Flower City brampton.ca t j.+> Report City Council Date: February 1, 2010 , MAR f 0 DATE:. 2SSL File: F66 Subject: Funding Contributions - Art, Culture and Theatre Contact: Steve Solski, Manager, Art, Culture and Theatre, Community Services

OVERVIEW: • The Art, Culture and Theatre division of the Community Services Department has applied for funding under the Arts Presentation Canada program, from the Department of Canadian Heritage. • The Theatre has requested $75,000 to support the programming of diverse, quality artistic experiences for the 2010/2011 Rose Theatre Presents Series, and the Arts Adventure Series. • To complete the Grant Submission, a Council Resolution of support is required.

Recommendations:

1. That, the report from Steve Solski, Manager of Arts Culture and Theatre, dated February 1, 2010, to the City Council Meeting of March 10, 2010, re: Funding Contributions - Art, Culture and Theatre, be received; and

2. That, Council support the Theatre's 2010-11 season application for an Arts Presentation Canada funding contribution, under the Artistic Direction of Theatre Manager Steve Solski, and that he is the contract signing authority on behalf of the City of Brampton Rose Theatre submission.

Background:

In the summer of 2001 the Canadian Government announced a $580 million program to help support the presentation of performing arts in Canada. Funding was made available under a number of different programs to successful applicants who demonstrated leadership in the presentation of the performing arts and who brought diversified programming to their communities. This program is administered under the Department of Canadian Heritage. t V- ** The City of Brampton Theatre's have received annual contributions totaling $350,000 in funding from the Arts Presentation Canada program to support the Series presentations at both the Heritage Theatre and Rose Theatre since 2001.

Current Situation:

The Manager of Art, Culture and Theatre, has submitted an application to the department of Canadian Heritage for a $75,000 funding contribution from the Arts Presenters Canada Program for the 2010-2011 Series at the Rose Theatre. This grant has, in the past, allowed the theatre to access funding from the Federal government to increase the diversity and accessibilityof the professional entertainment series to a broader audience.

As part of the application, a Council Resolution is required in support of the Rose Theatre grant submission to the department of Canadian Heritage.

Financial Comments:

If successful, money received from the contribution would be operating revenue to support the Rose Theatres 2010/2011 season.

Steve Solski Manager of Arts Culture and Theatre Community Services Department

Agreed:

Jamie liowery Commissioner Community Services Department

-• 5.2 Funding Application General Information /

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FUNDING APPLICATION DEMANDE DE FINANCEMENT GENERAL INFORMATION RENSEIGNEMENTS GENERAUX INSTRUCTIONS INSTRUCTIONS Pleasecomplete partsAandB,signanddatetheform inpartC. Rempltr lesparties AetB, signer lafbrmulalre et inscrire ladate a lapartte C. !-MptiGfli BjMiMRiBii ^m* INCORPORATED NAME/ NOMDE LASOCIETE r« rpor* iio* Usual Name/Nornuauel I A Previous Name ofOfganijlanizatfcm 1Anciennom de Porgsifisme

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Contact Person'sNameforOfficial Correspondence Nom de lapersorme-ressource pourconespondance offictefle Mr. • Mrs. • MS. TtitolTt,/T*a Mme. Mtle. V~ StreetAddress (Street, City. Provnce/Tenttory, Postal Code) Waning Address(ifdifferent) / Adressepostale(sidtffi Adrssse(rue.vflle. provhce/territo&re. code postal)

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I AFFIRM THAT the Information Inthisapplication is accurate and complete and the JAFFtRMEQUE les rensefgnementscontenus dans la presente demande sent exacts project proposal, fndudmg plans and budgets, are fairly presented. I agree that once et eomptets et que Ie projet y compris les plans et les budgets, est correctement funding is provided, anychangeto the project proposal will require prior approval of me presente. J'acceptequ'une fois Iefinancement foumi. toutemodification au projet devra Department Iagreeto publicly acknowledge funding andassistance bytheDepartment, etre approuvee au prealabie par Ie Ministere. J'accepte de faire etat publiquement du inaccordance with the termsof the funding agreement. I also agree to submit a final financement et de ralde du Ministere. conformement aux modatites de raccord de report, andwhererequired, financial accounting forevaluation of the activity funded by financement J'accepte egatement de deposer un rapport final et au besoin la theDepartment I understand that the information provided Inthis application may be comptaMite generateaux finsde revaluation de racttvite flrtancee par Ie Ministere. Je accessible under theAccess to Information Act. I alsoagreeto respect the spirit and comprendsque les renseignementsfoumis dans la presente demande peuvent etre intent of the various acts governing the programs of the Department of Canadian cfivulgues en vertu de la lot surreccesA/Information. J'accepte en outre de respecter Heritage. I'esprit des diversastotsreglssantles programmesdu ministeredu Patrimohecanadien.

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FOR CANADIAN HERITAGE USE ONLY ARTS PRESENTATION CANADA - PROGRAMMING COMPONENT File number

Program and Applicant Identification De&dSns Presenter Organizations and Arts Festivals { 1.Name oforganization: S*~ ~A jf II ~7~1~~/. / /) 75 &} i/l*C4 3.Typo of programming: 4 Amount requested: fcJJ^eries/ Season 0 Arts Festival ^TyOOO S.Directorrofpraanlzaticn J^Mr. DMs.%.

