building creativity
April 2013
Renovation Feasibility Study
Orpheum Theatre Wichita, KS
Webb Management Services Inc. 1 Orpheum Theatre Renovation Feasibility Study
table of contents 1.#INTRODUCTION#...... #3! 2.#THE#ORPHEUM#THEATRE#...... #4! 3.#FACILITY#SUPPLY#...... #6! 4.#RENTAL#DEMAND#...... #9! 5.#AUDIENCE#DEMAND#...... #11! 6.#PROJECT#BENEFITS#&#IMPACTS#...... #15! 7.#FORCES#&#TRENDS#...... #16! 8.CONCLUSIONS/RECOMMENDATIONS#...... #22! 9.#OPERATING#GOALS#...... #24! 10.#PROGRAMMING#&#PARTNERS#...... #25! 11.#FACILITY#MANAGEMENT#...... #26! 12.#GOVERNANCE#&#STAFFING#...... #30! 13.#PRODFORMA#OPERATING#BUDGET#...... #33! 14.#ANNUAL#FUNDING#...... #36! 15.#ECONOMIC#IMPACTS#...... #37! 16.#NEXT#STEPS#...... #41!
Appendix A: Study Participants Appendix B: Activity and Financial Summary Appendix C: Facility Information Appendix D: Market Description and Analysis Appendix E: Comparable Markets Appendix F: Customer Survey Appendix G: Comparable Projects Appendix H: Pro-forma Operating Budget Appendix I: Economic Impact Multipliers for Sedgwick County Appendix J: Critical Path Plan
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1. introduction
Webb Management Services, Inc. is a management consulting practice for the development and operation of performing arts facilities. We work for government, schools, developers and arts organizations on facility feasibility, business planning and strategic planning. The practice was founded in 1997 and we just started our 298th assignment. This is our first assignment in Kansas, but we have worked on a number of renovation studies in communities like Wichita that will inform our work.
The situation, as we understand it, is that the organization running the Orpheum Theater wishes to pursue the completion of the theater’s renovation. To that end, they have engaged architects and planners to develop a concept and budget for the fully realized vision of what the Orpheum might become. This includes substantial work in public space, the auditorium, the stage, and significant expansion of backstage areas. And the early budget for this work suggests a capital campaign of up to $50 million (including a large endowment). Before proceeding any further, the leadership team wishes to confirm the validity of the renovation in terms of market issues and the potential role and impact of the project as a community development effort. In addition, there is the need to develop a preliminary business plan for renovated facilities, considering how they might be programmed, operated and sustained.
In order to complete our work, we have completed a comprehensive set of interviews with internal and external stakeholders (List of interviewees attached as Appendix A), collected market, activity and financial data, toured facilities and researched comparable projects. Thanks to all of those who participated in the effort, especially Orpheum staff for their help with logistics and our extensive data collection effort.
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2. the orpheum theatre
The Orpheum Theatre opened in 1922 as a vaudeville house and then converted into a movie palace seven years later. It is architecturally significant having been designed by John Eberson as his first atmospheric theater. The mission of the Orpheum is “to serve our community by providing performing arts and educational opportunities in a nationally recognized historic venue.”
After many years of operation, the theater closed and was deteriorating rapidly before a group of community leaders stepped in to save the building. The theater re-opened in 2000 and was gradually improved, with $4.5 million raised and spent on the marquis, restrooms, concessions area, lobby, dressing rooms, fire escapes, wiring and the stage roof. The theater is now quite functional for a range of events, mostly music and film. There are significant physical limitations to the space, though. Patrons complain about uncomfortable seating, lobbies are no sufficient for effective food service, and the room itself is a bit run down. More significant is the small size of the stage and limited backstage accommodations.
An ambitious renovation and upgrade plan has been proposed with the help of Holzman Moss Bottino Architects. This would upgrade the auditorium, add new public spaces and a second smaller performance space, and expand backstage accommodations. The renovation plan does not significantly expand the stage size.
Over the course of our interviews, it became clear that many people in Wichita value the Orpheum Theatre and are committed to the idea that it should be saved and improved for the good of the community. But we also heard some frustration that the effort to complete the renovation has already gone on for so long, and there is some skepticism that the requests for financial support will ever end. In addition, most of the complaints about the theater were about very basic things – like uncomfortable seats.
Appendix B includes a spreadsheet that summarizes activity in the Orpheum over the past three years. Here is a quick summary.
The most important fact is that the theater has been fairly busy over these three years with an activity presenting program and some rentals. The focus of the presenting has been on commercial music (pop, country, jazz), then film, some variety acts and then a few nights for more traditional cultural programming. There are additional private rentals, but the number has dropped off a lot since 2010.
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The average income per attender is based on a net number (box office proceeds less direct costs), and shows the extreme variability of these various programs over time. It is notable that the best margins are now for private events, and the worst are for films. What is deceptive there is that those margins do not account for food and beverage income.
Appendix B also includes a summary of budgets for the past three years. Here again is a brief summary.
We are showing actuals for 2010 through 2012. With the help of staff, we have isolated the operating budget from activities related to the capital campaign for 2012 and 2011. This allows us to show how the basic operation is performing.
The chart shows that while earned and contributed income have both been growing, expense growth (particularly for personnel) has been faster. Part of that payroll increase is due to the fact that the Orpheum now has its first paid Executive Director and Development Director.
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3. facility supply
There are a number of larger performing arts and entertainment facilities in Wichita that are relevant to the Orpheum Theatre and the choices we face there. Appendix C is a summary of all facilities in the regional market.
Facility Map: The first page simply maps the location of facilities, showing the primarily downtown locations of key facilities.
Facility Features: The next chart shows our list of facilities in the region, organized by seating capacity. The chart suggests that the Orpheum has more functionality that most of the smaller facilities, but less than the larger ones. It is notable how many facilities can show films, serve alcohol and change their seating configuration.
Facility Programming: The second chart shows how all of these facilities come to life. What is striking here is how many of these facilities are programmed with music and other pop events, plus the fact that so many of them host private events.
Facility Capacity and Quality Matrix: finally, we have developed a matrix that shows the capacity of facilities against our assessment of their quality. Quality we measure in terms of the eight criteria shown on the chart, scoring between 1 and 4 for each then creating an average ranking. That quality ranking is then shown on the vertical axis of the chart, with capacity on the horizontal axis, as shown here.
The chart shows that the Orpheum has a capacity that fits well within the total inventory, but that there is much to do to bring quality up to the standard of the other key facilities.
Now let’s say a little more about some of these larger facilities that are particularly important.
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Century II is Wichita’s Convention and Performing Arts Center. It is a huge complex that opened in 1969. It includes the 5,000-seat convention hall, the 2,150-seat concert hall and the 652-seat Mary Jane Teall Theater. There is not much going on in the convention hall in terms of entertainment, but the concert hall is home to the Symphony, Opera, Ballet, Musical Theater of Wichita and touring Broadway, as well as other rentals and touring entertainment. The Teall Theater is also used for presenting and rentals for local nonprofits and commercial groups.
The issue with Century II is that meeting and convention facilities are inadequate, and the City has been exploring ways to remedy this problem. This has led some to suggest that the whole complex should be replaced, or that the theaters should be moved elsewhere to accommodate meeting and exhibit facility expansion. And then, the thinking goes, the City should build a new performing arts center somewhere else, or adapt the Orpheum to become Wichita’s performing arts center.
We don’t see these scenarios as being particularly likely, or practical. The performing arts and entertainment facilities at Century II were built to last, and have many more years of utility in them. And others are suggesting that there is a way to expand the convention facilities on the block next door. In fact, management at Century II is developing a plan to upgrade all three of the theaters, including a major renovation of the convention hall to create a better 3,000-seat hall for touring entertainment and community events. The challenge is that these upgrades do not solve the problem that the concert hall is too large for the Symphony and Opera, and it is unlikely that there future audiences will grow to fill these spaces.
InTrust Arena is a County-owned, SMG-operated arena with a maximum capacity of 15,000 that opened in January 2010. Like many arenas, it can be converted down to a 3,500-seat auditorium. They have averaged 16-18 entertainment events a year, working with various promoters to bring a range of acts to the building. They have excellent accommodations for artists and full-developed food and beverage capabilities for audiences. They also have strong partnerships with local radio stations to help promote various acts. If anything, they are like to become more active with entertainment programming as they find their footing.
Hartman Arena is a privately-owned, suburban 6,500-seat multi-purpose arena that is also relatively new to the market. It is home to indoor football and soccer teams, but also a range of dirt shows and then touring entertainment. The owner/operator is a local leader, following his own vision of how to program and operate the venue. In the coming months it will host several entertainment events, ranging from the Midlan Shrine Circus to the Taste of Home Cooking School.
The Cotillion Ballroom is a privately owned special events facility with a maximum capacity of 2,000 that was built in 1960. It hosts concerts, dances, comedy and stage shows, and is available for rent for all forms of corporate, private and community events. The simple fact that the space is larger and has more flexibility than the Orpheum is significant. It has nothing like the quality or atmosphere of the Orpheum, but it does compete for commercial music events.
