,flT ~, JSA

2E1050 1 000 72HOTH 1534 05/14/2004 15 :39 :09 V02-8 SCHEDULER ' ' Organization Exempt Under Section 601(c)(3) OMB No 1545-0047 (Except Private Foundation) (Form 990 or 990-EZ) and Section 601(e), 6010, 601(k), 601(n), or Section 4947(a)(1) Nonexempt Charitable Trust G~oOf~ Department of the Treasury Supplementary Information - (See separate instructions .) ~ !. Internal Revenue Service " MUST be completed by the above organizations and attached to their Form 990 or 990-EZ Name of the organization BROOKLYN ACADEMY OF MUSIC INC . 11-2201344 Compensation of the Five Highest Paid Employees Other Than Officers, Directors, and Trustees (See page 1 of the instructions. List each one . If there are none, enter "None.") (a) Name and address of each employee paid more (b) Title and average (d) Contributions to (e) E~ense hours per week (c) employee benefit plans & account and other than $50,000 Compensation

ERNEST SOUTHERLAND ISTAGERAND DEPT C/O BROOKLYN ACADEMY OF MUSIC 30 LAFAYETTE AVE . BRROKLYN . NY 0

EFI SFIAFiAR------CINEMA MWAGER C/O BROOKLYN ACADEMY OF MUSIC 30 LAFAYETTE AVE BROOKLYN NY 0 122 677 . 2 , 451 .

THOMAS PAULUCCI STAGEHAND DEPT HAND C/O BROOKLYN ACADEMY OF MUSIC 30 LAFAYETTE AVE, BROOKLYN, NY 0 122,233 . 25,491 .

LEWIS_RESNICK------ISTAGEHAND DEPT C/O BROOKLYN ACADEMY OF MUSIC NONE

JZMt4Y D'ADAMO C/O BROOKLYN ACADEMY OF MUSIC

Total number of other employees paid over $50,000 . " 65 Compensation of the ~ Five Highest Paid Independent Contractors for Professional Services (See page 2 of the instructions. List each one (whether individuals or firms) . If there are none, enter "None.

(a) Name and address of each independent contractor paid more than $50,000 (b) Type of service I (e) Compensation

NESBITT SYSTEMS

11 CONSULTING I 125,000 .

DELOITTE 6 TOUCHE

1613 STAMP'ORD, CT . 06920 AUDIT

RAUFMANNI_FEINER~_YAMIN._GILDIN 6 ROBBIN__-____

7 LEGAL I 72 .00

J

------

Total number of others receiving over $50,000 for professional services " NONE For Paperwork Reduction Act Notice, see the Instructions for Form 890 end Form 990-EZ . Schedule A (Form 890 or 890-EZ) 2002 JSA 2E1210 1 000

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 9 11-2101344~ Schedule A (Form 990 or X90-EZ) 2002 ~ Page Statements About Activities See page 2 of the instructions . Yes No 1 During the year, has the organlzatioh attempted to influence national, state, or local legislation, including any attempt to influence public opinion on a legislative matter or referendum? If "Yes," enter the total expenses paid or incurred in connection with the lobbying activities " $ 34,282 . (Must equal amounts online 38, Part VI-A, or line f or Part VI-B ) 1 X Organizations that made an election under section 501(h) by filing Form 5768 must complete Part VI-A. Other organizations checking "Yes," must complete Part VI-13 AND attach a statement giving a detailed description of the lobbying activities. 2 During the year, has the organization, either directly or Indirectly, engaged in any of the following acts with any substantial contributors, trustees, directors, officers, creators, key employees, or members of their families, or with any taxable organization with which any such person is affiliated as an officer, director, trustee, majority owner, or principal beneficiary? (If the answer to any question is "Yes," attach e detailed statement explaining the transactions.) a Sale, exchange, or leasing of property? , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 2a X

b Lending of money or other extension of credit? , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

c Furnishing of goods, services, or facilities , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

d Payment of compensation (or payment or reimbursement of expenses if more than $1,000)? , , , , , , , , , , , , , , , , , ,

e Transfer of any part of its income or assets? , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

3 Does the organization make grants for scholarships, fellowships, student loans, etc .? (See Note below.) , , , , , , , , , , , . , 4 Do you have a section 403(b) annuity plan for your employees? ...... Note: Attach a statement to explain how the organization determines that individuals or organizations receiving grants

Reason for Non-Private Foundation Status (See pages 3 through 5 of the instructions .)

The or anlzation is not a private foundation because it is' (Please check only ONE applicable box.) 5 A church, convention of churches, or association of churches. Section 170(b)(1)(A)(i). 6 A school Section 170(b)(1)(A)(ii) . (Also complete Part V.) 7 A hospital or a cooperative hospital service organization Section 170(b)(1)(A)(ui) . 8 A Federal, state, or local government or governmental unit Section 170(b)(1)(A)(v) 9 ~ A medical research organization operated In conjunction with a hospital . Section 170(b)(1)(A)(id) Enter the hospital's name, city, and state 1______10 a An organization operated for the benefit of a college or university owned or operated by a governmental unit Section 170(b)(1)(A)(iv) (Also complete the Support Schedule in Part IV-A .) 11 a aX An organization that normally receives a substantial part of its support from a governmental unit or from the general public . Section 170(b)(1)(A)(vi) . (Also complete the Support Schedule in Part IV-A.) 1111b, 8 A community trust. Section 170(b)(1)(A)(vi) . (Also complete the Support Schedule in Part IV-A.) 12 An organization that normally receives : (1) more than 33 1/3% of Its support from contributions, membership fees, and gross receipts from activities related to Its charitable, etc ., functions - subject to certain exceptions, and (2) no more than 33 1/3% of its support from gross investment income and unrelated business taxable income (less section 511 tax) from businesses acquired by the organization after June 30, 1975. See section 509(a)(2) (Also complete the Support Schedule in Part IV-A ) 13 a An organization that is not controlled by any disqualified persons (other than foundation managers) and supports organizations described In: (1) lines 5 through 12 above; or (2) section 501(c)(4), (5), or (6), If they meet the test of section 509(a)(2). (See section 509(a)(3) )

(b) Line number (a) Name(s) of supported organization(s) from above

14 r_ I An organization organized and operated to test for public safety . Section 509(a)(4). (See page 5 of the instructions JSA 2E1220 1000 Schedule A Form 880 or 880-Q 2002

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 10 Schedule A Form 990 or 990-EZ `?002 . 11-2'2'01344 ` Page 3 ~~Support chedule (Complete only if you checked a box online 10, 11, or 12.) Use cash method of accounting. Note : You ma use the worksheet in the instructions for converting from the accrual to the cash method of accounting. Calendar year (or fiscal year beginning in) . a 2001 b 2000 c 1999 d 1998 e Total 16 Gifts, grants, and contributions received . (Do not include unusual rants See line 28 16 , 028 , 768 16 , 502 , 116 15 803 781 . 16 , 399 , 210 . 64 , 733 , 875 . 16 Membershi p fees received . . 17 Gross receipts from admissions, merchandise sold or services performed, or furnishing of facilities in any activity that is related to the or anization's charitable etc , purpose . 7 , 824 , 498 9 , 403 , 989 5,736,347 . 7 , 141 , 115 . 30 , 105 , 949 . 18 Gross income from Interest, dividends, amounts received from payments on securities loans (section 512(a)(5)), rents, royalties, and unrelated business taxable income (less section 511 taxes) from businesses acquired b the or anization after June 30 1975 ~ 826 , 363 1 , 237 , 833 1 , 216 , 265 . 1 , 422 , 403 . 4 , 702 , 864 . 19 Net income from unrelated business activities not included in line 18 " . 20 Tax revenues levied for the organization's benefit and either paid to it or expended on Its behalf 21 The value of services or facilities furnished to the organization by a governmental unit without charge. Do not include the value of services or facilities generally furnished to the public without charge 22 Other income. Attach a schedule. Do not include gain or (loss) from sale of capital assets 117 , 791 265 , 236 . 110,506 . 218 691 . 712 , 224 . 23 Total of lines 15 throw h 22 . 24 , 797 , 420 , 27 , 409 , 174 , 22 , 866 , 899 . 25 , 181 , 419 . 100254912 . 24 Line 73 minus line 17 . 16 , 972 , 922 18 005 185 17 130 552 . 18 , 040 , 304 . 70 , 148 , 963 . 25 Enter 1% of line 23 . 247 , 974 274 , 092 . 228 , 669 . 251 14 . 26 Organizations described on lines 10 or 11: a Enter 2% of amount in column (e), line 24 , , , , , , , , , , , , , , , 1 26a 1 , 402 , 979 . b Prepare a list for your records to show the name of and amount contributed by each person (other than a governmental unit or publicly supported organization) whose total gifts for 1998 through 2001 exceeded the amount shown in line 26a. Do not file this list with your return . Enter the total of all these excess amounts " 26b 3 , 862 , 803 . c Total support for section 509(a)(1) test: Enter line 24, column (e) ...... , . , , 00. 26c 70148963 . d Add : Amounts from column (e) for lines. 18 4,702,864 . 19 22 712,224 . 26b 3,862,803 . , , , , , , , , , , , , " 26d 9 , 277 , 891 . e Public support (line 26c minus line 26d total) , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , No- ~ 26e ~ 60871072 .

27 Organizations described on line 12 : a For amounts Included In lines 15, 16, and 17 that were received from a "disqualified person;" prepare a list for your records to show the name of, and total amounts received In each year from, each "disqualified person " Do not file this list with your return . Enter the sum of such amounts for each year: (2001) __-__-______(2000) ______(1999) ___NOT APPLICABLE _ (1998) -______-_____ b For any amount included in line 17 that was received from each person (other than "disqualified persons', prepare a list for your records to show the name of, and amount received for each year, that was more than the larger of (1) the amount on line 25 for the year or (2) $5,000. (Include in the list organizations described in lines 5 through 11, as well as individuals .) Do not file this list with your return . After computing the difference between the amount received and the larger amount described in (1) or (2), enter the sum of these differences (the excess amounts) for each year: (2001) ------(zooo) ------(1999) ------(1sss)------

c Add . Amounts from column (e) for lines: 15 16 17 2 0 21 ...... 1 27c d Add Line 27a total . . and line 27b total , , . , . , , , , , , , , , 1 27d e Public support (line 27c total minus line 27d total) " ~ ~ " " " " ~ " " " " " " " " " " " " " " " " " " " . . " . " 27e i Total support for section 509(a)(2) test' Enter amount from line 23, column (e) ...... 10,27f g Public support percentage (line 27e (numerator) divided by line 27f (denominator)) ...... , . . , , , 1 h Investment income percentage (line 18, column (e) (numerator) divided by line 27f (denominator)) . . . " ~2~7 h ~ ° 28 Unusual Grants : For an organization described in line 10, 11, or 12 that received any unusual . grants during 1998 through 2001, prepare a list for your records to show, for each year, the name of the contributor, the date and amount of the grant, and a brief description of the nature of the grant Do not file this list with your return . Do not include these grants in line 16. Jsn Schedule A (Form 990 or 880-Q) 2002 2E1221 1 000

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 11 11-220134

Schedule A (Form 990 or 990-EZ) 2002 NOT APPLICABLE Page 4 Private School Questionnaire (See page 7 of the instructions) (To be completed ONLY by schools that checked the box on line 6 in Part IV)

29 Does the organization have a racially nondiscriminatory policy toward students by statement m its charter, bylaws, Yes No other governing instrument, or in a resolution of its governing body? . . . . 29 30 Does the organization include a statement of its racially nondiscriminatory policy toward students in all its brochures, catalogues, and other written communications with the public dealing with student admissions, programs, and scholarships . . . , . , , . . . , ...... 30 31 Has the organization publicized its racially nondiscriminatory policy through newspaper or broadcast media during the period of solicitation for students, or during the registration period if it has no solicitation program, in a way that makes the policy known to all parts of the general community it serves? , . . 31 If "Yes," please describe; if "No," please explain. (If you need more space, attach a separate statement.) ------32 ------Does the organization maintain the following a Records indicating the racial composition of the student body, faculty, and administrative staff? 32a b Records documenting that scholarships and other financial assistance are awarded on a racially nondiscriminatory basis? ...... 32b c Copies of all catalogues, brochures, announcements, and other written communications to the public dealing with student admissions, programs, and scholarships? . . . , . , ...... 32c d Copies of all material used by the organization or on its behalf to solicit contributions? ~ 32d

If you answered "No" to any of the above, please explain. (If you need more space, attach a separate statement ) ------

33 Does------the organization discriminate by race in any way with respect to.

a Students'rights orprivdeges7  , .  . . . ., ...... , . ., . . ., . . . . ._ ., . ., ., ., . .

b Admissions policies? 33b

c Employment of faculty or administrative staff? ...... , , . . . , ...... , . 33c

d Scholarships or other financial assistance?

e Educational policies?

f Use of facilities?

g Athletic programs?

h Other extracurricular activities?