6.Personresponstble for programming^ Mr. DMa. Telephone JJX. 7.Number of employees Paid Unpaid (volunteer) Full-time ? r~ Part-time 7~T Full-time Part-time3^ ^ e.Spedfy the typs of presenter 9.Wh!ch dlsdpilne(s)does the organizationfocus on:

0 Specialized Presenter DMusic DDance CTheatre CVisualArts DLiterature DMediaArts ^Jrtuiti-cfiscipftnary Presenter DOther(pleasespecify) 10.Does the organization serWderrtify with any of the following categories: (This section assists the Department in determining the breadth of rtsprograms reach,itis not,however, mandatory to answer.) ^ Young Audiences ^Cultural diversity 0Aboriginal 0Official language minority DRural or remote regions DNone 11.Isthe organization targeting anyofthe following audiences: ^.Voung Audiences ^Cultural diversity • Aboriginal • Official language minority DRural or remote regions 12.Presentatlon venues to be usedbytheorganization forthis request* Capacity Indicate (V)whether the space is Name Your own Rented Outdoors Other (specify) ^^-7/aJrAt 1Z5 \L

• If the programming activities take place in a venue other than those mentioned, give details In the application. If more space isrequired to listallpresentation venues, attach a separate sheet 13.Write a brief description ofthe programming in this box. The description may be posted on the Canadian Heritage Web she if the applicant receives funding. -> .

14.Timeframe v '• Start and end date of the proposed activity: Yourfiscal year in which the programming will be Included: (YY/MM/DD) (YY/MM/DD)

From 15. Namene 6fof authorized sianatorvsignatory f>*lr.C^Hr. 'r/M*.[JMs. ^/^c^^e -S/s^i • r I++ The Rose Theatre, Brampton: APC application 2010-11

Arts Presentation Canada 2009-10 - The City of Brampton Application Questions 1-10

A Relevance and Quality of Programming (30%) /. Whatis your artistic vision and how does yourproposed programming address it?

2010 -11 will bethe City ofBrampton's 25th season of presenting professional performing art. As the public face of our city on stage, we have a tremendous responsibility to remain in tune with our changing community and its diverse needs.

Over the past two decades, the programs at Brampton's venues and facilities have been the front line expression of our objective to reach out to the community on its terms. Our programming goals for the future reiterate the intent to know and be responsive to our community and its ethnocultural makeup. The Rose Theatre, our flagship arts complex which opened in September 06, is clearly and obviously interested in an increasing percentage of culturally diverse programming, which includes a high percentage of work created outside our province and also outside Canada.

We also have a vision of Brampton as an outstanding community within a region of strong peers. The Rose Theatre has a stated mandate to become a leader in programming, and this is expressed by our intention to increase our programming reach by developing relationships with agents and managers outside Canada who are strong and knowledgeable conduits for great artists. The theatre is positioning itself as a significant stop on the international circuit, and we therefore expect that as its reputation for excellence and success grows it will also become a natural magnet for emerging artists who can capitalize on our loyal audience base.

Our Festivals events and activities have strong historical roots within the community, and we build on that groundwork as we are in the process of developing new event concepts for our outdoor Garden Square site, among others.

Our internal resources and staffing positions related to Arts and Culture are now under specific review, as they have been periodically since the advent of Vision Brampton in 2003. We continue to refine our understanding of what strategies are needed as our population evolves rapidly.

The cultural vision for the City of Brampton has, at its heart, the development of the new, $55­ million dollar Rose Theatre, which had its opening season in 2006-07. A stunning, state-of-the­ art performing arts complex in the heart of the vibrant old City, The Rose Theatre was built to exacting standards to deliver world-class entertainment to Brampton's growing and diverse audiences. The Rose Theatre features two performance halls designed for live theatre, musical theatre, dance, and concerts, as well as broadcast production, corporate functions and social events. The Main Hall is an 880-seat proscenium theatre with a full fly tower with 40 line sets and a 90 ft. x 45 ft. stage area with a 40 ft. x 18ft. proscenium opening. The Studio Theatre is a multi function venue perfect for cabaret style performances seating up to 130, or traditional theatre style seating 160. It is an ideal venue for receptions, corporate events, rehearsals or general assemblies.

This Centre represents a first step for the City ofBrampton in defining itself as a significant urban centre in the Canadian Arts and Cultural sector. In addition to this inherent impact, and as part of the planning process, analysis of the local area and regional competitive markets created a model that informed the size and configuration of the theatre with respect to its potential uses, and therefore how closely it would be tied to local uses and needs. The City sought to maximize the

1 > J The Rose Theatre, Brampton: APC application 2010-11 frequency with which people can visit the venue in one season, thereby contributing to community pride, ownership and sense of place. The programming model also sought to maximize the potential to attract a variety of community constituents from the performing arts sector, the business sector, and the television and film broadcast sector.

The advent of the Rose Theatre, necessitated a growth curve in all areas. The successful changeover spurred us to take more risks and aim higher than ever before. As well, we gained a new artistic vision and feel for the potential of the organization, and fostered our independence as a presenting body in the course of reevaluating our role in the community. Much of this attitude is exemplified by the vision statement for the Brampton Theatre Office's programming group:

Theaudience developmentteam creates opportunitiesfor members ofour community to experiencepersonal developmentand growth through life-long exposure topositive arts experiences. We achieve this throughworkingcollaboratively with other departments, including operations,production and the in Public Relations Officefor the seamless delivery ofarts experiences. We accomplish this by:

• Selecting high qualityperformances based on existing community desires with an eye towardsincludingthe best internationalperformances and emerging artists • Actively informingour community using all available resources and tools to ensure audience growth and diversifiedparticipation • Increasing our audience relationships andgrowth through directpersonal contact with current andpotentialpatrons • Acceptingfeedback and responding to the community's reactions to their Arts Experiences

We recognize that we are accountable to ourpatrons and community, taxpayers and the Cityof Brampton, reflectingthis awareness through on-goingre-examination and improvement ofour processes.

As a result ofthis vision statement, our aproach to programming is always about inclusivity, diversity, growth through building on success, and the education of our core audience through building loyalty and through a progessive programming arc.

Whatare the relatedsuccesses/challenges and lessons learnedfrom the previous year's programming?

There is no question that the third year after the launch of a new facility is a benchmark year. Comments from staff at the Rose include observations like "the honeymoon is over". With the energy inherent in the launch largely dissipated, we are free to explore new directions and react to the situation at hand. In 2008-09 major challenges were:

• The global economy and ticket sales in Ql 09

The opening quarter of 2009 saw a dramatic drop in ticket sales, in the context of a season that began with strong sales and subscriber response.