The Kansas Star Casino, just over the County line some 15 miles south of downtown Wichita, is about to open it’s new gambling facility, which will lead to the conversion of the old gambling hall into an events center. While the original concept (some say promise) was that this hall would be used just for equestrian
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events, the casino operator has now spoken of plans to book and host larger touring entertainment acts at the casino. This is significant because casino showrooms can have a major impact on the regional market for entertainment. They tend to over-pay for various touring acts (which tends to make things more expensive for other venues), and then promote these events heavily as a means to drive business to the casino.
Several have spoken about political pressure being applied through the State to prevent the casino from going down these road, but there does not seem to be a clear or easy path to prevent them from coming into this sector, such that we should consider the casino as another market player.
In conclusion, the key facility issue for the Orpheum is one of competition – for audiences and programs, coming from larger government and commercial sector players. We’ll come back to this issue in Chapter 6 when we compare the Wichita market to a series of others.
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4. rental demand
We met with a series of current and potential users of the Orpheum as a part of our community interviews. Here are brief summaries of those groups and their use the theater.
Wichita Symphony Orchestra: This is a 69 year-old organization with a new Executive Director. They have a $2M operating budget, with about 45% earned. It is a per-service orchestra, meaning that musicians are paid for a fixe number of annual services (rehearsals and performances). They have a large (55-member) board now in transition. And like many other orchestras, they have an aging audience and are struggling with the challenge of declining participation. The Orchestra is based at Century II in their 2,150-seat concert hall. They are generally happy with their home there, but recognize the challenge of selling that many seats. They are potentially interested in using the Orpheum on an occasional basis when that smaller capacity is most appropriate.
Wichita Grand Opera was founded 12 years ago by Parvan Bakardiev, a charming impresario with an excellent background and network in the opera world. He and his wife have managed to build the organization to a $1M operating budget, with 30-35% earned. They are annually mounting 4-6 full-stage productions using a local orchestra (mostly from the Symphony), chorus and ballet, with out-of-town leads.
The Opera is also based at Century II, which works well from a functional perspective but is very large in terms of capacity. There is some interest in coming to the Orpheum, if its significant physical limitations (stage size, pit, acoustics, backstage accommodations, etc.) can be addressed.
Friends University Division of Fine Arts: This local university has a large and growing set of arts programs including music, theatre and dance. They have a season of 50 performances a year, ranging from student recitals to the jazz festival. They have an 800-seat hall, but it’s on the 3rd floor of their Alumni Building and is not very usable. The busiest campus facility is thus their 300-seat Sebits Auditorium. The university already uses the Orpheum Theater for the jazz festival headliners, and has found that to be a good partnership, despite the limitations of the hall. They could well be a more active user if the renovation is completed, particularly around jazz programming. Notably, the University is moving its visual arts program downtown to a pair of building they recently bought, with renovations now underway.
WSU Dance Department: Nick Johnson already partners with the Orpheum to book various touring dance programs. There is some interest in doing more at the Orpheum, but their priority is the development of new and better dance facilities on campus.
Music Theater of Wichita is probably the most successful nonprofit arts group in the community. Founded in 1972, they now have a $3M operating budget with 65% earned. They produce five big musicals each summer and employ 200-300 students in that effort. They annually sell 14,000 seats, 10,000 of which go to season subscribers. They have a very loyal core of supporters – both audiences and donors
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who respond to students and young professionals from all over the country mounting these shows. The group largely takes over Century II for the season, and the facility works well as their home. They have used the Orpheum for their annual awards show, and might use it a bit more post-renovation. But Century II will remain their home.
Grumpy Old Men: This is a very successful affinity group that raises money and presents events in the community. They will typically do one of their three events a year in the Orpheum. They could do more their, but they will continue to do other kinds of events in others facilities given their community service mission.
Here is an attempt to show how much rental demand there might be for an improved Orpheum:
This is not particularly encouraging for the Orpheum. The only group willing to move all of their activity to the theater is a newer, somewhat fragile group whose technical requirements are not likely to be satisfied by the current planned renovation.
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5. audience demand Predicting audience demand and behavior around new or improved facilities is the hardest part of this work. We will work through this be trying to define the market area, looking at the characteristics and trends within that area, comparing this market to other markets, and then listening to current Orpheum customers.
5.1 Market Definition
Here is a map that shows the location of Orpheum ticket buyers, based on data provided by Orpheum staff.
And the following chart shows the range of travel for ticket buyers for each types of event.
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Orpheum Theatre Ticket Buyers by Discipline 2011-2012
Total More than 90 Concerts miles Comedy Dance 90 miles Theatre/Film
45 miles
30 miles
15 miles
0% 10% 20% 30% 40% 50% 60% 70% 80% 90%
The map and chart make clear that there are people who travel great distances for particular types of events, but that most (our standard is 80%) come from within 45 miles. We will thus use that as a key market definition, as well as looking at the City, County and a 30-mile ring.
5.2 Market Characteristics and Trends
Appendix D is a set of charts on those market areas. We would observe as follows:
✲ In terms of age distribution, Wichita and the region are like the rest of the country except that there are fewer in the 35 to 54-age range and significantly more in the 0 to 17-age range.
✲ There are fewer with graduate and professional degrees in the City and the region, but more with Bachelors degrees.
✲ Median household income is relatively low, particularly in the City.
✲ There is some racial diversity in the market area, mostly Black/African-American and Hispanic/Latino groups in the City.
✲ There is not much change coming in the age distribution of the market segments. The older groups will be getting older, but the younger groups stay fairly stable as a dominant market segment.
✲ Median household income is projected to declines between 2013 and 2018.
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✲ Each of the market segments will continue to grow, with the 45-mile ring expected to reach 730,000 by 2018.
5.3 Comparable Markets
We are interested in looking at the number of seats and level of presented activity in comparable markets in order to take a position on the capacity in the Wichita market to support more activity. The following chart summarizes that exercise, worksheets for which are included in Appendix E.
We have chosen these four other markets because of their similar size and distance from larger markets. Within the group, Wichita has the lowest level of educational attainment (percentage having at least a bachelors degree), the lowest median income and the lowest arts/entertainment spending per capita. At the same time, there is more commercial entertainment event tickets being sold in the market than in the other markets, and the seats sold/capita is twice that of the nearest comparable market. And this does not include the potential addition of the Star Casino to the market.
5.4 Survey Results
As the last element of this market analysis, we conducted an online survey of current Orpheum attenders, issued to that list of email addresses by Orpheum staff on December 10. So far, we have collected a very encouraging 660 responses. The results of the survey are attached as Appendix F. Here are some highlights:
✲ Current attenders rate their experience of coming to the Orpheum in very positive terms. All elements get positive responses, including comfort, concessions and amenities.
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✲ Despite that, 91% of customers believe it is important for the Orpheum to improve its facilities.
✲ An encouraging 55% say they might consider making a donation to the renovation project.
✲ The things that bring customers to the Orpheum are the program and the relative low cost.
✲ The things that people want to see in the Orpheum are the things there now (Popular/Headliner Music & Film) and touring Broadway, which is not likely given the competition.
It is interesting to us that consumers are satisfied with the Orpheum as it is, but still see the need for the renovation. It is also notable that what the Orpheum does well (and what the customers want) is the programming where the organization is most vulnerable from a competitive perspective.
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6. project benefits & impacts
The last of our four key issues is - how might the completed renovation of the Orpheum support the broader goals of the community? In that regard, we have been most impressed and encouraged by Project Downtown, a joint venture between the Downtown Development Corporation and the City of Wichita that is driving the revitalization of the urban core.
The master plan for Project Downtown, which was published at the end of 2010, is a comprehensive plan developed with significant community. It notes the presence of existing cultural destinations in the downtown area and proposes that the City should continue to focus on these destinations as generators of activity that complement residential and commercial development.
Since the plan was published, $60 million in projects have been completed, and there are additional projects underway with a value of $127 million. These are commercial and residential projects, a number of them close to the Orpheum.
Urban planners are now referring to an urban “string of pearls,” one being the Orpheum. These are the destination points and nodes of activity that give character to the downtown. From the perspective of the planners, the Orpheum is particularly important because it is historic and authentic. And because it can enhance the quality of life for downtown residents and workers.
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7. forces & trends
Here is some of our current thinking on how shifts in audiences and organizations are changing the prospects for facilities, and how they should be developed and operated. 7.1 Performing Arts Audiences In order to predict audiences and their response to current, improved or new facilities, we must first understand their general characteristics and patterns of participation. Here are the basic facts about arts audiences.
✲ Only a small percentage of adults attend professional performing arts event each year. This ranges by discipline - from 2.5% for opera and 7% for ballet and other dance to 15% going to a classical music or jazz performance and 21% going to plays or musicals. (Source: SPPA 2008)
✲ Over the last 20 years, participation within traditional performing arts genres has remained relatively flat. More specifically, a decline in levels of participation (percentages of adults attending various types of events) has been mitigated only by increases in the total adult population.
✲ Participation in the traditional performing and visual arts amongst adults under the age of 40 has been on the decline for over 20 years. We will discuss how and why this is happening in the following sections.
✲ Educational attainment is by far the best predictor of arts attendance. The propensity to attend arts events among those who have completed college is at least three times greater than for those who have finished only high school; with each advanced level of education there is an increased probability of arts attendance.