If you answered "Yes" to any of the above, please explain. (If you need more space, attach a separate statement ) ------

34a Does the organization receive any financial aid or assistance from a governmental agency? . , ...... ,

b Has the organization's right to such aid ever been revoked or suspended? . , ...... , . . . . . I 3 If you answered "Yes" to either 34a or b, please explain using an attached statement.

35 Does the organization certify that it has complied with the applicable requirements of sections 4.01 through 4.05 of Rev Proc 75-50, 1975-2 C B. 587, covering racial nondiscrimination? If "No," attach an explanation . . . JSA 2E 1230 1 000 Schedule A (Form 880 or 8904FS) 2002

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 12 Schedule A Form 990 or 990-EZ 2002 11-2'2'01344 ` Page 5 Lobbying Expenditures by Electing Public Charities (See page 9 of the -instructions.) (To be completed ONLY b an eligible organization that filed Form 5768) Check t a if the organization belongs to an affiliated group. Check " b if you checked "a" and "limited control" provisions apply

Limits on Lobbying Expenditures Affiliated group To be completed totals (or ALL electing (The term "expenditures" means amounts paid or incurred.) organizations 36 Total lobbying expenditures to influence public opinion (grassroots lobbying) . . . 36 N1 37 Total lobbying expenditures to influence a legislative body (direct lobbying) 37 34 , 21 38 Total lobbying expenditures (add lines 36 and 37) . , , , , , , , , , , , , , , , , , 38 34 , 2! 38 Other exempt purpose expenditures 39 29 6 , 31 40 Total exempt purpose expenditures (add lines 38 and 39) . . , . , ...... , . 40 29 290 F-6- 41 Lobbying nontaxable amount Enter the amount from the following table - If the amount on line 40 Is - The lobbying nontaxable amount Is - Not over $500,000 , , , , , , , , , , , , 20% of the amount on line 40 , , , , , , , , , Over $500,000 but not over $1,000,000 , , , $100,000 plus 15% of the excess over $500,000 Over $1,000,000 but not over $1,500,000 , , $175,000 plus 10% of the excess over $1,000,000 41 1 4 000 , 01 Over $1,500,000 but not over $17,000,000 , , $225,000 plus 5% of the excess over $1,500,000 Over $17,000,000 , . , , , , . , , , , , $1,000,000 ...... , , , 42 Grassroots nontaxable amount (enter 25% of line 41) . . , . 42 250 , 0 ~ 43 Subtract line 42 from line 36 . Enter -0- if line 42 is more than line 36 43 44 Subtract line 41 from line 38 . Enter -0- if line 41 is more than line 38 44

Caution: If there is an amount on either line 43 online 44 you must file Form 4720. 4-Year Averaging Period Under Section 501(h) (Some organizations that made a section 501(h) election do not have to complete all of the five columns below. See the instructions for lines 45 through 50 on page 11 of the instructions .

Lobbying Expenditures During 4-Year Averaging Period

Calendar year (or fiscal (a) (b) (c) (d) (e) ear beginning In " 2002 2001 2000 1999 Total Lobbying nontaxable 45 amount . 1 , 000 , 000 . 1 000 000 . 1 1 000 , 000 . 11000,000 . 4 , 000 , 0 Lobbying ceiling amount d6 (150°.6 of line 45(e)l . . 6 . 000 , 0

47 Total lobbying exp enditures 34 , 282 . 12 , 056 . 35 , 762 . 62 , 092 . 144 192 . Grassroots nontaxable 48 amount 250 000 . 250 000 . 250 000 . 250 000 . 1 , 000 , 000 . Grassroots telling amount 8 150% of line 48(e)) 1 , 500 , 000 . Grassroots lobbying 50 expenditures . . NO NONF Lobbying Activity by Nonelecting Public Charities NOT APPLICABLE For reporting only b organizations that did not complete Part VI-A) See page 11 of the instructions. During the year, did the organization attempt to influence national, state or local legislation, including any Yes No Amount attempt to Influence public opinion on a legislative matter or referendum, through the use of: a Volunteers X b Paid staff or management (Include compensation in expenses reported on lines c through h.) , , , X c Media advertisements x d Mailings to member, legislators, or the public, , , , , , , , , , , . , , , , , , , , , , , , , , , , , X e Publications, or published or broadcast statements x f Grants to other organizations for lobbying purposes , , , , , , , , , , , , , , , , , , , , , , , , , X g Direct contact with legislators, their staffs, government officials, or a legislative body , , . , . , . , X h Rallies, demonstrations, seminars, conventions, speeches, lectures, or any other means X I Total lobbying expenditures (Add lines c through h .), , , , , , , , , , , , , , , , , , , , , , , , , , If "Yes" to any of the above, also attach a statement giving a detailed description of the lobbying activities. JSA Schedule A (Form 990 or 980-EZ) 2002 2E1240 1 000

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 13 Schedule A Form 990 or 990-EZ 2002 11-2'201344 ' Page 6 Information Regarding Transfers To and Transactions and Relationships With, Noncharitable Exempt Organizations (See page 12 of the instructions .) 51 Did the reporting organization directly or indirectly engage in any of the following with any other organization described in section 501(c) of the Code (other than section 501(c)(3) organizations) or in section 527, relating to political organizations? a Transfers from the reporting organization to a nonchantable exempt organization of (I) Cash ...... SUM X (II) Other assets ...... a(II) X b Other transactions: (I) Sales or exchanges of assets with a noncharitable exempt organization (II) Purchases of assets from a noncharitable exempt organization (III) Rental of facilities, equipment, or other assets , , , , , , , , , , . , . , . . . , . . . . . , (Iv) Reimbursement arrangements ;              . , .  . . , (v) Loans or loan guarantees , ...... , , . . , ...... , ...... , (vi) Performance of services or membership or fundraising solicitations , , , , , , , , , , , , , , , , , , , , , , c Sharing of facilities, equipment, mailing lists, other assets, or paid employees , ...... , . , d If the answer to any of the above Is "Yes," complete the following schedule . Column (b) should always show the fair market value of the goods, other assets, or services given by the reporting organization . If the organization received less than fair market value In any

52a Is the organization directly or indirectly affiliated with, or related to, one or more tax-exempt organizations described in section 501(c) of the Code (other than section 501(c)(3)) or in section 527? , , , , , , , , , , " F]Yes [0 No

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 14 BROOKLYN ACADEMY OP' MUSIC, INC . 11-2201344

FORM 990, PART I - EXCLUDED CONTRIBUTIONS

DESCRIPTION AMOUNT ------

FUNDRAISING BENEFITS 1,288,315 . ------TOTAL 1,288,315 .

STATEMENT 1

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 21 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART I - SPECIAL FUNDRAISING EVENTS AND ACTIVITIES

GROSS DIRECT NET DESCRIPTION REVENUE EXPENSES INCOME ------

FUNDRAISING BENEFITS 1,525,388 . 1,927,485 . -402,097 . ------TOTALS 1,525,388 . 1,927,485 . -402,097 .

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 22 STATEMENT 2 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART I - OTHER INCREASES IN FUND BALANCES

DESCRIPTION AMOUNT

UNREAL GAIN 20 . ------TOTAL 20 .

STATEMENT 3

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 23 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART II - OTHER EXPENSES

PROGRAM MANAGEMENT DESCRIPTION TOTAL SERVICES AND GENERAL FUNDRAISING ------

CONSULTANT AND PRODUCTION FEES 670,801 . 534,663 . 114,353 . 21,785, COMPANY AND ARTIST FEES 3,402,582 . 3,402,582 . FILM RENTALS 611,943 . 611,943 . PRODUCTION EXPENSES 1,337,097 . 1,267,920 . 69,177 . MEDIA LABS 280 . 280 . COMMUNITY SUPPORT 90,000 . 90,000 . ADVERTISING 2,093,086 . 1,948,760 . 2,033 . 142,293 . CINEMA CONCESSIONS 58,342 . 53,700 . 400 . 4,242 . PATRON SERVICES 258,002 . 57,823 . 5,610 . 194,569 . HOSPITALITY 229,150 . 32,311 . 9,653 . 187,186 . HUMAN RESOURCES 26,537 . 3,664 . 22,811 . 62 . PERSONNEL TRAINING 12,081 . 2,918 . 8,208 . 955 . COMPUTER SERVICES 192,411 . 51,034 . 134,363 . 7,014 . BUILDING MAINTENANCE 196,047 . 19,595 . 174,652 . 1,800 . INSURANCE 136,588 . 46,902 . 89,686 . BANK FEES 96,884 . 3,615 . 93,269 . MISCELLANEOUS 59,606 . 49,614 . 916 . 9,076 .

TOTALS 9,471,437 . 8,177,044 . 655,954 . 638,439 .

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 24 STATEMENT 4 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART III - ORGANIZATION'S PRIMARY EXEMPT PURPOSE

TO BE GLOBALLY ACKNOWLEDGED AS THE PREEMINENT, PROGRESSIVE PERFORMING, CINEMA AND INDIA ARTS CENTER OF THE 21ST CENTURY .

STATEMENT 5

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 25 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART IV - PREPAID EXPENSES AND DEFERRED CHARGES

ENDING DESCRIPTION BOOK VALUE ------

PREPAID EXPENSES 728,928 . PREPAID INSURANCE 31,190 . PREPAID POSTAGE 3,398 . INVENTORY 15,426 . SECURITY DEPOSITS 11,750 . ------TOTALS 790,692 .

STATEMENT 6

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 26 BROOKLYN ACADEIo1Y OF` MUSIC, INC . " 11-2201344

FORM 990, PART IV - INVESTMENTS - SECURITIES

ENDING DESCRIPTION BOOK VALUE

MARKETABLE SECURITIES 99 . ------TOTALS 99 .