Sales for 2008-09 generated more record breaking figures when the new season went on sale. It took only a few days after the May 25 subscribers only release for ticket sales to hit the 500,000 mark - a benchmark that it took 3 months to reach for the 2007-08 season. The initial sales represented a 65% jump for the current season which features 20 more shows and performances compared to last year. tf ' The Rose Theatre, Brampton: APC application 2010-11

New strategies including multiple performances runs, and regional premieres seemed to be manifesting in a strong sales season, with audience levels at record highs. However, the Christmas season was quite soft, as well as sales in to the first quarter of 2009.

This manifested in several shows selling well under expected levels - in particular The Drowsy Chaperone which did not achieve 50 % cap, and Dervish which reached only 284 seats sold. Say Goodnight Gracie and Ache Brasil also suffered. Happily, there were also success stories like the Peking Acrobats at 813 or 94% and Forever Tango at a solid 75%

• Market conflicts within programming

For the first time, the presence of the casinos and their clear cutting programming policies is being felt in the region. At present, the field is confined to Casinorama, Casino Niagara and Niagara Fallsview, all within 90 miles and all competing for top price music and comedy artists. However, the planned expansion of Casino Windsor, which is scheduled to take place in early 2008, is also disturbing as it brings yet another 5000 seat 'entertainment centre' into the region. These resort destinations are operating their entertainment at a loss, and absorbing that into a general marketing strategy which develops them as reasonably priced destinations. Ticket prices - often $25 or lower - make ours seem uncompetitive by comparison. The type of programming they are engaged in is not progressive, not responsive to community needs, and hasn't generally reached beyond music and comedy. However, in recent months we've seen a branching out into dance, world and aboriginal festivals, circus and some theatre. This problem can't be overstated for a facility like the Rose that relies on high profile shows to drive subscriber sales. Artist contracts at the casinos are negotiated at top fees only, and high rotation can easily mean multiple shows within 6 months. So agents and managers are very loyal to these bookers, and will not challenge the 250 km exclusion clauses they require. Where we were once able to compete for artists and fees by ganging up two disparate artists (emerging and established) from the same roster in an if...then situation, we now have the potential to be completely locked out of the high end game. And they continue to encroach on our established favourites, with recent artists like Natalie McMaster being offered at $25 and under, less than what we have had to charge.

As well, in terms of direct audience competition, although the distances are enough to create discrete audiences, the casinos are catering to a tourist based crowd, which often intersects with our patrons.

We need a strategy - or a strategic intervention - to deal with this situation. It would be helpful in provincial funders would expand their definition of tourism related activities so that presenters like the Rose could take advantage of their destination based support. On a national level, this must also be a concern to the sector in general.

• Evolution of human resources within the department

We are also challenged in developing our staff. We have identified a need for a strategy to provide more leadership and support to the groups developing arts and cultural programs in the city, by addressing a lack of capacity in staffing, development, policy and planning and the need for restructuring. There is also a need for enhanced communication and development of partnerships and service connections with other public and community services providers. "(/-V'^ X The Rose Theatre, Brampton: APC application 2010-11

As a result, new staff positions that will be developed and filled in 2008 include a marketing coordinator and a group sales associate.

2 How do your artistic choices relate to APC objectives

Brampton is highly focused on programming and development that aligns with APC objectives, in large part due to our community profile. We consider the following to be benchmarks of our program, and essential to our operations:

• Youth programming through our immensely successful Arts Adventures series, and family programming integrated into our professional entertainment series.

In Arts Adventures, we offer one of the most exceptional programs for school children available in Canada. The series included the Mayhem Poets (a huge success), the internationally acclaimed Mermaid Theatre of Nova Scotia, Companie Sursaut and Jamie Adkins' Circus Incognitus from Quebec.

2008-09 saw a new initiative to bring world music to the series, with the Dhoad Gypsies of Rajasthan and Ache Brasil included in the second half of the season (Feb 09). These shows fell victim to the economic climate and had to be cancelled. We will continue to include culturally diverse work in the series - as more mainstream porgramming (Conrap Flapps) also schedule in Ql 09 was affected as well. Overall, 2008-09 saw 15 performances, with attendance of close to 6,500 for the series, which is in line with previous years' attendance.

This very succesful series is always well received. Here are teacher comments:

"The childrenare already asking when we can come again!" KRT Kiddies Kollege

"TheRose is beautiful! Children'sreactions show we will comefor anotherperformance soon!" Roberta Bondar P.S

"We would definitely visit again. Theplay was discussedfor the rest ofthe week!" Homestead PS

Protocol for the school shows consists of: • Two scheduled shows a day, generally morning and afternoon. • A'No Worries' reservation process with no deposit required. Seats are booked by phone or email, and teachers receive confirmation. Payment is collected one week prior to the performance when tickets are hand delivered to the school. • One free teacher/parent volunteer ticket is provided for every 10 students attending. • A draw from attending schools for a free in school workshop. • A monthly 'E-Newsletter' for teachers, with a performance update and including content generated by students • A September teachers gala with cocktails and appetizers, which provides a sneak preview ofthe upcoming season • Personalized meetings with Theatre personnel on site at the schools. • Arts' Adventures on the Road Program: In its second year in 06-07, this special program provides in school performances and workshops with schedules and content tailored specifically to the participating school. In fact, we have become heavily involved with pairing local schools with artists directly for school shows - in effect facilitating an X-7

J- Tne Rose Theatre, Brampton: APC application 2010-11

'artists in the schools' program for the local community without officially taking on this role. • Backstage tours ofthe Rose for students interested in the technical aspects of producing a show.

We also provide a Performance Package for each teacher, which includes: • a Study Guide from the performing company to help you prepare the students before attending the performance • a map for the bus driver • a detailed seating chart outlining where your school will be seated • tickets, and • a post-performance survey for you to provide us with feedback on what you thought about the show. The survey responses are invaluable to us and become an integral part of the changes, programming and operations for the Arts' Adventures Series.