✲ Income and age also matter, but not nearly as much; those with higher incomes and those who are over 45 are more likely to attend.
✲ Race is not a predictor of whether a person is likely to attend the arts, but is a predictor of the genre of art likely to be attended.
✲ A large proportion of adults also participate in the arts. One-third of adults took music lessons or classes at some point in their lives and 18% took some sort of visual arts class. More adults take visual art or music classes than other types of lessons or classes.
Now let’s look at some of the more important and recent trends in consumption of the arts and how audiences choose to participate:
✲ Less Time and Less Planning: We are all busier today and are less likely to make a significant investment of our precious time into any activity, especially when we are asked to make that commitment well in advance of the event. We live in a world of shortened planning horizons, meaning a decline of advance commitment. This has lead to the propitious decline in subscription ticketing, as individuals are less willing to commit early and more likely to keep their options
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open until the last moment. This also means that there are more consumers now who are willing to pay more later - the perceived premium of flexibility and the “on-demand” lifestyle.
✲ The Demand for More Stimulation: All consumers, and particularly younger ones, are acclimated to multi-sensory engagement. They are watching, hearing and reading simultaneously (so they believe). But this does mean that they have higher satisfaction thresholds and expectations for immediate rewards from the experience.
✲ The Demand for Convenience: Audiences are also seeking convenience, as in all aspects of life. There is less tolerance for the event with built-in hardships, whether that means an uncomfortable seat, poor concessions service or bad traffic on the way home. This suggests a low threshold for opting out and the never-ending search for attractive and convenient alternatives. This pushes facilities and presenters towards a higher level of customer service, but also an attempt to influence other factors that affect the experience, from parking to the after-show drink.
✲ The Importance of Interpretation-rich Experiences: A generation ago, there was little concern for how audiences responded to the work. And if there was, it was likely to direct audiences towards a prescribed interpretation of what they saw, heard or felt. That has now changed. First, we have determined that the quality of experience for audiences is dramatically improved by properly preparing them for the experience with information and context, then, more importantly, by providing them the opportunity to process and share their experience with others. Secondly, we must now accept that audiences are less willing to accept someone else’s interpretation of an experience, alternatively wishing (often demanding) to develop and provide their own interpretation of the experience – ultimately seeing themselves as co-authors of meaning.
✲ The Diffusion of Cultural Tastes: Because of advances in information and communication technologies, people are now interested in a much broader array of programs. We now have cheap access to more cultural output and the ability to pick and choose as we like. We are less loyal to the artists we knew before and less prone to follow the tastes of others (at least not for long). This means both a fragmentation and diversification of tastes, both narrowing and broadening at the same time. A generation ago, I might have been a fan of music from the Romantic period. Now I like the early work of Prog-Rockers Genesis and the Strawbs, Mozart’s choral works, and K-Pop. Related to this is the abandonment of old boundaries and behaviors on the part of audiences. Fifty years ago, there was a snobbishness of traditional arts audience and a sense that preferences and appearances were representative of social standing. Now, I am an omnivore – I might go to opera one night and a county music performance the next, with little regard for how these choices reflect on me as a person.
✲ The Paradox of Choice: All consumers are now faced with an extraordinary range of choices - whether that relates to food, cars or culture. And with our hyper-active, consumption-based economy, consumers are constantly being bombarded with those choices and exhortations to buy. For many consumers, there are simply too many choices being thrown at them, and they often shut down and make no choice at all. Thus, consumers are hungry for filters and enablers, people and services that will help them get past the paralysis brought on by too many choices. Word-of-mouth is the strongest version of this, a piece of one-on-one advice from a credible
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source. But people are looking for other filters and influencers – in fact curators who can help them make these decisions.
✲ Risk Versus Reward: Because of the cost (time and money) of participating and all of the other choices available, audiences are generally less willing to take risks, and more willing to pay large sums for a guaranteed “home run” experience. This is evidenced by the blockbuster phenomenon and super-premium price points on Broadway. It is also consistent with a pervasive trend towards “trading up” and the rise of VIP culture, where there is an attempt to create an illusion of exclusivity, status and prestige. The challenge is the more everything becomes accessible, the more some people want to be separate – which suggests demand for value-added, premium arts experiences.
✲ The Social Experience: Research suggests that what is drawing audiences to the arts today is the opportunity for a social experience, as opposed to the more traditional attraction of intellectual stimulation associated with the performance. The good news is that this is a clear competitive advantage - the shared social experience not available to those at home, no matter the quality of their technology. The challenge is that presenters and facilities must deliver much more than what is on the stage – creating an environment in which the social elements of the experience are fully enjoyed. People construct all sorts of social groups around arts experiences – from co- workers, college alumni groups, church groups, families and friends. We are thus in the business of creating social experiences for these different kinds of groups, a part of which is art or entertainment.
✲ The Role of Media: We now see the lower consumption of traditional media and the reduced role it plays in driving arts participation. There is a fragmentation of the media and the absence of the critical voice to help audiences make purchase decisions. At the same time, there is a proliferation of personal communications technologies and online Word-of-Mouth tools, including Facebook and the like. These tools are critically important as a means for consumers to spread word of mouth in a viral way. And they are even more important for the cultural suppliers to build a community of friends and supporters in a world where consumer loyalty is largely a thing of the past.
✲ Everyone’s an Artist: There has been a rise in self-directed, home-based living arts participation, including everyday creativity like gardening, writing, crafting, photography, film production, cooking, and decorating through fashion, home décor, and art collection. Also, consumers are demanding more intense, “hands-on” arts experiences. This is evidenced by higher rates of personal and ‘amateur’ participation in community theatre groups, choirs, dance and movement classes, art and music classes and more.
7.2 Nonprofit Arts Organizations
There are also significant changes occurring on the supply side, specifically around the health and sustainability of nonprofit arts organizations. Specifically:
✲ Baumol and Bowen: These two NYU economists published “The Economic Dilemma of the Performing Arts” in 1965, positing that the lack of productivity gains in the creation of art, plus
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the inevitability of cost increases, would essentially force all organizations to raise more contributed income every year. Though there have been marginal improvements in the administration of buildings and organizations, there is ample evidence of this cost squeeze, and increasing pressure on all arts organizations to raise more money to sustain operations. Even if an organization matches it’s prior year revenue targets and buys only what it bought the year before, the annual funding requirement will increase, year after year after year. As a more tangible example, think of how technology has allowed the corporate sector to keep staffing levels at lower levels than they were pre-2008, even as the economy continues to improve. Contrast this with the creation of symphonic music, where the same time and energy is invested in the rehearsal and performance of a Brahms Symphony as was the case one hundred and fifty years ago.
✲ Supply Issues: According to the 2012 Arts Index report by Americans for the Arts, as of 2010 there are 113,000 arts and culture nonprofit organizations in the United States. The number of arts nonprofits has increased 49% in the past decade (76,000 to 113,000). This increase is greater than any other category of nonprofit organizations in the United States.
✲ The Political Environment: It is also safe to say that we are now operating in a political environment in which direct support of the arts is controversial, difficult to justify with so many other priorities, and more often seen as an inappropriate role for government. The Tea-Party movement is no longer on the front page, but its influence is substantial.
✲ Private Sector Funding: On the private side, we have a fully developed philanthropic sector lead by skilled marketers, technologists and communicators, raising the bar for arts fundraisers and bringing new competition for sectors like the environment. In addition, the new generation of funders are much more pro-active and engaged in their causes, expecting to be given the ability to direct the organization and the use of their funds in a much more personal (and often intrusive) manner.
✲ The Education Sweet-spot: The one bright area for producing organizations and facilities is the continuing growth and development of arts education. Cuts in traditional arts funding, the decline of school-based arts education and the emergence of public and private sector funders who see the value of arts education have lead performing arts facilities and organizations to aggressively pursue the development of programs and facilities for learners of all ages. A good reference guide to this phenomenon is the Dana Foundation’s report “Acts of Achievement: The Role of Performing Art Centers in Education.”
7.3 Responding to a Changing Environment
So how should cultural facilities respond to these changes in audiences and users?
✲ From Friday Night Lights to Community Living Rooms: The old image of the theater - where the lights come on at 7PM on a Friday night so that fancy people wearing formal attire can attend a performance - is gone. The new image is that of a community living room – a place that is always open and always active - with informal programming and an atmosphere that is buzzing and welcoming. New spaces have enlarged lobbies where high quality food and drink are available for
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sale over longer periods of time. These spaces are informal but physically attractive in the ways they are designed and animated. They are warm and inspirational, rather than cold and institutional. And they facilitate and promote the interaction of artists and audiences.
✲ From Shepherd to Concierge: It is no longer sufficient, or even appropriate, for facility staff to treat audiences as sheep – lining them up, herding them in and later hustling them back out of a performance. Now, staff must be trained as concierges, doing everything they can to support and supplement the experience of their guests, before during and after.
✲ Program affects place: A place becomes known for the programs it hosts, which means that places with strong curatorial instincts have the ability to become associated with the quality and types of programming that goes on there, such that ultimately consumers can be drawn there without any knowledge of the program or performers, solving for them the paradox of choice. On the other hand, facilities that present and rent for all types of activities at all levels of quality risk a loss of identify and create apprehension on the part of consumers uncertain of what they will experience in that place. All of which is to say – make programming choices that build and maintain a desirable and consistent image of the facility.