STATEMENT 7

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 27 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART IV - OTHER ASSETS

ENDING DESCRIPTION BOOK VALUE ------

INVESTMENT IN REAL ESTATE 197,800 . ------TOTALS 197,800 .

STATEMENT 8

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 28 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART IV - OTHER LIABILITIES

ENDING DESCRIPTION BOOK VALUE ------

DUE TO BAM ENDOWMENT TRUST 4,502,225 . REFUNDABLE ADVANCES 62,837 . ------TOTALS 4,565,062 .

STATEMENT 9

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 29 BROOKLYN ACADEMY OF MUSIC, INC . 1" 11-2201344

FORM 990, PART IV-A - OTHER REVENUE ON BOOKS BUT NOT ON RETURN

DESCRIPTION AMOUNT ------

RENTAL EXPENSES NETTED AGAINST INCOME 323,416 . ------TOTAL 323,416 .

STATEMENT 10

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 30 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART IV-B - OTHER EXPENSES ON BOOKS BUT NOT I ON RETURN

DESCRIPTION AMOUNT ------

RENTAL EXPENSES NETTED AGAINST INCOME 323,416 . ------TOTAL 323,416 .

STATEMENT 11

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 31 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART V - LIST OF OFFICERS, DIRECTORS, AND TRUSTEES

CONTRIBUTIONS EXPENSE ACCT TITLE AND TIME TO EMPLOYEE AND OTHER NAME AND ADDRESS DEVOTED TO POSITION COMPENSATION BENEFIT PLANS ALLOWANCES ------

KAREN BROOKS HOPKINS PRESIDENT 219,300 . 1,715 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 30 LAFAYETTE AVE . BROOKLYN, NY 11217

JOSEPH V. MELILLO EXECUTIVE PRODUCER 204,000 . 873 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 30 LAFAYETTE AVE BROOKLYN, NY 11217

ALICE BERNSTEIN EXECUTIVE V-P 157,000 . 2,337 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 30 LAFAYETTE AVE BROOKLYN, NY 11217

PETER GEE CFO 135,000 . 2,377 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 30 LP.FAYETTE AVE BROOKLYN, NY 11217

LYNN STIRRUP VP-PLANNING 102,000 . 873 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 30 LAFAYETTE AVE BROOKLYN, NY 11217

JEFFREY LEVINE VP-MARKETING 102,000 . 2,336 . NONE C/O BROOKLYN ACADEMY OF MUSIC 40 - 30 LAFAYETTE AVE BROOKLYN, NY 11217

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 32 STATEMENT 12 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART V - LIST OF OFFICERS, DIRECTORS, AND TRUSTEES

CONTRIBUTIONS EXPENSE ACCT TITLE AND TIME TO EMPLOYEE AND OTHER NAME AND ADDRESS DEVOTED TO POSITION COMPENSATION BENEFIT PLANS ALLOWANCES ------

------GRAND TOTALS 919,300 . 10,511 . NONE

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 33 STATEMENT 13 ., . . BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART VI - NAMES OF RELATED ORGANIZATIONS

BAM ENDOWMENT TRUST EIN : 11-3112268

STATEMENT 14

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 34 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART VII - OTHER REVENUE

BUSINESS EXCLUSION RELATED OR EXEMPT DESCRIPTION CODE AMOUNT CODE AMOUNT FUNCTION INCOME ------

ADVERTISING INCOME 541800 22,264 . MISC . REVENU 03 41,605 . ROYALTIES 15 11,232 . TICKET SALES 03 20,278 . OTHER INCOME 03 151,665 . ADMIN . SVCE INCOME CINEMA TICKET INC . SDI CONTRIBUTIONS 8,790 .

------TOTALS 22,264 . 233,570 .

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 35 STATEMENT 15 BROOKLYN ACADEMY OF MUSIC, INC . 11-2201344

FORM 990, PART VIII - ACCOMPLISHMENT OF EXEMPT PURPOSES ------

EXPLANATION OF HOW EACH ACTIVITY FOR WHICH INCOME LINE IS REPORTED IN COLUMN (E) OF PART VII CONTRIBUTED NO . IMPORTANTLY TO THE ACCOMPLISHMENT OF EXEMPT PURPOSES ------

93A& PRODUCTION OF LIVE PERFORMANCES INCREASE THE PUBLIC 103B APPRECIATION OF PERFORMING ARTS AND EDUCATE GRADE SCHOOL CHILDREN AND PROVIDE CULTURAL ENRICHMENT . 93B CO-PRODUCTION OF LIVE PERFORMANCES INCREASES THE NUMBER OF PEOPLE THAT EXPERIENCE CULTURAL ENRICHMENT FROM THE PRESENTATION OF DANCE AND THEATRE PERFORMANCES . 93C SALE OF POSTERS PROMOTING BAM PERFORMANCES INCREASE AWARENESS OF THE PERFORMING ARTS .

STATEMENT 16

72HOTH 1534 05/14/2004 15 :39 :09 V02-8 36 BROOKLYN ACADEMY OF MUSIC EIN: 11-2201344 ~: sr3onoos

BROOKLYN ACADEMY OF MUSIC Fiscal 2003 Marketable Securities Gifts Forth 990, Part I, Line 8, Gain/(Loss) from sales of assets other than inventory:

Gin Sale Gift Value Gin Value Sale Price Sale Price Gain/(Loss) Net Date Date Stock Donor Shares Per Share Total Brokers Fee Per Share total on Safe Proceeds 09112102 09/13102 Pfizer Dwight & Mn Ellis 67 $ 30.225 $ 2,025 $ 65 .42 $ 29 .9000 $ 2,003 $ (22) $ 1,93-8- 10/28/02 10!28I02 American International Group Susan Binger 7 $ 64.900 $ 454 $ 55 .37 $ 64 .8500 $ 454 $ (0) $ 399 10f31102 10131102 IBM Richard Weinrich 14 $ 78.605 $ 1,100 $ 75 .39 $ 78 .9200 $ 1,105 $ 4 $ 1,029 11/15/02 11/18/02 PAXAR Patricia J. Simpson 276 $ 13.355 $ 3,686 $ 100.47 $ 13 .4000 $ 3,698 $~ 12 $ 3,598 12/18/02 12/19/02 First Data Corp Elizabeth Sidamon-Eristoft 33 $ 36255 $ 1,196 $ 65 .39 $ 35 .9100 $ 1,185 $ (11) $ 1,120 12/18102 12119/02 Boston Scientific Elizabeth Sidamon-Eristoff 90 $ 42.670 $ 3,840 $ 93 .83 E 43 .5100 $ 3,916 $ 76 $ 3,822 12/18/02 12/19/02 Marsh & McLennan John Lichtensteln 108 $ 46.680 $ 5,041 $ 132.00 $ 46 .7600 $ 5,050 $ 9 $ 4,918 12f20102 12!23102 AMBAC Ruben 8 Jeanelte Seller 88 $ 57 .750 $ 5,082 $ 85 .51 $ 57 .8700 $ 5,093 $ 11 E 5,007 1223/02 12/23102 ICBC Charles Hamm 1500 $ 25.445 $ 38,168 $ 602.35 $ 252900 $ 37,935 $ (233) $ 37,333 12/23/02 12/24/02 ICBC Charles Hamm 1463 $ 25 .445 $ 37,226 $ 602.18 $ 252767 $ 36,980 $ (246 $ 36,378 12/26102 12/26/02 ICBC Charles Hamm 988 $ 25 445 $ 25,140 $ 48524 $ 25 .5610 $ 25,254 $ 115 $ 24,769 12l14/02 1226/02 British Petroleum Lynne Darcy 13 $ 40.335 $ 524 $ 65 .37 $ 40 .3800 $ 525 $ 1 $ 460 12131102 12131102 Intel David Ramsey 410 $ 15 .620 $ 6,404 b 166.55 $ 15 .4900 $ 6,351 $ (53) $ 6,184 1223/02 01/08102 American International Group Starr Foundation 8280 $ 59.620 $ 493,654 $ 2,900.46 $ 60 .6000 $ 501,768 $ 8,114 $ 498,868 01/09103 01113103 IBM Willam Josephson 120 $ 85 .885 $ 10,306 $ 85 .68 $ 88 .8000 $ 10,656 $ 350 $ 10,570 01/09/03 01H7/03 Sunoco MtoniaPew 76 $ 33 .800 $ 2,569 $ 55 .43 $ 32 .5000 $ 2,470 $ (99) $ 2,415 01116/03 01/17103 Financial Federal Corp . Schroder & Co 270 $ 27275 $ 7,364 $ 125.57 $ 26 .6000 $ 7,182 $ (182) $ 7,056 0123103 01124103 Travelers type A Seth S.Faison 48 $ 16 .225 $ 779 $ 53 .38 $ 162000 $ 778 $ (1) $ 724 0123/03 0124103 Travelers type B Seth S. Faison 100 $ 16 .285 $ 1,629 $ 85 .40 $ 16.1900 $ 1,619 $ (9) $ 1,534 07121103 02/21103 WH Energy Sercies Inc. Adam Max 1475 $ 17 .675 $ 26,071 $ 406.12 $ 17 .5110 $ 25,829 $ (242) $ 25,423 0324103 03125103 Morgan Stanley Richard Fisher 25000 $ 40 .100 $ 1,002,500 $ 6,530.73 $ 40 .2800 $ 1,007,000 $ 4,500 $ 1,000,469 05114103 05/14/03 Neuberger Barman Kent Cobb Simons 600 $ 30290 $ 18,174 $ 306.20 $ 302000 $ 18,120 $ (54) $ 17,814 05119103 OSI19103 WH Energy Serdes Inc. Adam Max 500 $ 20 .540 $ 10,270 $ 205.83 $ 20 .3800 $ 10,190 $ (80) $ 9,984 05121/03 06/10/03 Ryanair Holdings PLG Harvey LichtensUein 128 $ 39 .145 $ 5,011 $ 85 .61 $ 41 .8000 $ 5,350 $ 340 $ 5,265 06/18/03 06118103 Marsh 8 McLennan Phyllis Lichbens60in 95 $ 53 .765 $ 5,108 $ 85.59 $ 53 .6900 $ 5,101 $ (n $ 5,015 06125103 0626/03 Morgan Stanley Richard Fisher 114000 $ 43 .810 $ 5,022,165 $ $ 44 .6153 $ 5,086,144 $ 63,979 $ 5,086,144 TOTALS : 155,749 $ 6,735,486 ; 13,621 .07 ' $ 6,811,755 $ 76,270 $ 6,798,234

STATEMENT BROOKLYN ACADEMY OF MUSIC EIN: 11-2201344 For the Year Ended: June 30, 2003

FORM 990. PART II, Line 42 :

DEPRECIATION EXPENSE 322,121

STATEMENT BROOKLYN ACADEMY OF MUSIC ' EIN: 11-2201344 For the Year Ended: June 30, 2003

Form 990. Part IV, line 57:

Asset

Capital Additions and Leasehold Improvements 4,556,568

Furniture and Equipment 930,769

Parking Lots 139,933

5,627,270

Less: Accumulated Depreciation 2,741,827

Total Property, Plant & Equipment 2,885,443

STATEMENT ( I BROOKLYN ACADEMY OF MUSIC EIN; 11-2201344 For the year ended June 30, 2003

Form 990. Part III. Statement of Proaram Service Expenses

A Report

on the

2003 SPRING SEASON

from

BROOKLYN ACADEMY OF MUSIC 30 Lafayette Avenue Brooklyn, NY 11217

Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer

submitted by

Lynn M. Stirrup, Vice President, Planning and Development William Lynch, Grants Director

August 2003

sT~rS M 6A) r a o I. INTRODUCTION

Brooklyn Academy of Music presented its first performance in 1861 and began operations in its present building in 1908 . BAM is a not-for-profit institution that has grown into a model urban arts center focused on both international issues in the arts and local community needs. BAM has a worldwide reputation as a leader in artistic innovation, presenting international performing arts and film projects to its audience. The organization's mission is to be the globally acknowledged preeminent, progressive performing and cinema arts center of the twenty-first century.