Family programming integrated into the regular season programming included Anne and Gilbert, Squid Precision, The Nutcracker, Circus Incognitus, Peking Acrobats, Mayhem Poets, Dhoad Gypsies, Ache Brasil,

• Culturally diverse and OLM programming available through our regular season and also in our outreach initiatives

2008-09 saw an increase in sales for world music and culturally diverse art forms during our regular season. Particular performances included: Ache Brasil Dhoad Gypsies of Rajasthan Peking Acrobats Luis Bravo's Forever Tango Orchestra Havana Old Stars African Footprint Companie Sursault Circus INcognitus

• Support for Emerging Artists and projects not identified with the mainstream

2008-09 saw Vox Lumiere's The Hunchback of Notre Dame, the interdisciplinary project featuring projections, voice, physical theatre and song, is a pefect example of an emerging genre and artist. Our drama series was filled with pan Canadian theatre, featuring innovative and socially conscious themes - God's Middle Name, So Many Doors, An Evening with Uncle Val, Sunshine and Shadows, and Five Hole from One Yellow Rabbit. We also have a well established dance series which welcomed the State Ballet of Russia this year in Cinderella, and Argentina's Forever Tango.

• Mentorship and programming assistance to community festivals and local groups to increase the number of professional performance opportunities available to artists in Brampton The city mentors and programs several festival events throughout the summer that take place in open air or public spaces, and feature professional entertainment. These include:

Theatre Led Festivals ciM-i° ; The Rose Theatre, Brampton: APC application 2010-11

Art Film and International Film Presentations ­ Summer Theatre Festival TheBramptonIndie Arts Festival Brampton Arts Fair

City Led Festivals Canada Day Festival New Year's Eve Celebrations TheNitty GrittyFestival The Santa Clause Parade TheFlower City Parade Doors Open Brampton

Community Festivals - held on city property and given staff resources. The municipality's support for these events often takes the form of advertisement buys - banners, print ads, posters - that represent a significant contribution to the festivals budget. There is always a municipal staff presence at the events. The Air Jamaica Festival The Savannah Festival ofRhythms - www.savannahrhvthms.ca Carabram - wwvv.carabram.org JerkFest - www.jerkfestival.ca Classic Carsand LegendaryStars TeddyBear's Picnic RotaryClubofBrampton Rib'nRoll

• Increasing Culturally Diverse Performances

Our season included the first South Asian Festival held in Brampton - the Rose Festival - in summer 2008. Although not included in our progrmaming sheets, this high profile outdoor event featured a full day of music and dance programming in the newly reconfigured Garden Square, right in front of the Rose Theatre. This free festival aims to be a highly visible gathering, attractive in the best sense, which takes advantage of the farmers market type foot traffic in the core during summer weekends, and served as an introduction to this important heritage for those who have not yet experienced it.

The producers were Cre8tiv80 Studios and Canadian Community Arts Initiatives ­ www.cre8iv80studio.com - the local founder and producer of the tremendously successful Mosaic Festival of South Asian Heritage, in , which is the largest free outdoor multidisciplinary festival in the region, now in it's third year. Dedicated to multidisciplinary art practices, the CCAI are consultants to a variety of sectors in the cultural industries. They have produced visual arts workshops and programs, music festivals, heritage festivals, and maintain extensive ties to the many diverse ethnocultural organizations in the Peel region.

• Comprehensive audience development and outreach focus

We have made audience progression within the specific areas that align with ape/heritage support a priority. As you will see from our proposed programming wishlist for 10-11, we intend to maintain a level of activities in the theatre, dance, young audiences, emerging artist, jazz and world music areas that is not viable without support. As our artist fees rise each year, we face a mounting need for support for this type of programming. As a result, we are making a request for our APC grant to increase to $75,000 this year. I

Our goal is to continue to increase the quantity of dance, world music, jazz, theatre and young audience shows that expose our patrons to the best that these genres have to offer. To that end, we propose to maintain our current levels of artists fees in these particular categories, which total of approximately CAD $275,000 and to increase our involvement in them with new strategic activities developed in response to demographics and community needs.

B Impact of Presentation Activities on Audiences, the Artists and the Community (40%)

3. What are your audience development/outreach activities? How do these, along with the programming activities, retain, expand or diversify your audience and respond to the community demographics?

The City of Brampton is a community of 434,000 people. It is the third largest city in the GTA, and the 11th largest city inCanada. It isthe second fastest growing city intheGTA behind Milton (74.1%) with a 33.3 percent population increase between 2001 and 2006. Among municipalities in Canada with a population over 100,000, Brampton had the fastest rate of population growth over the last five years on a percentage basis.

Brampton is and continues to be a young population with a median age just over 5 years younger than the rest of Canada. About 30% of Brampton's population is 19 years or younger, significantly higher than for Ontario as a whole. Brampton's forecasted population in 2031 (687,132 persons) represents an 111% increase from the 2001 Census population. In comparison, Mississauga is anticipating an approximate 19% increase by 2031, Caledon approximately 65% and the region of Peel an approximate increase of59%.

The City of Brampton has made a substantial commitment of relevance to the community by attending closely to the needs of the various ethnocultural communities that comprise our constituency. The 2006 census identifies 175 ethnic origins in Brampton, with the South Asian population being the largest. Visible minorities accounted for over 57% of our total population in 2006, an 89% increase from 2001. We rank third in Canada in total visible minority population, well above Vancouver or Toronto, and our population is experiencing unprecedented growth - an over 33% increase since 2001. This situation puts us in a unique position where arts programming is concerned. The challenge is to retain our traditional base while creating a welcoming and adaptable atmosphere that engages the many disparate communities.