✲ Facilitating Active Participation: Facilities and their users must support a culture of more active participation in the arts and arts experiences, including audience engagement before, during, and after the experience. This suggests open rehearsals, hands-on training and even invitations to formally document an experience, elevating the patron to the role of critic. Buildings must also provide more opportunities for everyone in the community to express creativity - whether that means joining a choir, learning to paint, or volunteering to build sets.
✲ From Roadhouse to Schoolhouse: Performing arts facilities must consider and develop arts education opportunities. These can be focused on replacing what has left the schools, more life- long learning opportunities, recreational arts activity, conservatory-level teaching, or some combination of the above.
✲ Control of the Experience: Cultural norms of behavior around performances must change. Audiences (particularly younger ones) must be given more opportunities to decide how they would like to experience a performance, without disturbing those around them. Expecting younger patrons to give up all control of their experience of coming to a performance will only drive them away.
✲ Don’t Custom Build: We must accept the notion that arts organizations will come and go given their fragile balance sheets and the competitive pressures they face. Facilities should be able to accommodate multiple users at once or successive users in quick order so as not to be dragged down by any one user facing a dark future.
✲ Cost Structure: The future of facilities that serve the nonprofit sector depends on their ability to provide ongoing affordable access to nonprofit users, and arrangements that motivate efficient use of space and the maximization of revenues for both user and facility. Facility management organizations must be lean and nimble in their staffing, and embracing of technologies that drive operating efficiencies and economies.
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✲ Community Engagement: Fundamentally, performing arts facilities must become deeply engaged and connected to the life of their communities. They cannot be seen as palaces or temples of the arts, but rather the literal or figurative center of the community. Whatever an arts facility can and should do to connect with life of the community should be done – whether that means hosting community meetings or acting as emergency response centers. In order to survive, performing arts facilities must make themselves indispensible to the future of their communities, in ways that are understood and embraced by all.
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8.conclusions/recommendations
8.1 Conclusions
The market is relatively large, but has limitations. It is not a strong market for the traditional performing arts, and is a very busy and competitive market for more popular and commercial entertainment.
User Demand: There are several local and regional groups seeking access to the Orpheum as a rental facility. Some wish to move from Century II simply because it is too big and too expensive. Others see the opportunity for an additional venue that might suit some of their programs. But the total demand and the risk of relying on a few nonprofits to fill the calendar is not encouraging.
Other Facilities: Looking at facilities today, it would seem that there is a clear position for the Orpheum as a mid-size historic venue with charm and character that connects to the history and heritage of the community. At the same time, there is a large set of larger, professionally run facilities with the same focus on commercial entertainment and film.
Community Impacts and Benefits: The Orpheum is rightly recognized as a key piece of the redevelopment of downtown Wichita in terms of its connection to the City’s past, its architectural significance, and its’ potential to serve downtown residents and businesses.
Overall, we conclude that there is a case to be made for a more active Orpheum Theater, but that there are challenges in finding a way forward.
8.2 Recommendations
We see several possible directions for the project.
The Roadhouse: It is possible for the Orpheum to find a market niche based on an active presenting program that takes advantage of the wonderful historic atmosphere and intimacy of the hall, once improved and made comfortable. The additional opportunity is to create some flexibility on the orchestra level that would allow for a broader range of events and more enhanced food service opportunities. This works both for the presentation of film and live events. The downside of this option is that it puts the organization into more direct competition with SMG at Intrust Bank Arena, the private operator of the Hartman Arena, the City as presenter in Century II, and potentially a new casino showroom. These are all larger organizations with significant resources in the areas of booking and promoting shows. It is certainly true that the Orpheum is unique in terms of its size and character, but that will not stop these other venues from competing vigorously for commercial entertainment dollars. The advantage to going down this path is that the venue already works well for this work. Customers are satisfied with the venue and want the Orpheum to do more of this.
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The Rental House: The second option is to focus on rental opportunities. Here, the Orpheum can offer a set of non-profit, educational and commercial groups an intimate, high-quality space for performances and special events. With recommended improvements to the theater, it will certainly be attractive to some users. The limitation is that there is only the theater available for rent, and not an additional set of facilities that are often in demand.
The Schoolhouse: The third option is to focus on developing and delivering new arts education programs and possibilities for the community. This would give the theater a more distinctive role and position within the marketplace and would lead to a building that is more consistently active in the downtown area. The significant limitation of this approach is that the theater does not have the facilities necessary for the development and delivery of arts education programs - unless the Scottish Rite building could become a part of the project.
The Performing Arts Center: Over the past twenty years, most performing arts facilities, including many historic theaters, have pursued an operating model that is the combination of the above three options. They become active presenters of cultural and commercial programming (though there has been a dramatic shift away from cultural programming). They are home to a set of local arts organizations, some of whom have a special resident status. And they have built comprehensive education programs in recognition of the fact that that’s where the funding is. This has been an effective model for many organizations and buildings because they are able to reduce their reliance on each of the three forms of activity - If the presenting is not working, they still have the education programs and the rental activity.
The challenge for the Orpheum is that the educational component of the operation is relatively undeveloped and the rental and the presenting businesses both face significant competitive pressures. We would therefore encourage a more direct investment in the educational component of Orpheum operations, as well as physical investments (i.e. the multipurpose space and additional classrooms) that would support the expansion of educational offerings.
Our sense is that traditional arts organizations are struggling in Wichita because of the decline of cultural literacy in the community. And arts programs in the schools have been significantly cut back in recent years, which will only accelerate this trend. At the same time, the funding community has shown significant support for groups like the Music Theater of Wichita and their educationally oriented work, despite the fact that most of those students are not from Wichita.
The idea of using an historic theater as focus for the development of an arts education center is not new. The story of the Warner Theater in Torrington CT is particularly enlightening, in that this was a renovation project that struggled for years and finally took off with the construction of a dance conservatory on the back of the old theater. That story, as well as a couple of additional tales on conservatories attached to performing arts facilities, is presented in Appendix G.
This may also be an attractive option from the perspective of the downtown planners, in that a 24/7 conservatory with students of all ages can have a more dramatic impact than a building whose activity is focused on an 8PM curtain time.
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9. operating goals
Having determined that the fully-renovated and expanded Orpheum Theatre makes sense and suggested the addition of facilities that will support the expansion of educational programs, we must now determine how the facility will be governed, operated and sustained. We would start with the following goals:
1. Provide affordable access to well equipped performance, rehearsal and teaching spaces for local nonprofit organizations, arts organizations and other cultural users that support the cultural development of Wichita. 2. Present high-quality arts and entertainment programming of interest to the community that have the potential to generate positive financial returns for the organization. 3. Develop and execute educational programs for the benefit of the community, working with cultural partners wherever possible. 4. Utilize a sustainable business model primarily driven by earned income and contributed income raised in recognition of the value being provided to the community. 5. Encourage collaboration and the sharing of resources within Wichita’s cultural community 6. Contribute to the economic vitality of Wichita with an actively programmed venue that drives economic and community development. 7. Develop the tools and systems that will help the organization measure its return on capital invested in the project, as well as the broader impacts and benefits provided to the community,
These operating goals can guide the Orpheum towards decision-making in the day-to-day operations of the building. Each goal makes sense and seems reasonable. It is the combination of these goals that is challenging – providing access, staying busy and managing costs in a way that the facility delivers value to the community while remaining financially sustainable. Having defined operating goals and framework for how to accomplish that vision, the following chapters address the specifics.
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10. programming & partners
We see five principal ways that the Orpheum should be activated, with several key partners.
1. Live Presenting: Buying and presenting touring arts and entertainment programs remains an important element of the Orpheum’s future programming. Presented events can support the mission of the Orpheum by providing residents with opportunities to see and hear regionally and nationally known artists. The challenge with presenting is having the ability to choose and access the right shows and promote them effectively such that they can attract and audience and financially succeed in a competitive marketplace.
2. Film Presenting: Likewise, we see an opportunity to develop additional film programs at the Orpheum, with family, classic and popular movies. Here we would also recommend the development of additional festival programming, ideally in partnership with other groups.
3. Nonprofit Rentals: The Orpheum should be available to local nonprofit arts organizations as a rental facility, providing affordable access to organizations whose work and efforts are consistent with the Orpheum’s mission to serve the community.
4. Commercial Rentals: The Orpheum should also be available for occasional rentals to commercial promoters wanting to bring events to the theater on a rental basis, or private/corporate groups wanting to use the PAC for a private event – here in order to improve the financial sustainability of the organization.
5. Educational Programming: Finally, the Orpheum should be available and used for a range of educational programs, working in partnership between area schools. Note that these might eventually include both inbound programs (e.g. kids at matinees or in camps) and outbound programs (e.g. in-school teacher training).
The challenge is then how to animate the building and its various components with all of these various activities, balancing the pursuit of mission with the need to preserve the historic building and financially sustain the organization.
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11. facility management
Managing the full renovated and expanded Orpheum will require additional structure, systems and policy in a number of areas. The board and senior staff should lead the initiative to design and implement facility management policies around rentals, scheduling, outside personnel, ticketing, food service and more.