Since July 1999, BAM's activities have been conducted under the leadership of Karen Brooks Hopkins, BAM's President, and Joseph V. Melillo, BAM's Executive Producer. Ms. Hopkins and Mr. Melillo strive to continue and expand the programming strategy on which BAM has built its reputation, as articulated above.

II. 2003 SPRING SEASON: MAINSTAGE PROGRAMS

BAM's 2003 Spring Season featured new work and New York premieres as well as contemporary interpretations of classic works of theater, music, opera, and dance, with many performances augmented by education and humanities programs.

BAM MUSIC 2003 : Rhythm & BAM Winter Soul Featuring Bobby "Blue" Bland and Cody ChesnuTT One performance: January 18, 2003 Attendance: 1,899 Praise Music Featuring Gary Anglin and the Christian Cultural Center Choir, the Grace Tabernacle Choir with Reverent Timothy Wright, and guest soloist Kim Burrell One performance: February 1, 2003 Attendance: 1,593

BAM inaugurated its new annual music series Rhythm & BAMwith two electrifying concerts. Winter Soul, the first concert in the series took place on January 18t' and brought two generations of R&B together: Rock and Roll Hall of Famer Bobby "Blue" Bland and up-and-coming rock and soul crooner Cody ChesnuTT. The New York Times' Jon Pareles calls Bland "a connoisseur of quiet heartache and smoldering fury," with a voice, ". . . as smooth as a stone polished by a rushing river." The highlight of the evening occurred mid-set when Bland invited ChestnuTT on stage to perform Stormy Monday Blues with him. It was a classic intergenerational moment between a blues legend and a strong emerging talent. Newsday anticipated the concert by proclaiming "if ever there was a dictionary definition of old and new school-a sonic scale, measuring the distance between contemporary R&B, rock and soul, and these genres' blues backbone-it will be on display . . .at the Brooklyn Academy of Music."

The second concert, Praise Music, which picked up where BAM's popular Sunday gospel brunch series left off, featured two of the best known gospel choirs in the country: Gary Anglin and the Christian Cultural Center Choir, and Grace Tabernacle Choir with the Reverend Timothy Wright. It also featured Grammy-winning soloist Kim Burrell, of whom Time Out New York predicted, "She's not the headliner on this bill, but we'll bet she steals the show-even though the rest of the bill includes two of the country's best gospel choirs." Nearly 3,500 people attended the two concerts, which are part of the first major new programming initiative in BAM's Howard Gilman Opera House since the inauguration of BAM Opera in 1989 .

BAM OPERA 2003

El Nino by John Adams (born 1947) Directed by Peter Sellars Conducted by Esa-Pekka Salonen Performed by the Los Angeles Philharmonic BAM Howard Gilman Opera House A Lincoln Center Presentation in Association with BAM Two Performances: March 20 & 22, 2003 Attendance: 4,138

Adams's luminous new Nativity oratorio, which he describes as "my own version of The Messiah," premiered in Paris in December 2000 and in San Francisco the following month. In this unconventional, multilayered retelling of this biblical narrative, Adams chooses to set the birth of Christ in an abandoned parking lot, envisioning Mary as an unwed teenage mother, (sung by soprano Dawn Upshaw and mezzo-soprano Lorraine Hunt Lieberson); through their eyes a socially unjust world is reflected. The use of solo singers as well as a chorus on stage, in tandem with the projection of images shot on Super-8 film, created a fascinating dynamic between the three-dimensionality of the aural and the two-dimensionality of the visual sphere.

Throughout the ages, the birth of Christ has been depicted as a spiritual happening; one that is removed from the corporeal experience. Interestingly enough, Adams calls upon the physical nature of childbirth in this piece, as can be seen in the connectedness of human forms as well as the sensuous movements of those in the film. Apparently, it is not a singular moment but one that is replicated in the birth of each and every child, as Kevin Filipski of The Brooklyn Papers noted: "The birth of Jesus Christ is here seen as an ongoing miracle, both within each succeeding generation (every newborn child is touched with the divine) and outside it (the story of the birth of the Christ child is constantly reenacted by each group of descendants)."

The riveting score, performed by the Los Angeles Philharmonic under the direction of Esa-Pekka Salonen, "was riotously three-dimensional, its repetitive processes pushed and pulled by an alert, shaping mind," according to Paul Crriffiths of The New York Times. Griffiths went on to say that, "in the modern musical world, [Adams] stands alone."

2 Cost fan tutte by Wolfgang Amadeus Mozart (1756-1791) Directed by Jonathan Miller Conducted by Robert Spano Performed by the Brooklyn Philharmonic Produced by Brooklyn Academy of Music and the Brooklyn Philharmonic BAM Harvey Theater Six Performances: April 24 -May 4, 2003 Attendance: 4,935

After a triumphant staging of Bach's St. Matthew Passion for BAM Opera 2001, Renaissance man Sir Jonathan Miller returned to create an original production of Mozart's Cosi fan tutte (1790). Updating the setting to present day, and placing the action in a bright and spacious loft, with the performers in modern dress, Miller achieved an ease and fluidity with the singers rarely seen in opera. The story centers around the story of two young military officer in late eighteenth century Naples, tenor Eric Cutler's Ferrando and baritone Garry Magee's Guglielmo, who, on a bet from graying bachelor Don Alfonso, played with light-footed grace by Sir Thomas Allen, decide to test the fidelity of their fiancees.

Pretending they have been called off to war (a scene which makes full use of an intrusive reporter and a cameraman from CNN looking for a human-interest angle) they soon return disguised as `Albanians'-in this case, shaggy-haired bikers with shades and torn jeans-each of whom woos the other man's fiancee. Mezzo-soprano Rinat Shaham's Dorabella and soprano Alexandra Deshorties' Fiordeligi finally give in to these irresistible young rockers, marrying them in a sham wedding, only to be exposed when the soldiers `return' from the war. They are encouraged all along by Despina the maid, played with sassy aplomb by soprano Helen Donath, who dons various disguises to help the men keep up their ruse.

Anthony Tommnasini of The New York Times writes : ". . .it's not the updating alone that makes Mr. Miller's production so comically sharp and penetrating . It's that with this staging concept, Mr. Miller has inspired his winning cast, which includes four gifted young artists and two ageless veterans, to give such vibrant, natural and uninhibited characterizations."

Les BorJades by Jean-Philippe Rameau (1683-1764) Directed by Robert Carsen Conducted by William Christie Choreographed by Edouard Lock Performed by Paris National Opera and Les Arts Florissants BAM Howard Gilman Opera House Four Performances: June 9,11,13, & 15, 2003 Attendance: 6,876

William Christie and Robert Carsen, the artistic team who created the acclaimed production of Handel's Orlando at BAM in spring 1996, returned in 2003 with Rameau's Les BorJades (1764). This brand new production came to BAM directly from the Palais Gamier of the Paris National Opera, where it premiered in March 2003 . Significantly, this presentation marked the first-ever fully staged Les Boreades performed in North America. The enormous cast (136 musicians and performers) for this rarely performed work-which was only re-discovered twenty years ago- included soprano Anna Maria Panzarella in the role of Alphise and tenor Paul Agnew as Abaris .

The plot of Les Boreades, with its gods, nymphs, and forces of nature in conflict, lends itself to a spectacular staging . Robert Carsen created a visually stunning production, including a changing set featuring the dramatic presentation of all four seasons. Designer Michael Levine filled the stage with luminous displays of flowers, autumn leaves, and at one point, a knee-deep snowfall. But Rameau's final opera is also about freedom and individual choice, and the defiance of fate and authority, which was played out in the triumph of true love.

Anthony Tommasini of The .New York Times called Les Boreades a "full evening of utterly vibrant music making," and praised William Christie as "an incomparable interpreter of this 18th-century French master." Jay Nordlinger of The New York Sun, described it as "a sensational new production . . .It is farcical, moving, probing, thrilling . . .And fantastically sensual. . .The production is freighted with symbolism, but it is also plain fun . . .Les Arts Florissants played with tremendous vigor . . .On the stage were a slew of youthful, beautiful voices . . .As for the dancers, they were unendingly engaging." He also noted that Maestro Christie "received a near-delirious ovation at the end of the evening ."

BAM THEATER 2003

Donmar Warehouse Twelfth Night by William Shakespeare Uncle Vanya by Anton C6ekhov, in an adaptation by Brian Friel Directed by Sam Mendes Featuring Simon Russell Beale and Emily Watson BAM Harvey Theater 58 Performances: January 10-March 9, 2003 Attendance: 48,689

Uncle Yanya and Twelfth Night represent director Sam Mendes's farewell as Artistic Director of London's Donmar Warehouse, which has risen to global prominence during his tenure. Both productions were, in the words of Ben Brantley of The New York Times, "a goose-bump-making triumph of in-the-moment naturalism ." Barbara D. Phillips of The Wall Street Journal described the engagement, offered in repertory, as " . . . some of the best acting I have seen in three decades of theater going." In addition to garnering extensive critical praise, the engagement also earned many awards and nominations, including Drama Desk Award nominations for Best Revival (for both Twelfth Night and Uncle Yanya); Outstanding Actor (Simon Russell Beale, Uncle Vanya); and Outstanding Director (Sam Mendes for both Twelfth Night and Uncle Yanya). The engagement also earned an Obie Award for Simon Russell Beale in the role of Vanya. By directing both plays in tandem and with the same company of actors, Mendes explored the deep connection between the two plays, which he describes as being "about requited and unrequited love, by two of the greatest playwrights that ever lived."

Stripping the stage down to its bare essentials, Mendes heightened the boredom and frustration felt by Uncle Vanya's central characters through the long hot summer on a country estate.

4 Simon Russell Beale transformed Vanya, the estate manager, into a a portrait of defeat who slumps his way through life, his bitter, defensive wit crumbling in the face of Helen McCrory's languidly beautiful Yelena. John Heilpern of The New York Observer called Emily Watson's well-scrubbed Sonya, "memorable and naturally poetic, her unfussy intelligence and seriousness alive, her sense of wonder just lovely." The actress effectively conveyed a woman still very much a girl, hopelessly in love with Mark Strong's oblivious, self-absorbed Astrov. This quartet of winning losers form the core of Mendes's bold take on Chekhov's masterpiece about the quiet desperation of an unfulfilled life.