The most recent reported lifestyle trends, include: • Continued time and energy deficit • High competition for participants discretionary time and resources • Increasing market segmentation ofolder adults • Youth issues at the forefront

• Audience Mapping and Data Gathering

With these statistics in mind, we have been active in audience mapping and data gathering for the last 10 years to track our constituents and understand their needs. We have undertaken:

Data gathering In the second quarter of 2008, the Rose commissioned a client survey designed to elicit reaction to the season, and determine overall satisfaction with the programming, and systems for delivery /7 ^•il ; The Rose Theatre, Brampton: APC application 2010-11 at the theatre. The results were astounding: of 3300 questionnaires sent out to patrons, we received 900 responses, an extremely high rate of response. Overall, the satisfaction rate from these surveys was over 90% and this data was underscored by our record setting tickets sales at subscription time for 2008-09.

Also over this season, we have been working closely with the commissioner of economic development and communications to complete an audience profile of the patron who frequents the Rose, and the type and frequency of their participationwith our programs. We have completedan initial trade area analysisof the audience activity of the Rose Theatre, and have incorporated that information into our outreach and promotional plans for the 08-09 season. It was noted, for instance, that our audience is now drawing more from outside of Brampton than ever before. We still anticipate involving the CCI Ontario Presenting network's audience mapping service in 08-09 so that we can continue to track and understand our base.

Strategic Programming Strategies developed in 2008 included differentiating ourselves by targeting: • Exclusive appearances within GTA or Ontario • Canadian Premieres • Limited Runs • multiple features of artists, in more than one series ­

All of these strategies were very successful with subscribers in 2008-09, which featured more Canadian premieres and exclusive appearances in the season than ever before. For instance, the openingshows (Viagara Falls, a huge hit in the US about aging, The Life and Times of George Burns and Gracie A, and Menopause Out Loud) managed hugely successful sales in longer runs than ever before.

• Youth Outreach

It has been well documented that at risk youth who attend arts and culture programs have relatively high and sustained levels of attendance. Arts help them explore complex issues and further their understanding of the world. The wide range of abilities - from interpersonal skills, risk management, self motivation, conflict resolution and problem solving - gained from participating in the arts helps youth to acquire job skills and transition into adulthood.

Outreach activities, particularly youth oriented programs, include: * Centre Stage: a program to identify local talent for opening acts called Centre Stage, held at the Rose, which highlights and features local tween and teenage music and performing talent, in a live competition format. * The Ontario Early Years R.O.S.E. program, sponsored by Unilever and aimed primarily at children aged 18 months to four years * Yearly March Break festivals, full of free activities for parents and children. * R + J: Brampton is a new take on Romeo and Juliet, in contemporary English with a distinctive, Brampton beat. This youth oriented project took the form of a newly commissioned play, and an extended series of workshops and improvisation exercises, with the ultimate goal of creating a mentored youth company, or mini-conservatory of youth performers who will be involved with the festival over many seasons.

• Development ofthe Garden Square The Rose Theatre,Theatr Brampton: APC application 2010-11

Many second generation Canadians are faced with "becoming a Canadian" and immersing themselves into mainstream recreational activities offered by schools, municipalities and the private sector, The result is acculturation, a blending of cultural tradition and dominant peer activity that is carried through to adulthood. Recreation for many youth in ethnic communities is a balance of cultural values established through participation in traditional cultural recreation activities and the desire to participate in dominant peer group activities. Acculturation has resulted in two trends: the rise in cultural curiosity and the sharing of experiences, and the rise in ethnic-based clubs and associations. We have identified some recreation preferences among ethno-cultural communities, and noted that the general view is that participation in arts and heritage is not typically an immediate priority, but when it does become a factor, these communities may first seek opportunities for participation in their traditional performing arts through the public sector. This is a clear opportunity to create a template for establishing long term relationships across these many ethno-cultural boundaries. Bridging cultural gaps can be framed in many ways, but can always include first contact through traditional arts.

Within a planning context, the creation of a central Historic District (also known as a Heritage Conservation district) with an arts and cultural focus is not only an emerging trend across the continent, but vital and relevant to Brampton's future. The Rose Theatre complex is an anchor for this district, and the development of the Garden Square, and activities presented in this important outdoor space, are vital to the transformation of this once stagnant area. So increased programming in this space, with a mix of free and inexpensive ticket policies, will be an outreach strategy for the next two seasons. This will include the new Flower City Festival umbrella activities which have been rebranded and reconceived under the city's signature moniker since last year. This signature festival is positioned to become the summer calling card for the city, and a means of outreach to those who have not yet been patrons in the ticketed, indoor facility.

Through a variety of consultation activities, staff round tables, workshops and surveys we have determined that about 45% of the respondents are satisfied with the current offering of sports, arts and cultural programs in Brampton, with 27% not. Among Arts and Culture stakeholders, over 97% believe it contributes to a more vibrant community, and just under 80% believe arts culture and heritage respond in a positive way to Brampton's ethnic diversity, bring the multi-ethnic community together in a positive way (73.5%) and support community cohesiveness (73.5%).

Our vision is to lead by listening clearly to the needs of our residents and responding with proactive knowledgeable strategies for involvement and outreach.

• Ongoing Outreach Activities

TheRose Theatre Studio Series was started as an exercise in outreach with a goal of introducing the studio space to the community, by means of eclectic programming for underserved communities in an intimate forum. With a ticket price of $20, the series was launched in the fall of 2007 with 18 events scheduled for the season. Much of the programming reflects a 'late night' sensibility with programs that are laidback, eclectic and have a casual cool.

TheStudio B Series is a post show encounter series which invites the audience to interact with performers form the mainstage. This new initiative includes an interview with questions from the host and the audience, and a video document of the event. 29 artists were scheduled to participate in 07-08. J I The Rose Theatre, Brampton: APC application 2010-11

The Rose Theatre Academy is a two part series of workshops and professional development exercises held in the Studio Theatre of the complex, and aimed at aspiring professionals within the community, but open to everyone.

Webcasting is now being held through personalied interviews and performer appearances in Studio B. Available on our website, these webcasts document performances, allow performers to share insight and process with the community,and serve as a collective memory for the highlights of our seasons.