Scheduling
The master calendar should be the responsibility of the Executive Director, who will maintain calendars for the theater, multi-purpose room, classrooms and other programmable spaces. Based on user and stakeholder input, we suggest the following policies:
✲ An annual scheduling template should be issued 24 months in advance to assure sufficient annual dates and spaces.
✲ Resident organizations can request dates between 24 months and 18 months in advance of the upcoming year. Final confirmation of requested dates is required no later than 12 months prior to the start of the scheduling year.
✲ Block booking of multiple tentative weeks for performances and events should not be permitted.
✲ Nonprofit and commercial organizations interested in utilizing these spaces may request dates starting 12 months in advance. Dates must be confirmed within 1 month of the initial request.
✲ Building management should reserve the right to retain certain days or weeks for facility maintenance and improvement.
In addition, renters should be made aware of facility booking policies at the time of booking. Explicit policies detailing insurance requirements, deposits and payment schedules, and other charges should be in place.
Resident Arts Organizations
We recommend that a set of community-based arts organizations have the opportunity to seek classification as resident organizations once the Orpheum opens. Resident groups gain preferred rental rates and status for booking in exchange for bringing a certain amount of activity and benefit to the venue. These groups can guarantee a relatively consistent level of activity to attract users, students, audiences, and other visitors and build an image of the facility through consistent use, supporting ongoing marketing and fundraising efforts.
Organizations should be required to qualify as resident users through an open application. The criteria by which these organizations are selected should be published, and might include some of the following:
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✲ Level of programming: The organization agrees to bring a significant portion of tits annual activity to the facility. Specific levels of use may be required within policies and criteria for resident groups.
✲ Community Organization: The organization is a nonprofit arts organization in good standing or a public academic institution.
✲ Mission: The organizational mission is worthy and consistent with the goals of the Orpheum.
✲ Quality: The organization creates work of quality that will enhance the image and reputation of the facility.
✲ History: The organization has a track record of growth and financial stability.
✲ Insurance + Safety: The organization can provide general liability and workers compensation insurance and is committed to the safety and security of the facilities.
✲ Organizational + Program Development: The organization has made a commitment to organizational development that will bring its administrative skills, quality of programming and resources to a higher level.
Rental Rates
Rental fees for the performing arts theater and multi-purpose room are based on the categorization of the user. Average base rental rates for the first five years of operation have been set in three tiers: Resident Organizations, and Nonprofit and Commercial Users. Base rental rates, which do not include additional fees such as technical labor, event staff, box office use or cleaning, have been compared to local facilities as well as comparable national facilities.
Wichita’s nonprofit arts organizations are very sensitive to price, and currently pay rental fees that are well below market-rate. The facility’s rental schedule should then be designed to favor resident arts organizations. A full set of rental guidelines, including rates for performances, dark days, rehearsals and private events should be developed and in place prior to the re-opening of the facility. Rental rates could also be defined based on the time of day, as a percentage of gross ticket sales, or set-up/rehearsal and event/performance rates.
Labor Expenses + User Fees
When renting the Orphuem, groups would have access to the theater’s Technical Director and a base package of sound and lighting equipment, but would pay additional amounts for technical labor and event staff for an additional cost. A fee for the use of the facility’s ticketing service and box office will also be assessed, as well as access to specialized theatrical and audiovisual equipment.
Ticketing Services
The Orphuem is currently using the County-owned Select-a-Seat as its ticketing system, with that contract due to expire at the end of this year. There are some significant challenges and limitations to the system, including slow cash retrieval, limited CRM (customer relationship management) support, and occasional complaints from users and customers.
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The good news is that the world of ticketing is evolving rapidly – it has gone from being a hardware business to a software business to a cloud-based service business in a matter of a decade. It is a crowded marketplace with many providers of different sizes and orientations. The key is to run a competitive bid process starting with an RFP issued to a short-list of qualified firms. The writing of that RFP is a critical step, as it will bring senior staff, key user groups and the board together on what is possible and what is relevant for the organization in considering various options.
We would also encourage the choice of a system that can also be used by various cultural and educational groups in Wichita. Here, the Orpheum can provide more direct support to these groups, helping them take advantage of the marketing and fundraising information that is accumulated through ticketing transactions.
Food Service
We would take the position that the Orpheum should develop stronger food and beverage capabilities, particularly for concessions and catering. While there is some potential for food service to provide an additional source of income, it is more important to consider these components as amenities for visitors, outside renters and audiences. Although it is possible that the theater might develop a partnership with one entity to provide building-wide food service, the goal should be to create an experience that first meets the needs of patrons and users. We would recommend the following policies:
✲ Concessions: Concessions should be provided for evening and matinee performances, maintaining an area in the lobby. The aesthetic of the food and beverage should be attractive to the building’s audiences, and should be appropriately priced. Pickles and beer are appropriate for informal events, but attendees to more upscale events except a higher quality of concessions. The organizational chart in the next chapter and within the coming budget assumes that the concessions area is run internally, but it would also be worth considering the contracting out of the management of the concessions to a local food service provider through a competitive process.
✲ Catering: The renovated Orpheum should also host frequent meetings and private events and will require catering for backstage, receptions, office meetings and more. There is a need for a flexible catering policy that can meet the needs of outside users and renters that require a certain level of quality in food service. Protocol for vetting potential catering partners should be developed, considering references, event experience in cultural facilities, references and so on.
The Operations Director and Event Coordinator should provide a list of preferred caterers to potential renters and event planners in advance of booking. Facility policies should also prohibit outside alcohol from being served or sold on-site, and all users must utilize the concessionaire or preferred caterers when serving alcohol onsite. Commercial food service providers, event planners and caterers should also pay a percent commission of the total sales to the venue.
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Volunteer Opportunities
Though the venue must have a professional staff, we would encourage the expansion of the Orpheum’s volunteer labor force. Local volunteers often play a role in supporting the operation of performing arts facilities. Additional human resources are helpful to the organization, but volunteers can play an even more important role as ambassadors, grassroots marketers, and even financial supporters for the organization. Volunteers could serve as ushers and front-of-house staff for performances, tour guides for the facility, gallery monitors, and greeters, teaching assistants and roving helpers. This body of volunteers should be closely coordinated and perhaps integrated with volunteer operations of key user groups. We would also stress the importance of treating volunteers like employees in terms of how they are trained, monitored, and evaluated. The House Manager should be responsible for the recruitment, training, scheduling and management of volunteers.
Being Green
Finally, we would stress the importance of environmentally sensitive operating practices in the building. Here are some ideas coming from other performing arts venues:
✲ Transportation: The Orpheum should encourage the use of public transportation and cycling. This can be accomplished by offering ticket discounts to audience members who use public transit or bike, providing space for bicycles to be locked up during performances, encouraging carpooling and offering funding subsidies for employees to use public transit.
✲ Energy Efficiency: The building renovation could include systems to accommodate the use of renewable energy, such as green electricity, and minimize the amount of energy used. Aside from mechanical and electrical systems, administrative policies should also address energy efficiency, considering the use of natural lighting sources, energy efficient computers and related technologies. The Orpheum should also eventually consider the life cycle cost impact of the materials that are used during screenings and performances and choose green options for concessions supplies, technical fixtures and other supplies.
✲ Consumables: Administrative policies should also address consumables, including paper, cleaning products, double-sided printing, electronic communication and encouraging staff, renters and performers to use mugs and glass bottles instead of plastic glasses for beverages. Additional requirements and policies can be set for concession items and catering supplies.
✲ Community Awareness and Participation: The Orpheum should not only implement “green” policies for itself, but also make the community aware of its efforts and encourage them to participate by using similar methods. Other facilities have posted information about their green initiatives and guidelines on their web sites, included green slogans wherever possible (playbills, ads and posters) and organized forums on green practices, possibly combining with artist talkbacks or other program offerings.
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12. governance & staffing
It is our view that the Orpheum should invest in additional staff and a larger and more active volunteer leadership team in order to prepare for and then succeed in renovated facilities.
12.1 Staffing
We have recommended the addition of the following full-time staff, all to be in place six months before the renovated theater opens.
✲ Development Director: To lead the effort of raising funds for the ongoing operation of the theater, including fundraising from individuals, corporations, foundations and special events.
✲ Education Director: To design, fundraise for and then execute educational programs, working closely with local arts organizations and other partners wherever possible.
✲ Marketing Manager: To design and execute marketing plans, likely with more responsibility for social media and the collection and use of customer data. Additional time should be allocated to assisting partner and rental organizations with their marketing materials and plans.
This represents an adjustment to the current staff, going from a combined Development and Marketing Director to a Development Director, a Marketing Director and then an additional Marketing Manager focused on new media.
We have also recommended additional part-time and event-based staff, as follows:
✲ IT Manager: To manage the deployment and maintenance of technology in the theater.
✲ Box Office Staff: For expanded hours and programming at the theater.
✲ House Staff: To enhance the customer experience and manage audiences for larger and small events.
✲ Technical Labor: To support the technical requirements of presented programs and rental groups.
✲ Food and Beverage Staff: For expanded concessions, catering and other F&B opportunities.