Twelfth Night is Shakespeare's transgendered fable of twins-Viola and Sebastian-who, separated by a shipwreck (each assuming the other drowned) re-unite and, in the process, find the love for which they yearn. Mendes offered his melancholic Twelfth Night, a work of depth and poignancy, on a minimalist set that included a shimmering backdrop of candles. Simon Russell Beale as the manservant Malvolio again physically transformed himself to embody a silly, self-important man, who becomes the object of a terribly mean-spirited joke. Emily Watson subtly exposes Viola's core of vulnerability, as she disguises herself as a man, becomes a page to Mark Strong's Duke Orsino, and falls deeply in love with him. As Charles Isherwood, of Variety wrote, "A more heavenly valedictory for Mendes' decade at the theater could hardly be wished for: superb individually, the productions really should be considered (and experienced) as a single, magnificent achievement ."

Hashirigaki Conception, Music, and Direction by Heiner Goebbels Produced by Theatre Vidy-Lausanne, Switzerland Part of Swiss Peaks: The Best of Switzerland in New York BAM Harvey Theater Five Performances: March 19-23, 2003 Attendance: 2,924

"Heiner Goebbels's delectably mystifying theatrical tone poem," as Bruce Weber of The New York Times described it, proved a welcome breath of fresh air at a time when the daily news was full of strife. Performed by three highly talented actresses, who are also dancers and musicians, Hashirigaki brings together many strange bedfellows-including Gertrude Stein, The Beach Boys, and traditional Japanese lullabies-in a delightful exploration of language, music, and imagery. "Mr. Goebbels has braided theatrical elements from several cultures and decades to create a pulsing, undulating stream of sounds and images," wrote Mr. Weber. "The show is a hypnotic collage of effects, with Mr. Goebbels orchestrating the striking work of his designers."

At a climactic moment of Hashirigaki, the three performers create what resembles an entire small American town out of cardboard cutouts. In another scene, interestingly shaped bells and gongs descend from the ceiling, and are played by the performers; while yet another section included a unique trio of theramin, toy piano, and Japanese lute. "But unlike a lot of cross- disciplinary performance today-which often resists accrued meaning or refuses to allow fragmented components to add up-Goebbels's work cultivates connections and looks for sensory and experiential depth," wrote Tom Sellar of The Village Voice. Simple, yet profound, whimsical and funny, Hashirigaki was a perfect BAM presentation-an avant-garde, postmodern crowd-pleaser. The Island Conceived and written by Athol Fugard, John Kani, and Winston Ntshona Originally directed by Athol Fugard Produced by The Royal National Theatre and The Market Theatre of Johannesburg BAM Harvey Theater 12 Performances : April 1-6, 8-13, 2003 Attendance: 7,865

A two-character play by South African playwright Athol Fugard and actors John Kani and Winston Ntshona, The Island was written in response to South Africa's racist apartheid laws. This resta.ged version was first presented by Peter Brook in 1999 in Paris . The setting is Robben Island prison, the notorious South African jail in which Nelson Mandela was incarcerated. Two actors face the audience from an almost bare set, with a small raised platform that represents their prison cell. Absorbed in conversation that is by turns playful, questioning, and indignant, they never stray far from the platform. At one point, it becomes a stage for a play-within-a- play-a performance of Antigone put on by the two men, its message about a seemingly powerless individual's defiance of tyranny clearly framed.

The presence of actors John Kani and Winston Ntshona made the event a particularly special one. Kani and Ntshona not only appeared in the first production (which took place in secret in South Africa in 1973, landing them in jail), but also shared a Tony Award for their performances in the Broadway production, and have now received a special Obie Award citation for this presentation. Some 30 years older now, they brought "an aged perspective that makes the play's furious righteousness that much more unassailable," said Bruce Weber of The New York Times. "At this time of enmity in the world," he continued, "there is no theatrical experience more essential." Although apartheid no longer exists in South Africa, The Island's stark, dramatic examination of resistance in the face of brutal oppression resonates as clearly as ever.

The Royal Dramatic Theatre of Sweden Ghosts by Henrik Ibsen, translated and adapted by Ingmar Bergman Directed by Ingmar Bergman BAM Harvey Theater Five Performances: June 10-14, 2003 Attendance: 4,340

"As a full-throated swan song from an epochal talent, Ghosts demands to be seen by anyone who has followed Mr. Bergman's career," proclaimed Ben Brantley in The New York Times of the renowned film and stage director's last production. This radical re-shaping of Ibsen's masterwork was translated from Norwegian into Swedish by Bergman, who, in his own words, has taken out "a pair of big metal scissors and cut Ibsen's iron corset into pieces without altering the basic theme." The result was an all-too brief, entirely sold-out engagement.

Ghosts starred longtime Bergman-collaborator Pernilla August (last seen at BAM in Maria Stuart) with fellow Dramaten performers Jan Malmsjo (Ghost Sonata, BAM 2001), Jonas Malmsjo, Orjan Ramberg, and Angela Kqvacs, each of whom brought Ibsen's hapless characters to riveting life, in this stinging indictment of social hypocrisy in the late nineteenth century. Ms .

6 August, in particular, earned high praise for the central role of Mrs. Alving . She is "definitely a presence to be reckoned with, bringing to mind the neurosis-edged robustness of Jessica Lange in her meatier post-ingenue roles . . .her eyes flash warmly at one moment, then shutter down into icy introspection . And it is clear that whatever regrets she feels about her past actions, she has savored being in charge." (The New York Times) Sadly, this presentation brings to a close the 15-year mainstage collaboration between BAM and the brilliant Mr. Bergman, although his film work will certainly be shown in the BAM Rose Cinemas in the future.

BAM DANCE 2003

Mark Morris Dance Group BAM Howard Gilman Opera House Six Performances: March 25-30, 2003 Attendance: 9,892

Gangsters, lovers, cowboys, and elephants alike were transformed into dazzling creatures of hypnotic beauty during the course of choreographer Mark Morris's annual season at BAM, which offered two separate repertory programs. In total, eight works were featured-three of them New York premieres-which proved that this longtime BAM favorite is, "as fecund as ever, and as fluent. . ." (Robert Gottlieb, The New York Observer). The premieres included Resurrection, a gangster-musical-fantasy set to Richard Rodgers's Slaughter on Tenth Avenue, which the New York Post's Clive Barnes called, "a sweet, fun valentine to Broadway," and Something Lies Beyond the Scene, based on poet Edith Sitwell and composer William Waltman's Facade, which Anna Kisselgoff of The New York Times described simply as "perfect."

The programs also included such repertory classics as last year's hit V, which The New York Observer's Gottlieb called, "a big, heartfelt statement," and the lustily comic Going Away Party. Another highlight of this year's engagement was Serenade, a solo set to the music of the late Lou Harrison, a frequent Morris collaborator, which Morris performed to live guitar and percussion accompaniment. This New York premiere displayed Morris's greatest gifts as a dancer as well as a choreographer: grace, humor, and humanity.

Cinderella (Cendrillon) Les Ballets de Monte-Carlo Directed and Choreographed by Jean-Christophe Maillot BAM Howard Gilman Opera House Four Performances: April 29 & May 1-3, 2003 BAM Annual Spring Gala, Tuesday, April 29, 2003 Attendance: 4,799

Composer Sergei Prokofiev (1891-1953) considered Cinderella to be much more than an antiquated fairy tale-his Cinderella is a living being, who thinks and feels, and whose fate moves people all over the world. This three-dimensionality of one of the most celebrated heroines in the world, was handsomely conveyed by choreographer and Artistic Director Jean- Christophe Maillot, who used Prokofiev's score in his interpretation for Les Ballets de Monte- Carlo. With his contemporary imagining of the age-old classic, Maillot chooses to place his ballet's emphasis on the inner life of Cinderella, as demonstrated in the opening sequence, in

7 which she daydreams of the loving relationship between her parents before her mother's death. Her mother's presence is magically evoked throughout the ballet through Maillot's choice of casting the sprightly ballerina Bernice Coppieters in the dual role of mother and fairy-godmother.

Maillot's version departs from the classic storybook ballet in numerous other ways, including the casting of women in the roles of the ugly stepsisters, rather than the typical men en traveste. He takes liberties with the story as well. "Say goodbye to everything you thought you knew about Cinderella," stated Sylvaine Gold in New York Newsday. "The fireplace, the broom, the pumpkin, and yes, even the slipper have been jettisoned by Maillot in the spare, elegant production." Pia Catton of The New York Sun proclaimed "It takes an adventurous soul to bring a contemporary edge to a traditional fairy tale. But Jean-Christophe Maillot. . .has done so with both the style and plot of his Cinderella."

DanceAfrica BAM Howard Gilman Opera House Four Performances: May 22-26, 2003 Attendance: 7,195

Founded 26 years ago by Artistic Director Chuck Davis, BAM's DanceAfrica is America's largest festival of African and African Diaspora dance, music, and culture. A high-spirited community event, the festival offers dance and music performances; master classes ; and the three-day DanceAfrica Bazaar, a marketplace for African-American and Caribbean arts, crafts, and food. This year's theme was Rhythmic Rites and Rituals: Connecting Cultural Borders. Tickets were much in demand, with the performances averaging 93% of capacity.

Resurrection Dance Theater of Haiti, a company that grew out of St. Joseph's Home for orphaned boys in Port-au-Prince, was the featured troupe from overseas. The five young men of Resurrection performed several works weaving myth and movement including the stirring Tribute to Neg Mawon and Haiti, a salute to Haiti's independence and the only successful slave revolt in history. Two African-influenced U.S.-based dance companies that also participated in the festival were Muntu Dance Theatre of Chicago and Kulu Mele African American Dance Ensemble. The BAM/Restoration DanceAfrica Ensemble, composed of 30 youngsters from the Bedford Stuvesant Restoration Corporation, which jointly produces a semester-long youth education program with BAM, completed the roster of troupes.

In addition to the education program and the DanceAfrica Bazaar, other community events included a free invited dress rehearsal for community and student groups, an opening night libation ceremony on the steps of the opera house, the DanceAfrica sculpture garden, screenings of contemporary films from Africa and the African Diaspora in the BAM Rose Cinemas, Def Poetry for Teens from Young Voices of "Russell Simmons Presents Def Poetry" as well as musical programming in the BAMcaf6, and master classes at the Mark Moms Dance Center. III. BAMcafJ Live and BAMcinfmatek Highlights

BAMcafJ Live

With the opening of the BAMcafd in 1998, BAM initiated seasonal series of live jazz, world, and other music, often featuring local musicians. The BAMcafd was designed as a flexible "public living room" for ticket holders as well as the general public. This intimate atmosphere is markedly different from the experience of listening to music in traditional large-scale venues. Programming in the BAMcaf6 encompasses a wide variety of musical styles and genres, including spoken word based art forms. BAM places special emphasis on showcasing young emerging artists as well as local Brooklyn artists. All performances began at 9:00 p.m., and were curated by Limor Tomer.