• Community Partners, and integrating the arts into community life

Our new community development programmer, Konrad Skorupa, now provides a dedicated conduit for community groups and local artists who need access to our facilities, experience and expertise. Konrad, and the development of this new position, provides an invaluable services to semiprofessional groups representing the various constituencies in Brampton. He is able to advise them on facility use, access, development, grants, support and operations, and provide them with contacts outside of the City when appropriate.

Brampton performing arts companies figure large on the Rose's website, as a front and centre banner on the splash page. You can find the following vital local companies and community partners directly linked to our site: Brampton Concert Band Brampton Festival Singers Brampton Lyric Opera Brampton Music Theatre Brampton Symphony Orchestra Brampton Theatre School The Melody Makers Peel Panto Players DYT Productions Synergy Performing Arts Academy

The Rose is instrumental in supporting these groups through preferred rates for facility use, transfer ofknowledge and mentorship.

Brampton also manages the Pearson Theatre, the Heritage Theatre (which is presently inactive) and the Cyril Clark Theatre. All of these smaller spaces accommodate community groups and recitals, and are a vital link to the community.

4. What are your marketing strategies and how do they reach the targeted audiences? (ie communication strategies, promotion, advertising etc)

• Marketing Strategies

Communication Strategies Costin Manu was brought in as the new face of the Rose, and began a series of personalized e- blasts to subscribers and patrons. His commitment to responding personally to email requests, reviews and questions saw immediate results with patrons giving him timely feedback and dialogue about programming and performances. This two way dialogue is often time consuming, but as part of community building, we have found that there is a large appetite for this type of interaction.

Advertising-print media - online

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Our website at www.mvrosetheatre.ca became more popular and relevant as it was constantly updated and refreshed with new material to keep it fresh. Everything from Studio B interviews and webcasts to ticket purchases and community events were added regularly, and web sales now account for a significant portion of both subscription and general purchases. Apart from our house program (newly made over) and season brochure, we rely on a mix of local and GTA media. Our challenges in this area include the fact that there is no Brampton radio station, no daily and no television station, despite the fact that we are the 10th largest city inCanada.

Telemarketing Always an important part of our strategy, our telemarketing department is behind our subscription success. Through a series of direct phone calls to all audience members we have offered to convert single ticket sales into three, four and five show subscriptions with the appropriate discount. During that process we also canvas them about their reactions to the shows, programming preferences, and suggestions. We are able to generate a wish list from this that keeps us in close touch with our audience. We also maintain a customer sales table at every show, and have an onsite booth at any local events in the city.

Promotion For select Broadway and Musicals this season, the Rose offered the "Stay for a Play" packages, in partnership with one of two local hotels. The package consists of a double room for the night, a breakfast and two tickets to the evening performance.

• Development The development cycle for 2008-09 included attracting an official vehicle sponsor, Centre Stage Sponsor, individual series sponsors and individual performance sponsors, all of whom figured prominently in marketing for the season, and whose contribution was factored into the municipal contribution portion ofour budget.

On the patron level, the "Take Your Seat" campaign, offering a personalized name plate at the theatre for a very modest contribution. This was disseminated through the house program and also through subscriber services, as it was offered at the time of subscription. Contributors are offered names and/or messages on seats as well as a commemorative pin and tax receipts.

Brampton is faced with a number of marketing challenges that are unique to this community. We are particularly close to Toronto, which presents two discrete problems: Firstly, we are unable to take advantage of that audience. There is a lack of substantive crossover between the two, because of the perceived distance. Secondly, we are subject to the high marketing costs associated with that large market, because of a distinct lack of local media. Theatres like Centre in the Square (Kitchener) have access to outlets like a local newspaper, radio station, and tv station. Brampton has none of these, and the local is not a daily. Local audiences are reliant on GTA newspapers radio and tv for arts coverage. So we are in the position of purchasing advertising at downtown Toronto prices, for a much smaller potential audience

Brampton does not have a comprehensive regional tv service like CHEX (a regional tv station, based in Peterborough, which services the Durham region and east.) We are forced to work with outlets like CHFI - where ads are lost beside clients with much larger budgets, and our ad rates are still double or triple those of our peers in Guelph or Oakville. These cost equations have particular effect in the APC priority areas where ticket revenue is consistently low.

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So our marketing must necessarily include a grassroots component to counter the effects of the less than local ads. With the hiring of our new programming and audience development director, Costin Manu, now complete, we have begun to once again rethink our personalized response system at the Rose, and include him in the mix. Since the advent of the Rose we have developed an email list of over 1000 addresses from our general mailer that we now use to publicize upcoming shows. The end result has been a targeted campaign to create a direct line of communication between Costin and our core audience. In a series of emails and personal appearances at preview events, Costin has presented himself as the personal face ofprogramming at the Rose, and made himself available for feedback on issues of programming and outreach. The results have been very positive, with immediate response to shows (mostly positive) and comments on the direction that has been taken: via email: Dear Mr.Manu Justwanted to drop youa line to say howmuchwe enjoyed Circus Incognitus yesterday at the 1.00pm show. Mr Adkins was entertaining and humorous and from the crowd around us they must have felt the same. via email: Congratulations on an excellentprogram this past yearandon a well run theater. Iam a subscriber and am looking forward toenjoying more shows atthe Rose next year. Iam planning a out-of-town trip in May and would like to be in town inorder notto miss the season premier reception. Iplan to order a large numberof ticketsagain. When (exactly orapproximately) isthis year's reception going to be held? Ineed this information inorderto plan my trip. via email: Igotto see Bowfire today. Oh my GOD!! Bowfire would definitely go on my list of top 10shows ever!! It was unbelievable. Iwas chokedup, Igot chills..the whole9 yards....SPECTACULAR Ijustkept saying..."Holy Crap" It's ridiculous howgoodthey are!! via email: Costin, Irecently attendedthe GeorgeCarlin show at the Rose. Ienjoyedthe show butwas absolutely floored by the talentof the opening actVance Gilbert. Perhaps you could get himinthe lineup sometime inthe future. Ihave been scouring the internet and found his CDsand have them beingshipped for Christmas.