12.2 Board Development
Board Role: Thomas Wolf, in his guide to nonprofit management, lays out six principal areas of responsibility for trustees or directors: 1. Determine the organization’s mission and set policies for its operation 2. Set the program from year to year and engage in long-range planning 3. Establish fiscal policy and boundaries with budgets and financial controls 4. Provide resources for the organization through direct financial contributions and support of fundraising efforts
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5. Select, evaluate and, if required, terminate the chief executive 6. Develop and maintain a communications link with the community Of these responsibilities, #1 should be #1. That is to say that Orpheum board members should see themselves first and foremost as keepers of the mission, able to focus the energy of the organization on the pursuit of those goals.
Board Size: Currently, there are 18 individuals on the Orpheum board. In our minds, there should be a target to return to a group of twenty to twenty-five active board members in the next three years to get the organization through the capital campaign and ready for expanded operations,
Committees: We are advised that the Executive, Capital, Programming and Events Committees are active and doing good work. We would encourage more effort to get the governance (nominating), volunteer and finance committees to a more active state. Of these, we would stress the importance of a groups that can lead the growth and development of the board.
Give-or-Get Policy: As we understand it, there is no required give-or-get for the Orpheum board. This is not unusual - In 2007, BoardSource conducted a national survey showing that only 27% of nonprofit boards have minimum giving requirements. Another 28% of organizations require board members to donate, but don’t specify a minimum amount. But nearly half -- 45% -- have no giving requirement at all.
What is important is that all board members give something so that the organization can claim 100% board participation in fundraising. Currently, this is not the case.
Board Composition: There are very few nonprofit boards, and almost no successful ones, made up of people who are all alike. Good boards are diverse in many ways—in terms of demographic characteristics, perspectives, resources, views of the world, and patterns of participation in the arts. That’s a good thing because the board should represent all constituencies who might be affected by the organization, help the organization reach and make connections to those groups, and raise funds from as many different sources as possible.
One way to view the composition of the board is as the roster of a baseball team—a group of individuals with very different skills, backgrounds, and training who are all needed to make the team succeed. If we carry that analogy forward, it provides a board development tool. When reviewing the composition of the board and the need for additional resources, think in terms of who currently plays what position, where there is relative depth and where additional help is needed. There is also the issue of team chemistry, the intangibles about a group of people and the way that they interact that affects the performance of the organization.
Our review of the current board suggests the need for additional skills and connections in the following areas: ✲ Marketing – for PR, advertising, branding and media choices ✲ Education – additional individuals with strong experience in schools, specifically with arts educations ✲ New Media – to predict where media technologies going and how those might be employed at the Orpheum ✲ Technology – as it relates to marketing and management
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✲ Community – those with strong relationships with County and City leaders, most particularly involved in downtown development.
But the more basic opinion we heard on several occasions is the board needs more Harveys – meaning more community leaders.
Board Recruitment: New board members are currently recruited as a result of names being given to the board itself. Suggestions are taken, contact is made, and the invitation is issued. It is a relatively informal process, which has lead to some uneven results over the past two years.
We would recommend a more intentional and aggressive policy, with the following steps: ✲ Develop and ratify a board recruitment procedure this Spring. ✲ Develop and share criteria for board recruitment and conditions for joining the Orpheum board with current board members, inviting suggestions and information on possible candidates. ✲ Research suggested prospects to determine in each individual meets the necessary criteria. ✲ If the list of possible candidates is not sufficient in terms of the quantity or quality of prospective board members, research and explore other methods to identify candidates, including a broader solicitation to community leaders. ✲ Develop and then order the list of individuals received. At the top of the list there should be some individuals who are likely to join, as having some people committed will make it easier to ask others to join. ✲ The pace and timing of invitations should be set to achieve early objectives on the size and composition of the board. ✲ Prepare customized invitations to join the board pitch based on the candidates background and potential role on the Orpheum board, and what potential benefits they might be looking for in the relationship. ✲ Decide who is the most appropriate person is to make each ask – hopefully someone who has a relationship with that individual. Ideally, that associate will have briefed the individual on the coming invitation and addressed any of their preliminary concerns and questions before the formal invitation is made. ✲ Make the invitation person-to-person. The tone and wording of the invitation should be scripted and rehearsed prior to the event. ✲ If people turn down the offer to join the board, ask them and others for feedback on why they chose not to participate in order that future invitations might be tailored accordingly.
Board Orientation and Training: There is currently limited training and orientation for new Orpheum board members, focused on the delivery of a binder that includes by-laws, policy, program information, a calendar for the coming year, and a welcome letter.
We would suggest that the book could be expanded with additional information on the Orpheum and what makes an effective board. But more important is the development of an orientation program that introduces new board members to the Orpheum and prepares them more effectively for their role as volunteer leader. Most effective would be an annual daylong session for the incoming class that uses the book to introduce the Orpheum but add presentations from Orpheum board and staff. They should learn some history, but more importantly detailed information about what the Orpheum does now and what it hopes to do in the future. Program staff and existing board members should be involved in these
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presentations and all existing board members should also be encouraged to participate in these events to remain current on Orpheum affairs and to build relationships with other board members.
13. pro-forma operating budget
Appendix H is a pro-forma operating budget for the Orpheum that shows how expanded and improved facilities support increased activity, which in turn drives revenues and expenses. We have built this financial model with the help of Orpheum staff to be an effective tool in helping consider and plan for the operating implications of the renovation project. In fact, it is a live model that can be manipulated easily to test physical, programming and operational choices.
The spreadsheet-based budget starts with actual results for calendar 2010 through 2012, then the budget for 2013 budget, and then projections for fiscal 2014 through 2017. We assume that the building is closed for 2015 tom complete the renovations and add new facilities.
The key step in developing the pro-forma has been estimating activity as operations are expanded and facilities are improved. The first part of the pro-forma is a spreadsheet that details activity, income and attendance for various programs and rentals. Here is a description of the key assumptions in the activity profile:
✲ We start with presenting activity, which includes concerts, film and dance. This activity stays fairly stable through 2014, then grows after the building re-opens with more events, improved capacity cold and increasing ticket prices justified by the better artists and improved experience offered to customers. Note that there is a bit of a fall-off in attendance in year two after all of the re- opening year publicity. ✲ Note that we are also showing the net proceeds from these presenting activities – which means box office and other direct revenues minus artist fees, promotion and other direct costs. Notably, the margin on presenting improves in the renovated space, as the increases in capacity sold and ticket prices exceed the increase in direct costs. ✲ Annual fundraising events also increase after the re-opening and attract higher proceeds. ✲ The third element is the rental business. We have only increased the number of rental days slightly so as to keep these projections conservative, and we have also kept rental rates quite low. In 2016, with the renovation completed, we add rentals in the multi-purpose room and two classrooms, both to nonprofit and commercial clients. ✲ The final element is the suggestion of a set of educational programs run out of various spaces in the building. We do not specify what the programs are, but rather suggest three types – one costing a reasonable amount for a small set of participants, one costing less for more students, and one costing very little for a much larger set of students. We would encourage further work on the design and marketing of these programs as the Orpheum prepares to re-open spaces after the renovation.
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Here is a summary of pro-forma activity in the theater:
The multi-year budget is the second portion of the pro-forma. Following are key assumptions:
✲ We have adjusted the format of the Orpheum’s current budget to separate earned from contributed income, and then to show revenues and expenses in functional areas.
✲ The Events Revenue numbers are mostly taken directly from the activity section. This is the critical piece of the model, as changes in activity assumptions will lead directly to earned income adjustments. The colored cells show how we have attempted to reconcile
✲ In the contributed income section, we are able to keep the targets at a conservative level until the renovation. Then we look for a 50% increase in donations both in 2016 and 2017 to support increased activity and larger facilities. Other line items increase at only the CPI-based 2% a year.
✲ On the expense side, we show the personnel increases explained in the last chapter, plus benefits, along with increases in part-time and event-based labor.
✲ Per the activity section, presenting costs grow with the number of events and a slightly improved margin.
✲ Fundraising costs increase to keep up with higher goals in the years after re-opening.
✲ Administration and operations costs increase with more activity in larger facilities. And core occupancy costs increase, though there is the reduction in rent associated with the move into purchased spaces.
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Essentially, expanded operations in a larger facility lead to a larger budget supported by consistent increases in earned and contributed income, as shown below:
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14. annual funding
As noted above, contributed income above and beyond the Orpheum’s current level will be required to balance the annual budget. This does not reflect any kind of failure to operate efficiently, but rather the fact that these renovated and expanded facilities deliver significant value to the community, which should motivate annual support. Although the theater already has a network of funders, there will likely be additional funders interested in the new programs or opportunities the Orpheum expansion will provide.
The Case for Private Support
We are not fundraisers, but regarding private support for Orpheum on an ongoing annual basis, it appears to us that there is a strong case to be made in and around Wichita that the theater should be financially supported by the community. In our minds, the case for ongoing outside support should start with the community benefits we outlined in the Needs Assessment portion of our work, focusing on the following principles: ✲ Quality of life for residents: New and expanded facilities will improve the quality of life for regional residents by providing more opportunities to attend arts and cultural events closer to their home. ✲ Impact on children: It is very important to expand the programming (mostly educational) in order to demonstrate the impact of the theater on younger people and their families, many of whom would not otherwise come to the facility. ✲ Attracting new businesses and professionals: These quality of life benefits have the added advantage of making the Wichita region more attractive for new businesses or professionals looking for a community with creative assets. ✲ Downtown development: The expanded Orpheum will play a significant role in driving the revitalization and further development of downtown Wichita.