Fort Greene Scene BAMcafe Live presented a month-long series dedicated to showcasing the talents of innovative neighborhood artists. Performers in this series, which was offered in conjunction with Rhythm & BAMon the mainstage, included: Val-Inc, Graham Haynes, Tiombe Lockhart, Marcelle Lashley, Eisa Davis, Melomane, and David Gilmore. (Fridays and Saturdays, January 3-31)

Danny Simmons presents poets of HBO's Def Poetry Danny Simmons, executive co-producer of HBO's Def Poetry, returned to BAMcaf6 to host a night of iconoclastic rhymes/meters by vanguard wordsmiths Willie Perdomo, Vanessa Hidary, Regie Cabica, and La Bruja with the music of Val-Inc. (Friday, January 17)

" Black Rock Coalition Every Friday in February, BAMcafe Live celebrated Black History month with the 2"a annual residency of the Black Rock Coalition (BRC). The BRC is a non-profit artist collective representing a vanguard of artists, irrespective of genre, dedicated to preserving and progressing black music and culture. Artists included The Chamber Ensemble, Yewande, Suffrajett featuring Simi, and Blusyde. (Fridays, February 7-28)

Planet XX: Women in Music In celebration of Women's History Month, BAMcafe Live paid a tribute to groundbreaking female composers, vocalists, and instrumentalists on the New York music scene with this third installation of Planet". Performers included: Kaissa, Tigist Ejigu, Paula Jeanine, Sherryl Marshall, and a special focus on Myra Melford. (Fridays and Saturdays, March 1-21)

" swisspeaksFESTIVAL As part of the city-wide swisspeaksFESTNAL celebrating the arts and culture of Switzerland, BAMcafe Live presented New York City-based Swiss jazz/new music artists, highlighting the extraordinary diversity and creativity emerging from Switzerland (BAM's mainstage component of the swisspeaksFESTIVAL was Hashirigaki). The

9 roster of artists included: Daniel Schnyder Trio, Sylvie Courvoisier, Ohad Talmor's The Other Quartet, Christophe Schweizer, and Phil Stockli. (March 28-April 5)

2417 Brooklyn Jazz Festival The first borough-wide jazz festival came to life this spring with the historic launch of this event in honor and celebration of Brooklyn's thriving jazz scene. The festival included performances by Marvin Sewell and Burnt Sugar. (April 18-19)

DanceAfrica 2003 BAMcafe Live presented two performances in conjunction with BAM's annual DanceAfrica festival, America's largest celebration of dance, music, and culture of the African Diaspora. This years performers included the International Garifuna Band and Source. (May 17-24)

" Sista Factory BAMcafe Live presented this residency of Sista Factory (Soulful Inspirational Sounds To Admire), a group that has made its place over the last few years as a leading performance series in New York City since its inception in 1999. Artists Angela Johnson (vocals) and Mango Room (neo-soul poet/singers) were featured. (June 21-28)

" Busting at the Seams: The Best of Youth Spoken Word This collaboration of Danny Simmons, BAM's Department of Education and Humanities, and Urban Word NYC resulted in an evening of courageously heartfelt and intense poetry, as the talented teen poets from Young Voices of Russell Simmons Presents Def Poetry took center stage at the BAMcaf6. (May 21)

Total attendance for BAMcafe Live during the 2003 Spring Season was 4,671 .

BAMcindmatek

A regular feature of the BAM Rose Cinemas, BAMcinimatek is a continuing repertory series offering classic American and foreign film, documentaries, producer and/or director retrospectives, and film festivals. Where possible, BAMcin6matek screenings are thematically linked to BAM's mainstage offerings.

The Best of the African Diaspora Film Festival Celebrating its 1O' anniversary, the African Diaspora Film Festival presented the best selection from their 2002 festival from February 15-20. Titles included: Michel Ocelot's Kirikou and the Sorceress (1941), Aminah Abdul-Jabbaa's Bilalian (2002), Michel Olivier's Jazz Program: Remember Marvin Gaye, Joel Zito Araujo's Denying Brazil (2000), David Turnley's La Tropical (2001), Charles Naiman's Nelio's Story (1997), Rafael Deugenio's Latino Shorts: Candombe (1993), and Amadou Thior's Almodou (2002).

10 " The Baron of Blood: Mario Bava Though originally a cinematographer, Bava's films revolutionized the honor film through stylized lighting and camera movements, outrageous sets, gory special effects, and the beloved close-ups of screaming women. Some of the films presented from March 3-May 5 were: S Bambole por la Luna D'Agosto (1970), Terrore Nello Spazio (1966), Quante Volte . . . Quella Notte (1972), Reazione a Catena (1971), Gli Orrori Del Castello Di Norimberga (1972), I tre volti della paura (1963), Operazione paura (1966), and Cani arrabbiati (1974).

" Best of the African Film Festival Now in its 8 year, the African Film Festival presented seven of the best offerrings from the 2002 African Film Festival from March 14-16. These films included: Mansour Sora Wade's Ndeysaan (2001), Alain Gomis's L'Afrance (2001), Elaine de Latour's Bronx Barbes (2000), Nick Hughes' 100 Days (2000), Manu Kurewa's One Sunday Morning (1997), Ermias Woldeamlak's The Father (2000), and Celine Gilbert's Surrender (2000).

Films de Femmes: Female French Directors Since the late 80's and early 90's, women have made themselves known in the French Cinema. This series, which took place from April 15-17, was the first in New York to focus on some of these filmmakers. The program included Nettoyage a sec directed by Anne Fontaine (1997), VJnu beauty institut directed by Tonie Marshall (1998), A vendre directed by Laetitia Masson (1998), Breve traversee directed by Catherine Breilat (2001), Refines d'un jour directed by Marion Vernoux (2001), Yaura-t-il de la neige a Noel? directed by Sandrine Veysset (1996), Beau travail directed by Claire Denis (1998), Petits arrangements avec les morts directed by Pascale Fenan (1994), Le journal du seducteur directed by Dani6e Dubroux (1995), Le gout des autres directed by Agn~s Jaoui (2000), and La repetition directed by Catherine Corsini (2000).

DanceAfrica on Film As part of the Annual DanceAfrica festival, BAMcinematek screened three new films reflecting the diversity of the African experience. These screenings, taking place from May 22-24, included: That's My Face by Thomas Allen Harris (2002), Waiting for Happiness by Abderrahmane Sissako (2002), and Little Senegal by Rachid Bouchareb (2001).

The Village Voice Best of 2002 This series features selections from the prestigious Village Voice Take 4 Poll, which annually enlists film critics to pick the best films of the year. This year's "Best of '- BAM's 4h annual-consisted of 31 films playing throughout June, including numerous undistributed and rarely-screened films, as well as a few near-instant cult classics. Highlights included: Paul Greengrass's Bloody Sunday (2002), Mike Leigh's All or Nothing (2002), Lynne Ramsay's Morvern Callar (2002), Hayao Miyazaki's Spirited Away (2002), Fred Schepsi's Last Orders (2002) followed by a chat with Elliot Stein, Zacharias Kunuk's The Fast Runner (2002) and Michael Winterbottom's 24 Hour Party People (2002). BAMcinematek also offered a screening of Punch Drunk Love including a question-and-answer session with director Paul Thomas Anderson and actor Philip

11 Seymour Hoffman. A second screening, introduced by both, was added after the first showing quickly sold out.

" Other BAMcinimatek Programs Other BAMcinematek highlights during the 2003 Spring Season included Kaurismaki Goes America; Pumping Iron Festival; Feliz Cumpleanos, Bun"uel; Spike Lee's Brooklyn; as well as the 3'd Annual Brooklyn Jewish Film Festival. BAM is proud of its reputation for exhibiting quality international films and its record of consistent programming of these rarely seen films.

Total BAMcinematek attendance for the 2003 Spring Season was 12,435.

IV. DEPARTMENT OF EDUCATION AND HUMANITIES

BAM's Department of Education and Humanities reached a total of more than 18,000 children and adults through school-time performances; school-based and on-site initiatives; collaborative projects with community-based organizations such as the Bedford Stuyvesant Restoration Corporation; adult humanities programs including performance-related BAMdialogues and BAMtalks in 2002-2003.

Spring Season highlights included : Brooklyn Reads, BAM's newest educational offering, designed to improve literacy and to facilitate conversation between children and parents by encouraging them to read together and engage in dialogue about the themes and issues raised by a book; Screening Modern Times, a film literacy program using classic American films as a catalyst for high school students to discuss sensitive issues of race, religion, and society; Dancing into the Future, an introduction to a range of traditional and contemporary dance vocabularies and styles through intensive workshops in which students interact with acclaimed dancers and choreographers; Shakespeare Teaches, an in-school arts residency program for students and teachers focused on innovative approaches to Shakespeare; the Young Critics Institute, a program that immerses 11 ~' and 12`~ grade students from diverse backgrounds in a weekly process of reading plays, viewing theater performances at BAM, and then thinking and writing about them critically; the BAMkids Film Festival, the annual spring weekend of films from around the world for families with kids ages two to thirteen; and the DanceAfrica Education Program, an intensive, semester-long, after-school program that involves young people in a rigorous study of the dance, music, visual arts, and culture of a specific region of Africa or a country of the African Diaspora, leading up to BAM's DanceAfrica festival.

BAMdialoPUes

BAM's Department of Education and Humanities seeks to bridge the gap between audience and artists through close examination and discussion about the art in a small, informal environment. The BAMdialogue format provides audiences with an opportunity to hear the creative minds behind BAM presentations discuss the ideas and methods of their work. The BAMdialogue is neither interview nor speech; instead, a critic or writer of note participates in a two-sided conversation with the artist followed by a question-answer session with the audience.

12 " Sam Mendes (Director, Twelfth Night/Uncle Vanya) moderated by Mel Gussow, a culture critic for The New York Times. February 5, 6:00 p.m., BAM Rose Cinemas. Attendance: 272 .

Heiner Goebbels (Director, Hashirigaki) moderated by Bonnie Marranca, co-founder and editor of PAJ.~ A Journal of Performance and Art. March 19, 6:00 p .m., BAM Rose Cinemas. Attendance: 83 .

" John Kani and Winston Ntshona (The Island moderated by Steve Serafin, BAM Humanities Program Consultant. April 10, post-performance, BAM Harvey Theater. Attendance: approximately 500.

" Jonathan Miller (Director, Cosi fan tutte), moderated by Anne Midgette, a classical music critic for The New York Times. April 24, 6:00 p.m., BAM Rose Cinemas. Attendance: 119 .

Jean-Christophe Maillot (Director/Choreographer of Cinderella), moderated by BAM's Executive Producer, Joseph V. Melillo, and dance historian Lynn Garafola. May 1, 6:00 p.m., BAM Rose Cinemas. Attendance: 103 .

BAMtalk: The Musical LePacy of the African Diaspora

Music originating in Africa was the subject of this panel discussion, a humanities component of BAM Music: Rhythm & BAM, the newest mainstage program created at BAM since the introduction of BAM Opera more than a decade ago. The two-concert series in $AM Howard Gilman Opera House featured rhythm & blues and gospel music. Panelists for The Musical Legacy of the African Diaspora-all accomplished musicians, journalists, or both, with decidedly global perspectives-discussed the development of African-derived music, supplementing their accounts with historical anecdotes and stories based on personal experience. While it was clear that the speakers revered traditional forms, such as blues and jazz, they remained optimistic about new music, such as contemporary manifestations of R&B and hip- hop, seeing in cultural exchanges between Africa, Europe, and the American hemisphere the dynamics for creating music in the future. There was much discussion about forms not generally associated with "black" music-rock, 70's psychedelic music, electronic music, Latin jazz-and about the influence of black musicians . Panelists : Larry Blumenfeld, Kandia M. Crazy Horse, Nelson George, Vernon Reid, and Greg Tate. January 31, BAM Hillman Attic Studio . Attendance: 125.