Please forward this to the peoplewho can make this happen. Thanks again. We are enjoyinghavinggreattheatre in town!

• Subcriber services Our subscriber services have been a focus since 2003. As a result we saw increases of 18% in 03­ 04, 85% in 04-05 and 66 % in 05-06, with similar increases in the past two seasons. These large figures are attributable to the creation and growth of our new system of developing and maintaining subscriber loyalty, which includes Costin Manu's personalized system of previews.

• Telemarketing The five year old telemarketing division we have developed has been extremely successful in changing casual patrons into long term supporters. Through a series of direct phone calls to all audience members we have offered to convert single ticket sales into three, four and five show subscriptions with the appropriate discount. During that process we also canvas them about their

12 u^1he Rose Theatre, Brampton: APC application 2010-11 reactions to the shows, programming preferences, and suggestions. We are able to generate a wish list from this that keeps us in close touch with our audience. We also maintain a customer sales table at every show, and have an onsite booth at any local events in the city.

• Print Media Our focus in local print advertising is mainly with the Brampton Guardian (a free, thrice weekly paper). We are looking towards other regional options. To face the challenges listed above effectively, we are considering a strategy to capture the 19 - 25 year old demographic through university and college newspapers - underscored by stats that say that students read university newspapers more than any other kind of publication.

• Online Services 2006-07 saw the launch of our autonomous website with purchasing functionality. Plans to explore online ticketing were delayed, but the system was launched successfully, and online sales now account for over 20% ofoverall sales, and growing.

Since the new theatre is webready, we are exploring our capacity over the next season to podcast. We'd also like to institute a speakers corner booth with reactions to every show, and upload it to an interactive website. This is the next area which will allow us to access local non-subscribers, and we have had good results in the past with strategies like stealth marketing through online chat groups, fan sites and other local forums.

5. Whatpresenting conditions and opportunities are you offeringprofessional artists? (ie contracts, fees, working conditions, venue, artists' visibility in marketing andpromotion, artists'feedback)

In terms of working conditions, our 2008-2009 season will be about continuing to improve the performing space, and develop the outdoor space, so that our programming can progress accordingly. At the moment, our technical costs to host high end artists are extremely high. As evidenced by our budget numbers, the technical and front of house costs category includes large amounts for rentals to subsidize the equipment that was planned as in house capabilities, and then removed from the final budget before the opening of the centre. Costs reach close to CAD $300,000 on an annual basis. The Rose is slowly acquiring the equipment it needs to fulfill its original mandate of a cost effective, technically advanced space. For the moment, though, this has particular impact on multimedia or interdisciplinary artists, larger or more technically advanced shows, and rentals to local producers.

In general, our dealings with artists maintain a high level of professionalism, and reflect industry standards and timelines acknowledged internationally.

We issue letters of intent in advance of formal contracts to hold dates where necessary. Overall we are dealing through agents and managers who understand the booking process. We prefer to contract internally on our own contract form, which allows us some flexibility to deal with artist requests like technical requirements up front, by defining the terms of the engagement clearly and in a timely manner. Contracting is often undertaken close to a year in advance, depending on variables like the dates of the major booking conferences in the US and Canada. We are able to offer deposits when required, and in return are able to demand an amount of commitment necessary to facilitate our marketing schedules. We are also able to clarify specifics like liability insurance and technical capabilities early on the game.

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There is no question that we have been able to offer a top quality working environment for our artists, who continue to enjoy a state of the art venue coupled with consistently ample audience numbers. Our challenges have predictably included transitional issues, particularly in those areas of training, staffing and technical capacity. However, we have had wonderful comments from artists about the hall: for example, Canadian superstar Jann Arden was struck by the wonderful acoustic and mentioned it several times from the stage.

6. Describe how your presenting partnerships integrate the arts into community life, if applicable

As a stated priority in the city's latest official plan, (Vision Brampton: Six Pillars supporting our great city (2003)), culture has been elevated to the forefront ofthe city's economic development plan. The Rose was envisioned, planned and built by the city, for the city, without any support whatsoever from other levels ofgovernment. In Brampton's municipal policy, cultural planning is seen as a transforming and uniting activity that is not only consistent with successful growth management, but that leads consensus and network building across the city's divisions. It is a model for identifying issues and opportunities for successful civic leadership.

The latest specific recommendations that arose from the consultation process for the draft master plan in Parks Culture and Rec are indicative of the direction the city is eager to adopt. They indicate the importance ofcollaboration within city departments and policy areas:

• Incorporate contextual data, input from consultation participants in the Environmental Scan, and the recommendations of the Gap Analysis within appropriate sections of the City of Brampton Master Plan for Parks, Culture and Recreation. Further, the Steering Committee for the Environmental Scan and Gap Analysis should assume an advisory role for issues related to arts, heritage and culture in the overall Master Plan.

• Update Brampton's Policy on the Arts to incorporate a clear vision and a strategic focus. Further the policy should more equitably address the respective roles of the City, the Brampton Arts Council, other Public sector agencies, and the business community. The Policy should include statements and procedures better monitor and support its implementation.

• The Brampton's Policy on the Arts should be updated through a facilitated process that involves organizations and sectors that will benefit from and can contribute to development ofthe City's cultural fabric.

• Develop and implement an organizational structure and procedures that support development and promotion ofcultural opportunities in Brampton.

• Develop procedures to encourage local and regional media to support development of cultural opportunities and experiences in Brampton.

• Develop procedures to engage Brampton's business community in support and development ofcultural opportunities and experiences in Brampton.

• Complete the cultural mapping process by: (1) publicizing the existing inventory and inviting other arts and culture related groups, individuals and business to add their information (2) including contact information for all groups (3) mapping services and

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resources in an appropriate geographic manner e.g., by planning area, ward etc., and (4) developing a process whereby this informationcan be regularly reviewed and updated.