The other key to annual fundraising is to make sure that the community is aware of the need and importance of ongoing support. It is critically important not to let key donors to the capital campaign believe that their one-time gift to the project releases them (or anyone else) from the obligation to provide ongoing support. And it is equally important to make sure that it is understood that the need for ongoing support does not represent any sort of failure or mismanagement, but rather that this is a community asset delivering significant ongoing value to the community, which then merits ongoing support.
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15. economic impacts
Economic impact means that something has happened to increase economic activity, which includes new sales, new earnings for workers and new jobs in the local economy. These impacts are caused by various inputs, namely capital and operating expenditures. The key is that when a dollar is spent locally, some portion of it stays in the local economy to be spent again and again, until all of it “leaks” out of the local economy.
We calculate the total impacts of expenditures by applying multipliers to the industry sectors in which the money is spent – whether that be on couriers, computer service, or construction. And we get these multipliers from the Bureau of Economic Analysis, part of the Department of Commerce in Washington DC, which has calculated how money spent in every County in every industry leads to new activity, earnings and jobs. We have purchased the multipliers for Sedgwick County and have them attached (see Appendix I) to this report. Specifically, we are using RIMS Type II multipliers to project final demand originally developed in 2002 and updated to the 2010 census.
The following chart shows the preliminary construction budget as the input. Then, using our multipliers for the construction industry in Sedgwick County, we suggest that the project will lead to $55,000,000 in new sales, $17, 000,000 in new earnings and, finally, 431 new person years of employment in the County.
The second set of impacts relate to the operation and expenditures of the organization running the performing arts center. Each year, this organization spends significant amounts on goods and services, much of which is spent locally. And these expenditures are then subject to the multiplier effects for each of the non-personnel spending categories.
We calculate the ongoing impact of the facility using what is called the bill of goods approach, shown in the following chart. We estimate incremental expenditures on everything from utilities and hotels to waste management and advertising. This is taken from the pro-forma operating budget for the Orpheum, comparing 2016 to 2012. The second step is to discount these expenditures in order that we are only counting new expenditures that are made inside the County – thus $75,000 spend on insurance ultimately becomes $18,750 to take out
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insurance policies purchased outside the County and those that might been in place for existing facilities/programs.
Then we can use our three types of multipliers to calculate new output, earnings and jobs in associated with new County spending in each of those industries. This shows that with $625,000 in spending leads to new County purchases of $307,000, which then drives $530,000 in new sales, $160, 000 in new earnings and 5 new jobs (in addition to those in the Orpheum itself).
The second component of operating impacts is the ancillary spending of facility audiences. And again we will attempt to show the impacts of larger audiences after upgrades.
To calculate these numbers, we start with the projected incremental attendance at the Orpheum (2016 less 2012). Then we deduct the component of the audience that is simply re- locating from other facilities – 50% of the total. Then we deduct another 67%, being the audience coming from within Sedgwick County. Though this is a new audience, their coming from the County means that their spending is not new, thus not creating new economic impacts. This leaves us with two groups – those coming from outside the County, and then those from
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within the County who would otherwise be attending events elsewhere (e.g. Kansas City, New York).
This fourth chart then shows how and how much audiences spend in conjunction with attendance at performances. This is national data provided by Americans for the Arts. So, for those coming from within the County (our re-captured audience that otherwise would have gone outside the County), there is a certain amount spent on eating, shopping, traveling and so on. And then we apply our Lubbock County multipliers for each of these categories. For this small component of the audience, there are annual expenditures of $56,000, which then leads to new sales of $100,000, new earnings of $28,000, and 1.3 new jobs. Again, these are jobs created outside the building as a result of the new activity.
The second and larger component of the audience is those coming from outside the County. Logically, they are spending more having come from further away – some of them likely to stay overnight. With this group, we project spending of $350,000 in the first year, which then leads to $600,000 in new sales, $175,000 in new earnings and 7.5 new jobs. Combining these two groups and their spending, we project $400,000 in audience spending leading to $700,000 in new sales, $200,000 in new earnings and 9 new jobs.
Here finally is a chart that summarizes these three sets of impacts.
The one-time impacts of this substantial construction project are significant, But even more important are the ongoing impacts of the new operating organization spending money in the County,
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plus the impacts of new audiences spending more money, leading to $3.7 million in new sales, $1.1 million in new earnings and 36 new jobs, annually.
Beyond those quantitative impacts, it is clear that the full-renovated Orpheum can have additional qualitative impacts, as follows:
✲ Corporate Recruitment: As we pointed out in the Needs Assessment portion of our work, cultural facilities are important amenities to offer to corporations considering where to locate their business. The presence of these facilities is often seen as an indicator of a community that has an educated workforce and offers a high quality of life.
✲ Richard Florida and The Creative Class: Celebrity-economist and author Richard Florida, has turned a simple idea into an empire. The simple idea is that people (particularly people with interesting jobs and skills) like to live and work in creative places, and that cities ought to promote culture and creativity as a means to recruit these desirable people and thus drive economic development. Cities all over North America (and not just big ones) are now pursuing economic development goals by promoting the presence of arts and culture and the people that like those things. Of course, this is all easier said than done. The trick is to help artists in ways that don’t stifle creativity, and then surround that creative core with a concentration of more commercially oriented industries (advertising, design, media) that benefit from and feed off of that creativity.
✲ Teaching Innovation and Creativity: Finally, we would raise one last economic development benefit, which is that the teaching of the arts is now being recognized as a fundamental need for the North American economy and its workforce, given the automation of many jobs and growing competition from lesser-developed economies. Or, as some commentators are now suggesting: “The MFA is the new MBA.” Daniel Pink, in his March 2008 Nancy Hanks Lecture on Arts and Public Policy, said the following:
“The argument for the arts is that the fundamental cognitive abilities, the fundamental abilities, of the workforce today and into the future, the fundamental abilities that our kids are going to be deploying at work are at their core artistic abilities, that arts are neither an avenue to something else, nor are they a nicety, but they are fundamental to how the economy functions. And unless our kids have this broad, robust suite of artistic capabilities, they are going to be in a world of hurt, yes, as human beings, but also as productive members of the economy.”
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16. next steps
We have made the case and laid out a plan for the renovated Orpheum, but there is a great deal to do to get from here to there. We have developed and attached (as Appendix J) a visual aid. Following are highlights.
Capital Campaign The first key step is to now use the physical and business plans to initiate a campaign to determine what funds might be raised to support the renovation.
Planning and Design Next is the advance of the physical plan, based on the results of the capital campaign.
Governance Here, we are most interested in board development, driven by the Governance Committee.
Human Resources Development As specified in the pro-forma budget, new full-time staff members should be in place six months prior to the re-opening. Other staff members more closely tied to the day-to-day operations (ticket office staff, event managers) can be hired as the building comes online.
Education Programs Programs should be designed and ideally funded well before the renovation, ideally working in partnership with other key groups.
Marketing +Ticketing The Executive Director will be responsible for early marketing and ticketing planning, including the definition of ticketing system needs and planning to either issue an RFP for a ticket provider. As the re- opening approaches, the Marketing Director should create a specific marketing strategy and a PR plan for the re-opening celebrations and subsequent operations.
Facility Operations Significant effort must be invested in preparing for the re-opening, including:
✲ Booking policy, master calendars and procedures as well as a rental agreement and daily, hourly, and weekly rates.
✲ Vendor contracts and permitting for various functions, including insurance, and facility maintenance.
✲ Train staff, particularly ticketing staff, event managers, and technical labor.
✲ Proper protocols for equipment use, safety training and capital maintenance of the facility.
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appendix a: study participants !
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! Appendix(A(–(Study(Participants( ! Jennifer!White,!Orpheum!Theatre! Marti!Secondine,!Orpheum!Theatre! Harvey!Sorensen,!Orpheum!Theatre! Matthew!Rumsey,!Crown!Uptown!Dinner!Theatre!! J.!Basham,!Orpheum!Theatre!(formerly)! Don!Reinhold,!Wichita!Symphony! Jeff!Fluhr,!Downtown!Development!Corp! Pete!Meitzner,!Council!Member! Parvan!Bakardiev,!Wichita!Grand!Opera! Maureen!Hofrenning,!Go!Wichita! Scott!Knebel,!Downtown!Revitalization!Manager! A.J.!Boleski,!INTRUST!Bank!Arena! Angela!Daniels,!INTRUST!Bank!Arena! Wayne!Bryan,!music!Theatre!of!Wichita! Stephen!Eaves,!Friends!University! Dave!Burke,!Marketplace!Properties! John!D’Angelo,!City!of!Wichita! Ann!Garvey,!Supporter! Clay!Bastion,!Fidelity!Financial! Tim!Norton,!County!Commission! Janet!Miller,!Vice!Mayor! Mary!Eaves,!Past!President! Charles!Stark,!Grumpy!Old!Men! James!Clendenin,!City!Council! Jeff!Longwell,!City!Council! Jerry!Jones,!Developer! Nick!Johnson,!Director!of!Dance,!WSU! Robert!Layton,!City!Manager! Steve!English,!Trust!Co.! ! ! !