V. COMMUNITY PROGRAMS

BAM offers an extensive series of community programs designed to serve the needs of the diverse neighborhoods surrounding the Academy and throughout the borough of Brooklyn. Several mainstage events, such as the annual DanceAfrica festival (with its full host of educational and community tie-ins) and Rhythm & BAM concerts, are described elsewhere in this report, as are the offerings of BAM's Department of Education and Humanities. Additional

13 components include BAM's Ticket Assistance Program and the annual Tribute to Dr. Martin Luther King, Jr. in cooperation with the office of the Brooklyn Borough President.

Ticket Assistance Program (TAP) Through this program, BAM provides free and discount tickets to events such as DanceAfrica for children and adults who could not otherwise afford them. Additionally, TAP focuses special attention on BAM's educational programs: one free ticket is provided for every 15 purchased for school-time performances. In addition, TAP targets Chapter 1 schools (where at least 75% of students qualify for free or reduced price lunches) in distributing subsidized tickets to school-time performances . In this way, TAP distributes thousands of complimentary tickets each season.

" A Tribute to Dr. Martin Luther King, Jr. Organized in cooperation with the office of the Brooklyn Borough President and CUNY's Medgar Evers College, BAM's Tribute to Dr. Martin Luther, King, Jr. is New York's largest celebration of the life and work of the slain civil rights leader. This annual event is free and open to the public. This year's program, held on January 20'h, featured inspiring speeches by many of New York's top political leaders, including Mayor Michael R. Bloomberg, Brooklyn Borough President Marty Markowitz, Governor George Pataki, and U.S . Senator Charles Schemer. Fred D. Gray, civil rights activist and attorney who represented Dr. King and Rosa Parks, gave the keynote address. Music was provided by the Grammy-winning Brooklyn Tabernacle Choir and Atlanta-based vocalist Lizz Wright. As usual, this event filled BAM's Howard Gilman Opera House.

VI. MARKETING AND MEDIA COVERAGE

BAM's Marketing Department conducted an extremely successful campaign to attract a broad audience to BAM for the 2003 Spring Season, which was built on the unprecedented success of the 20th Next Wave Festival, making this one of the most successful years ever in terms of attendance at mainstage events. BAM printed 90,000 Spring Season brochures, 60,000 of which were sent via direct-mail while 30,000 were kept for in-house distribution. In addition, 140,000 Spring Season single ticket brochures were printed, of which 90,000 were mailed. BAM circulated 115,000 Spring Season GO Cards (postcards) and an additional 115,000 brochures in connection with special productions (The Island, Cinderella, Les Boreades, and Rhythm & BA1lI). One hundred and twenty thousand Spring Theater brochures were printed, of which 100,000 were mailed. BAM's bi-monthly BAMcinematek calendar, created for wide direct-mail and in-house distribution, numbered 40,000 every two months.

BAM continued to build its solid media presence by advertising in The New York Times (29 ads), The Village Voice (14 ads), Time Out New York (16 ads), The New Yorker, and others. Targeted ads were placed in Caribbean Life (8 ads) and Amsterdam News (4 ads). Additionally, BAM sent press releases to these and other media outlets.

BAM's 2003 Spring Season received very extensive media coverage. Each BAM production was covered with an advance feature in either The New York Times Arts & Leisure section or in the daily New York Times, and each engagement was reviewed by that paper (with the exception of Praise Music).

14 BAM introduced a new music program this spring-Rhythm & BAM-the inaugural concert was reviewed favorably by The New York Times. BAMcinematek programs received more coverage than ever before by the film media (including a first-time interview on the popular national NPR program The Tavis Smiley Show with filmmaker Thomas Allen Harris).

The BAM 2003 Spring Season started with a bang, as every major theater journalist covered BAM's engagement of the Donmar Warehouse's Twelfth Night and Uncle Vanya. Media highlights for BAM's theater, dance, and opera programs included:

A major New York Times Arts & Leisure cover featuring an interview with actor Simon Russell Beale; an article accompanied by photographs of Simon Russell Beale and Sam Mendes taken by famed photographer Richard Avedon in The New Yorker; and reviews in every New York newspaper as well as AP, Toronto, Boston, Philadelphia, and London papers, all New York weekly magazines plus national outlets such as Entertainment Weekly, USA Today, Liz Smith's nationally syndicated column, and NY1 television.

The Donmar Warehouse engagements, following the footsteps of the Next Wave Festival's presentation of Medea, brought BAM extra attention and respect from theater critics. In addition to garnering Obie awards and Drama Desk nominations, these three productions were instrumental in obtaining special awards for BAM from the Obies and the Drama Desk for excellence in international programming.

The Island garnered strong and respectful media reviews (including a glowing New York Times review). The actors appeared on several radio programs, including WBAI, WKCR, and WLIB . Major African-American media outlets including the Amsterdam News, New York Beacon, Spring Creek Sun, and Our Time Press featured coverage of the engagements.

Hashirigaki was reviewed favorably by all of the major newspapers. There was a special delight in the media reaction to Heiner Goebbels's work. The Village Voice printed a special feature on this piece.

" Ghosts received all the accolades one would expect from the press, including glowing reviews in The New York Times, New York magazine, the New York Observer, among others. It was previewed in every major New York newspaper and magazine.

Mark Moms Dance Group received its third Arts & Leisure feature in The New York Times in as many seasons, and the composers of his dance Kolam (Ethan Iverson and Zakir Hussain) appeared on WNYC radio program Soundcheck to talk about the work. Mark Moms was also photographed for the New York Observer's weekly celebrity "World Photo."

" DanceAfrica was covered extensively-feature interviews with Chuck Davis appeared in The New York Times Weekend section, Sunday Newsday, and The Amsterdam News.

15 Haitian outlets-The Haitian Times and Haiti-Observateur-also previewed the visiting dance company, Resurrection Dance Theater.

Cosi fan tutte received a wonderful review in The New York Times, and a scene from the opera was illustrated for The New Yorker. Cinderella was covered by Dance Magazine, France-Amerique newspaper, and The New York Times, and BAM's annual Spring Gala, which featured the opening night performance, was featured on New York magazine's party photo page.

Leading up to BAM's presentation of Les BorJades, interviews with William Christie appeared in The New York Times, Daily News, Philadelphia Inquirer, and Opera News Director Robert Carsen was interviewed by The Daily News, The Brooklyn Papers, and France-Amerique . The performances were previewed by Travel & Leisure magazine and the weekly magazines Time Out, The New Yorker, and New York.

In advance of John Adams's El Nino, the composer was featured in Vanity Fair, and featured on the cover of The New York Times Arts & Leisure section.

VII. FUNDRAISING

BAM is fortunate to have experienced an extremely positive critical reception and record- breaking ticket sales for 2002-2003, which was the most ambitious year to date in terms of mainstage programming. However, the Academy is facing one of the most challenging financial situations in its history as it struggles to make up for substantial losses to contributed income from New York City and State as well as from corporate and foundation fenders. Thus, BAM is in the peculiar situation of being perceived as healthy and secure when it is more vulnerable than at any time in the past decade. While BAM finished Fiscal Year 2003 with a balanced budget, its administration expects more challenges in the years ahead. On the positive side, BAM has many loyal supporters, who have affirmed their commitment by renewing their support of the Academy. A listing of fundraising activities and funding sources for the 2003 Spring Season follows.

BAM's 2003 Spring Season Gala, which was sponsored by the Monaco Government Tourist Office, was held on April 29, 2003 in the presence of their Royal Highnesses the Prince and Princess of Hanover and His Serene Highness Crown Prince Albert of Monaco. The Gala chairs were Maguy Maccario-Doyle, Consul General of Monaco, and BAM Board member Nora Ann Wallace and Jack Nusbaum. The Gala featured Les Ballets de Monte-Carlo's performance of Cinderella in the Howard Gilman Opera House, followed by a black-tie dinner, opening-night reception, and auction in the Gala tent adjacent to BAM. In addition, BAM recently held the 10'' Annual Contractors' Ball, a fundraising event hosted by Forest City Ratner Companies at the Embassy Suites Hotel, honoring the men and women who built Metrotech Center. The Ball showcased the photographs of Nelson Bakerman, and proceeds benefited BAM and other non- profit organizations in the tri-state area.

BAM is grateful for the extremely generous support of its fenders, which included:

16 GENERAL SUPPORT: The Aeroflex Foundation, Ariel Mutual Funds, Baldwin, Bloomberg, Bloomingdale's, Booth Ferris Foundation, The House of Bernstein, Edith C. Blum Foundation, Bowne Enterprise Solutions, British Airways, Brooklyn Borough President Marty Markowitz, Brooklyn Delegation of the New York City Council, The John R. & Dorothy D . Caples Fund, Citibank, Liz Claiborne Inc., Coca Cola Enterprises of New York, Con Edison, The Irene Diamond Fund, Inc., The Walt Disney Company, Jean & Louis Dreyfus Foundation, Inc., Max & Victoria Dreyfus Foundation, Forest City Ratner Companies, Friars Foundation, GGMC Parking, LLC, The Howard Gilman Foundation, Goldman Sachs & Co., The Horace W. Goldsmith Foundation, The Green Fund, Inc., The Helen Hotze Haas Foundation, Independence Community Bank, The McGraw-Hill Companies, The Ambrose Monell Foundation, JPMorgan Chase, Henry and Lucy Moses Fund, Inc, M&T Bank, Macy's East, Marsh & McLennan Companies, Me & Ro, Inc., Merrill Lynch & Co., Inc., Morgan Stanley, New York City Department of Cultural Affairs, New York State Council on the Arts, New York City Central Labor Council and the Consortium for Worker Education, Samuel I. Newhouse Foundation Inc., R/GA, The Rockefeller Group, Helena Rubinstein Foundation, Scherman Foundation, Inc., Securities Industry Automation Corp., Sire Partners, The Seth Sprague Educational Foundation, The Starr Foundation, The Alice Tully Foundation, Vivendi Universal, Isak & Rose Weinman Foundation Inc., John Wiley & Sons, Yamaha, Estate of Martha Zalles, The Zeitz Foundation.

SPRING SEASON: Altria Group, Inc., American Express Company, The American Scandinavian Foundation, American Friends of the Paris Opera & Ballet, AOL Time Warner, Association Frangaise d'Action Artistique, Giorgio Armani, The Vincent Astor Foundation, AT&T, Rose M. Badgeley Residuary Charitable Trust, Susan Baker and Michael Lynch, Anne H. Bass, The Bodman Foundation, The British Council, CapezioBallet Makers Dance Foundation, Carver Federal Savings Bank, Corcoran Group, Tony & Lawrie Dean, W.J. Deutsch & Sons Ltd., Carnegie Corporation of New York, Mary Flagler Cary Charitable Trust, The Feinberg Foundation, French Embassy Cultural Services, Kenneth Cole, Con Edison, Credit Lyonnais, Eleanor Naylor Dana Charitable Trust, The Gladys Krieble Delmas Foundation, Delta Airlines, Distell, Elite Traveler, Fleet Bank, Richard B. Fisher & Jeanne Donovan Fisher, Eileen Fisher, Finlay Printing, Fribourgs Family Foundation Inc., The Howard Gilman Foundation, The Heimbold Foundation, HSBC Bank USA, Ann & Gordon Getty Foundation, The Florence Gould Foundation, Grammy Foundation, Mary L. Griggs & Mary Griggs Burke Foundation, The Harkness Foundation for Dance, Inc., Francena T. Harrison Foundation Trust, The Heimbold Foundation, HSBC Bank, Independence Community Foundation, JPMorgan Chase, KeySpan Foundation, The Lepercq Foundation, L'Oreal USA, Inc., Madiba Restaurant, Medgar Evers College, The Andrew W. Mellon Foundation, MetLife Foundation, Consulate General of Monaco, Monaco Government Tourist Office in New York, Morgan Stanley, New York Brooklyn Marriott, The New York Times Community Affairs Department, Not For Tourists Guides, Barbro Osher Pro Suecia Foundation, The Laura Pels Foundation, Pointe Magazine, The Rodgers Family Foundation, The Rodgers and Hammerstein Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., Scandinavian Airlines, Scheiffelin & Somerset, The Peter Jay Sharp Foundation, The SHS Foundation, The Shubert Foundation, Inc., Sony Cierge, Harold and Mimi Steinberg Charitable Trust, Consulate General of Sweden, Swedish Institute, swisspeaksFESTNAL, Time Warner Inc., Tribune New York Foundation, Alberto Vilar, Isak and Rose Weinman Foundation, Inc., and the Norman and Rosita Winston Foundation.