• Work with the City's businesses, Planning Department and other City Departments and organizations as appropriate to develop creative clusters and live/work spaces for artists in Brampton's downtown sector.

• Incorporate spaces for a wide range of art instruction and presentation in future community centre and park development.

• Support the City's initiatives to create a heritage zone in downtown Brampton.

• Explore partnerships with new immigrant communities to incorporate new and existing heritage and artistic expression in developing communities and structures.

• Explore initiatives and communication opportunities that will expand the art and heritage community's appreciation of benefits of cultural development to the economic viability and liveability ofa city.

• Identify, in the Master Plan for Parks, Culture and Recreation, the City's official plan, and other relevant planning and development processes, relevant culture and heritage elements that contribute to a welcoming and positive sense of place for the City's residents, businesses and visitors.

• Work with community organizations and municipal departments responsible for community festivals to identify opportunities for these popular events to provide stepping-stones to other heritage and cultural experiences.

As our strategic planning attests, we are committed as a city and as a performing arts centre, to integrating arts into community life.

7. Describe your ticketing policy or pricing model, and explain how it is suited to the market(s) and the local environment

Ticket price is a flexible area in which we continue to explore price point options and bundling incentives as marketing tools. Prior to 06-07, did not offer tickets priced over $49.50. But in audience surveys and through our personal contact strategy with subscribers and others, we found that audiences were requesting more of the higher ticket items like Broadway. Also because of our 04-05 push to increase our loyal subscriber base, we had such an upsurge in subscriptions that our longstanding discount system became a huge liability. Therefore we retooled our pricing levels, and now offer four different price points for single tickets: between $25 - 45, $45 - 65, $55 - 75 and Broadway at $79 - 99. Subscription buyers are able to purchase packages with the following discounts: 3 tickets - 15% off, 4 - 20% off and 5 or more 25% off.

Subscriber incentives are: • one month advance purchase • first notification of new shows • personalized emails with season updates • free ticket exchange up 24hours in advance • quarterly newsletter, a monthly email newsletter

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• invitation to annual subscriber night in May with food and drink and free performance. In previous years we have hosted performers like Pavlo and the Arrogant Worms and Jon Dore (Comedy network) as host. As well, subscribers received a gift - which has in the past been a rose plant, and a double CD compilation of upcoming artists.

We have never charged a subscriber fee. We feel it is due to this aggressive courting of this loyal audience that we now cater to an average subscriber ticket buyer who spends around $550 per season. This growing base of support along with its attendant feedback allows us to constantly check in with what our attendees want. 2006-07 was our first season to reach an over 70% subscription level from a previous aggregate high of 60%, and we remained at that level for 07-08 and throughout 08-09.

Group rates are at 20% off single tickets. We have also found a spinoff from our popular school program which offers tickets at 7.50 per show. This program has been a wonderful opportunity to bus in seniors who aren't generally able to make the evening performances - those in facilities and homes. We are in touch with the directors of such programs and, without advertising, have been able to make substantial inroads to this community.

We still offer the youth incentive program eyego for high school students. $5 tickets are available for all shows to this group. More information can be found at www.eyego.org.

There are also special ticketing procedures for schools and teachers that hold and guarantee seats in the easiest and most efficient way without requiring advance sales.

C. Quality of Management and Financial Health (20%)

8. Describe the role ofboard members and volunteers in your organization including committees. Does your organization have planning documents, ie. A business plan, a strategic plan, or a succession plan? Ifso, please attach copy.

The new strategic master plan for arts, culture, parks and rec in the city of Brampton is available online at www.brampton.ca .

We have been very fortunate to have over 300 dedicated volunteers who contribute to our front of house.

9. Describe your organization's currentfinancial situation. Ifyour organization has an accumulated surplus or deficit ofmore than 15% ofits annual revenues, indicate how the surplus will be used orprovide a deficit recovery plan (complete the APC budget template)

Please see the attached APC budget form. The Rose does not have an accumulated surplus or deficit of more than 15% at this time. The municipality functions as a buffer for our budget so that we are essentially balanced at the end of each fiscal year.

D Results and Measurement (10%) 10 In the context ofthe proposedprogramming, identify one or more ofthe APCexpected results (section 1.2: programming, audiences, conditions, and opportunitiesfor artists, and partnerships) thatyou are best equipped to measure. What activities willyou do to achieve the results? How willyou use performance indicators to measure the expected results?

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Expected Result * An increase in a variety of programming that will be reflected in more diverse and challenging art forms for both the professional entertainment series and the arts adventures series.

Activities Proposed 1. Expand the non-traditional performing spaces, particularly the Garden Square, and use them as forums for programming targetted to outreach. 2. Contribute to audience development by continuing to program emerging artists, challenging art forms and diversity of cultural experience 3. Increase the technical capabilities ofthe main theatre to attract new artists. 4. Build a bridge to those sectors in our audience receptive to this type of art form Identify and target region communities also interested in this type of programming

Performance Indicators 1. Targeted marketing techniques like phone and print campaigns created specifically for these events 2. Event reports completed for each presentation, including informal audience surveys including anecdotal evidence ofaudience response. 3. A goal reached of increased tickets sales to our target areas, which results in decreasing levels to municipal support and increased autonomy. 4. A goal reached of maintaining our commitment to innovative productions in each ofthe following areas: dance, world music, theatre and young audience, and developing audiences for these areas. 5. Increase our audience's receptivity to these events resulting in a stable patron base for upcoming seasons.

How willyou use Performances Indicators to measure the expected result? (complete table ofresults and measurement)

Audience mapping, refining our audience response system, targeted telephone surveys, informal and anecdotal research through presence at events, statistical evaluation of event success, including compiling audience numbers concerning ticket sales and subscriptions. We will be looking for an increased buy in in the areas of tickets sales, show satisfaction, and general attendance. We will also be looking for increased audience diversity and percentage ofnew patrons.

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