17 VIII. CONCLUSION

BAM is extremely proud of its accomplishments during the 2003 Spring Season. The season brought New York audiences a wide range of astonishing global performing arts, even in a year marked by so much national and international conflict. Despite the emotional, logistical, and financial challenges that BAM has faced side by side with all of New York City in this difficult financial climate, BAM successfully presented its busiest and best-attended Spring Season ever.

BAM is very grateful to the many individuals and institutional supporters that helped make this season possible.

18 Brooklyn Academy of Music, Inc. Board of Trustees List of Affiliations: 2003.2004 Season EIN:11.2201344 FYE: 613012003

BAM Board of Trustees Alan H. Fishman Independence Community Bank Corp. -President & CEO Brooklyn, NY Chair, BAM Board William I. Campbell Bank One Credit Card Services CEO New York, NY Vice Chair, BAM Board Karen Brooks Hopkins - Brooklyn Academy of Music President Brooklyn, NY President Joseph V. Melillo Brooklyn Academy of Music Executive Producer Brooklyn, NY Secretary Susie Babani HSBC Bank USA Executive VP & Director of HR New York, NY Susan L. Baker New York, NY Hyatt Bass New York, NY Tony Bechara Visual Artist New York, NY Norman J. Buchan JP Morgan Chase Executive Vice President Garden City, NY Neil D. Chrisman New York, NY Henry Christensen III Sullivan & Cromwell Partner New York, NY Beth Rudin DeWoody May & Samuel Rudin Family Foundation -President New York, NY Charles M. Diker Charles Diker Associations New York, NY Brendan J. Dugan Independence Community Bank PresidentBusiness Banking Division New York, NY Mallory Factor Mallory Factor Inc. President New York, NY Ronald E. Feiner Esq Kaufmann Feiner Yamin Gildin & Robbins -Partner New York, NY Susan Foote Historian Santa Fe, NM Robert M. Greenberg RIGA Chairman & Chief Creative Officer New York, NY Charles J. Hamm Independence Community Bank Corp. -Chairman New York, NY Kenneth V. Handal Altria Corporate Services, Inc. Associate General Counsel New York, NY Rita Hillman Alex Hillman Family Foundation President New York, NY Edison 0. Jackson Medgar Evers College (CUNY) President Brooklyn, NY Mary Kantor New York, NY James E. Kelly The HeaIthCare Chaplaincy C00 New York, NY Amy Klein Brooklyn, NY Daniel A. Klores Dan Mores Communications President & Founder New York, NY I. Stanley Kriegel I. Stanley Kriegel & Co. President New York, NY Edgar A. Lampert The Georgetown Company President New York, NY Jean-Pierre Lehmann New York, NY Frangois Letaconnoux Lepercq, de Neuflize & Co. Incorporated -President & CEO New York, NY Kitty C. Under Verizon Communications President - Operator Services Group New York, NY John P. Lipsky JP Morgan Chase, Global Eco. Research-Chief Economist & Dir. New York, NY Cathy-Ann Martine AT & T, Consumer Long Distance Services-Senior Vice President New York, NY Adam E. Max The Jordan Company L.P. Managing Director New York, NY James McClaren "sante Partners LLC Managing Director & Co-Founder-New York, NY Martin F. Mertz New York, NY Sarah G. Miller CIearShot Communications Executive Vice President Malvern, PA Ahrin Mishan Composer New York, NY Jean-Marc Moriani Calyon Americas CEO New York, NY John Morning John Morning Design, Inc. President New York, NY

Note: Only Karen Hopkins and Joseph Melillo received compensation, and contributions to employee benefit plans. All other trustees and directors did not receive compensation or benefit contributions. STATEMENT o2, 1 1 t ~ p ,-

Brooklyn Academy of Music, Inc. Board of Trustees List of Affiliations : 2003-2004 Season Steven J. Nulty Citibank, N.A. Regional ManagerlNortheast_Region New York, NY Timothy U. Nye The MAT Charitable Foundation- New York, NY Evelyn Ortner Interior Designer Brooklyn, NY David L. Ramsay MD NYU Medical Center/Dermatology Dept.-Director of Educational Affairs New York, NY Bruce C. Ratner Forest City Ratner Companies President Brooklyn, NY Frances A. Resheske Con Edison Senior Vice President of Public Affairs New York, NY Jonathan F.P. Rose Jonathan Rose & Companies President Katonah, NY Amy W. Schulman Piper Rudnick LLP Partner New York, NY Samuel H. Scripps Rhinebeck, NY Danny Simmons Rush Philanthropic Arts Foundation Vice President Brooklyn, NY John C. Simons Fleet National Bank Executive Vice President, NY Metro Group -New York, NY John Tamberlane Signature Bank Vice Chairman New York, NY Nora Ann Wallace Willkie Fan & Gallagher Partner New York, NY Elaine Weinstein KepSpan Senior Vice President of Human Resources-New York, NY Franklin R. Weissberg Lowenstein Sandier PC New York, NY Vaughn C. Williams Esq Skadden, Arps, Slate, Meagher & Flom-Partner New York, NY

BAM Board of Trustees - Ex Officio Harvey Lichtenstein BAM Local Development Corporation Chairman Brooklyn, NY Michael R. Bloomberg City of New York Mayor New York, NY Marty Markowitz Borough of Brooklyn President Brooklyn, NY Kate D. Levin Department of Cultural Affairs Commissioner New York, NY Gifford Miller New York City Council Speaker New York, NY Mark Page NYC Office of Management & Budget -Director New York, NY Steven C. Parrish Altria Group, Inc. Senior Vice President, Corporate Affairs New York, NY Diana Taylor New York State Banking Department Superintendent of Banks New York, NY Ellyn M. Toscano Brooklyn, NY Barbara B. Haws BAM Archives Chairman New York, NY BAM Board of Trustees - Chairman Emeriti Seth S. Faison Brooklyn, NY Leonard Garment Esq Vemer Liipfert, et al Partner Washington, DC BAM Board of Trustees - Honorary Trustees Robert L. Forties Forties Global President New York, NY Brooklyn, NY Stanley H. Kaplan Rita J. & Stanley H. Kaplan Foundation-President New York, NY Laurie Mallet Ozone Design, Inc. President New York, NY BAM Endowment Trust, Board of Trustees Richard B. Fisher Morgan Stanley Chairman Emeritus ~ New York, NY Chair, BAM Endowment Trust Norman L. Peck Peter Jay Sharp Foundation President New York, NY Vice Chair, BAM Endowment Trust Susan L. Baker New York, NY Henry Christensen III Sullivan & Cromwell Partner New York, NY Frank L. Coulson Jr. Goldman Sachs & Co. Partner/Managing Director New York, NY Alan H. Fishman Independence Community Bank Corp. -President & CEO Brooklyn, NY Elizabeth Holtzman Herrick, Feinstein LLP Counsel New York, NY Irvvin Lainoff Brooklyn, NY Nora Ann Wallace Willkie Farr & Gallagher Partner New York, NY

Note: Only Karen Hopkins and Joseph Melillo received compensation, and contributions to employee benefit plans. 2 All other trustees and directors did not receive compensation or benefit contributions. STATEMENT AI " A

Form 8 8 68 Application for Extension of Time To File an (December 2000) Exempt Organization Return OMB No. ,545-,709 Department of the Treasury Internal Revenue Service " File a separate application for each return . If you are filing for an Automatic 3-Month Extension, complete only Part I and check this box , . . . , t U If you are filing for an Additional (not automatic) 3-Month Extension, complete only Part II (on page 2 of this form) Note: Do not complete Pan 11 unless you have already been granted an automatic 3-month extension on a previously flied Form 8868. Automatic 3-Month Extension of Time - Only submit original (no copies needed) Note: Form 990-Tcorporatlons requesting an automatic 6-month extension - check this box and complete Part 1 only . , All other corporations (including Form 990-C filers) must use Form 7004 to request an extension of time to file income tax returns. Partnershi s, REMICs end trusts must use Form 8736 to request an extension of time to file Form 1065, 1066, or 1041 Type Or Name of Exempt Organization Employee Identification number print EAM ENDOWMENT TRUST I 11-3112268 File by the due room or suite no If a P.O box, see date for filing your return See Instructions City, town or post office, state, and ZIP code . For a foreign address, see

Check type of return to be flied (file a se agate application for each retain): X Form 990 Form 990-T (corporation) Form 4720 Form 990-BL Form 990-T(sec . 401(a) or 408(a) trust) Form 5227 Form 990-EZ Form 990-T (trust other than above) Form 6069 Form 990-PF Form 1041-A ~ Form 8870

If the organization does not have an office or place of business in the United States, check this box ...... " a If this is for a Group Return, enter the organization's four digit Group Exemption Number (GEN) . If this is for the whole group, check this box " 0 . If it is for part of the group, check this box " and attach a list with the names and EINs of all members the extension will cover. 1 I request an automatic 3-month (6-month, for 990-T corporation) extension of time until 02/17 . 2004 to file the exempt organization return for the organization named above. The extension is for the organization's retain for: 11111. calendar year or 00. X tax year beginning 07/01 . 2002 , and ending 06/30 . 2003

2 If this tax year is for less than 12 months, check reason: a Initial return 1:3 Final return 1:1 Change in accounting period

3a If this application is for Form 990-BL, 990-PF, 990-T, 4720, or 6069, enter the tentative tax, less any nonrefundable credits. See instructions $ NONE b If this application is for Form 990-PF or 990-T, enter any refundable credits and estimated tax payments made. Include any prior year overpayment allowed as a credit, , , , , , , , , $ NONE c Balance Due. Subtract line 3b from line 3a. Include your payment with this form, ~or,~if required, deposit with FTD coupon or, if required, by using EFTPS (Electronic Federal Tax Payment System). See instructions . $ NONE Signature and Verification Under penalties of perjury, I declare that I have examined this form, Including accompanying schedules and statements, and to the best of my knowledge and belief n Is true, correct, and complete, and that 1 am authorized to prepare this form

Signature 00, Title 00- ~ Date 10, For Papervvork ctlon Act KotIceK See Instruction 68 (12-zooo)

JSA 2F8054 1 000

72HOTJ 1534 10/31/2003 14 :25 :43 V02-8 1