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! appendix b: activity analysis
Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 Activity Capacities Theater $$$$$$$$$$$$$$$$$1,281$ $$$$$$$$$$$$$$1,281$ $$$$$$$$$$$$$$$$$$$$$$$1,281 Multi-purpose Room Presenting Concerts Performances $$$$$$$$$$$$$$$$$$$$$$$19 $$$$$$$$$$$$$$$$$$$$30 $$$$$$$$$$$$$$$$$$$$$$$$$$$$33 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$34 Ave Capacity Sold 54% Total Attendance $$$$$$$$$$$$$$$$$$$$$23,496 Average Ticket Price $$$$$$$$$$$$$$$$$$$$$$40.20 Total Box Office $$$$$$$$$$$$$$$$$944,424$ Non Box Office Revene per Attender $$$$$$$$$$$$$$$$$$$$$$$$8.29 Non Box Office Revenue $$$$$$$$$$$$$$$$$194,689$ Average Direct Costs $$$$$$$$$$$$$$$$$$$32,971$ Total Direct Costs $$$$$$$$$$$$$$1,088,049 Net Income $$$$$$$$$$$$$$$$$$$52,011$ Movies Performances $$$$$$$$$$$$$$$$$$$$$$$22 $$$$$$$$$$$$$$$$$$$$22 $$$$$$$$$$$$$$$$$$$$$$$$$$$$21 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$23 Ave Capacity Sold 19% Total Attendance $$$$$$$$$$$$$$$$$$$$$$$5,202 Average Ticket Price $$$$$$$$$$$$$$$$$$$$$$$$4.03 Total Box Office $$$$$$$$$$$$$$$$$$$20,976$ Non Box Office Revene per Attender $$$$$$$$$$$$$$$$$$$$$$$$3.07 Non Box Office Revenue $$$$$$$$$$$$$$$$$$$15,987$ Average Direct Costs $$$$$$$$$$$$$$$$$$$$$$$$$765 Total Direct Costs $$$$$$$$$$$$$$$$$$$16,066$ Net Income $$$$$$$$$$$$$$$$$$$20,742$ Dance $ Performances $$$$$$$$$$$$$$$$$$$$$$3 $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$1 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$4 Ave Capacity Sold 18% Total Attendance $$$$$$$$$$$$$$$$$$$$$$$$$$235 Average Ticket Price $$$$$$$$$$$$$$$$$$$$$$10.47 Total Box Office $$$$$$$$$$$$$$$$$$$$$$2,460 Non Box Office Revene per Attender $$$$$$$$$$$$$$$$$$$$$$15.90 Non Box Office Revenue $$$$$$$$$$$$$$$$$$$$$$3,736 Average Direct Costs $$$$$$$$$$$$$$$$$$$$$$4,109 Total Direct Costs $$$$$$$$$$$$$$$$$$$$$$4,109 Net Income $$$$$$$$$$$$$$$$$$$$$$2,090 Total Presenting Performances $$$$$$$$$$$$$$$$$$$$$$$41 $$$$$$$$$$$$$$$$$$$$55 $$$$$$$$$$$$$$$$$$$$$$$$$$$$55 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$61 Ave Capacity Sold $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$1 Total Attendance $$$$$$$$$$$$$$$$$$$$$28,933 Average Ticket Price $$$$$$$$$$$$$$$$$$$$$$54.70 Total Box Office $$$$$$$$$$$$$$$$$967,860$ Total Non Box Office Revenue $$$$$$$$$$$$$$$$$214,412$ Average Direct Costs $$$$$$$$$$$$$$$$$$$20,150$ Total Direct Costs $$$$$$$$$$$$$$1,108,224 Net Income $$$$$$$$$$$$$$$$$$$74,843$ Fundraising Events Webb$Management$Services,$Inc. Page$1 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 Performances $$$$$$$$$$$$$$$$$$$$$$$$$5 $$$$$$$$$$$$$$$$$$$$$$6 $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$9 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$9 Ave Capacity Sold 6% Total Attendance $$$$$$$$$$$$$$$$$$$$$$$$$$707 Average Ticket Price $$$$$$$$$$$$$$$$$$$$$102.16 Gross Procceds $$$$$$$$$$$$$$$$$$$72,229$ Average Direct Costs $$$$$$$$$$$$$$$$$$$$$$1,896 Total Direct Costs $$$$$$$$$$$$$$$$$$$$$17,062 Net Income $$$$$$$$$$$$$$$$$$$55,167$ Non-profit Rentals (Theater) Performances $$$$$$$$$$$$$$$$$$$$$$$36 $$$$$$$$$$$$$$$$$$$$24 $$$$$$$$$$$$$$$$$$$$$$$$$$$$25 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$28 Ave Capacity Sold 32% Total Attendance $$$$$$$$$$$$$$$$$$$$$10,378 Average Daily Rental Rate $$$$$$$$$$$$$$$$$$$$$560.00 Total Rent Collected $$$$$$$$$$$$$$$$$$$14,000$ Commercial Rentals (Theater) Performances $$$$$$$$$$$$$$$$$$$$$$$15 $$$$$$$$$$$$$$$$$$$$18 $$$$$$$$$$$$$$$$$$$$$$$$$$$$26 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$$$$$$$26 Ave Capacity Sold 53% Total Attendance $$$$$$$$$$$$$$$$$$$$$17,503 Average Daily Rental Rate $$$$$$$$$$$$$$$$$1,146.15$ Total Rent Collected $$$$$$$$$$$$$$$$$$$29,800$ Non-profit Rentals (200-Capacity Multi-purpose Room) Performances Total Days in the Theater Ave Capacity Sold Total Attendance Average Daily Rental Rate Total Rent Collected Commercial Rentals (Multi-purpose Room) Performances Total Days in the Theater Ave Capacity Sold Total Attendance Average Daily Rental Rate Total Rent Collected Non-profit Rentals (Classrooms) Four-hour Rentals Total Days in the Space Average Four-Hour Rental Rate Total Rent Collected Commercial Rentals (Classrooms) Four-hour Rentals Total Days in the Space Average Four-Hour Rental Rate Total Rent Collected
Theater Activity Performances $$$$$$$$$$$$$$$$$$$$$$$97 $$$$$$$$$$$$$$$$$$103 $$$$$$$$$$$$$$$$$$$$$$$$$$115 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$$$$124 Total Attendance $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$56,814 Webb$Management$Services,$Inc. Page$2 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 Total Box Office $$$$$$$$$$$$$$$$$967,860$ Non Box Office Revenue $$$$$$$$$$$$$$$$$214,412$ Special Event Proceeds $$$$$$$$$$$$$$$$$$$72,229$ Total Rent Collected $$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$43,800$ Total Direct Costs from Presenting $$$$$$$$$$$$$$1,108,224 Multi-purpose Room Activity Performances Total Days in the Theater Total Attendance Total Rent Collected Classroom Activity Four-hour Rentals Total Days in the Space Total Rent Collected Total Activity Total Performance Attendance Total Rent Collected Programming Program #1 Annual Program Hours Average # of Students Average Fee/Student Program Revenue Instructor Costs Other Direct Costs Net from Program Program #2 Annual Program Hours Average # of Students Average Fee/Student Program Revenue Instructor Costs Other Direct Costs Net from Program Program #3 Annual Program Hours Average # of Students Average Fee/Student Program Revenue Instructor Costs Other Direct Costs Net from Program Total Program Revenue Direct Program Expenses
Income Earned Income 4200 · Events Revenue 4201 · Advertising $$$$$$$$$$$$$$$$$9,867$ $$$$$$$$$$$$$$$$$$$$46 $$$$$$$$$$$$$$$$$$$$$$$8,726 4202 · Bar Income $$$$$$$$$$$$$$$39,392 $$$$$$$$$$$$78,728 $$$$$$$$$$$$$$$$$$$$$97,780 4203 · Concession Income $$$$$$$$$$$$$$$57,719 $$$$$$$$$$$$63,464 $$$$$$$$$$$$$$$$$$$$$76,791 Webb$Management$Services,$Inc. Page$3 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 4203P · Pizza Income $$$$$$$$$$$$$$$$$1,510$ $$$$$$$$$$$$$$$$$$996 $$$$$$$$$$$$$$$$$$$$$$$$$$711 4204 · Convenience Fee $$$$$$$$$$$$$$$$$2,222$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$10 4205 · Events - Other Income $$$$$$$$$$$$$$$13,128 $$$$$$$$$$$$$$8,895$ $$$$$$$$$$$$$$$$$$$$$$$4,808 4206 · Event Underwriting $$$$$$$$$$$$$$$29,500 $$$$$$$$$$$$55,303 $$$$$$$$$$$$$$$$$$127,483$ 4207 · Facility Charge $$$$$$$$$$$$$$$12,080 $$$$$$$$$$$$20,371 $$$$$$$$$$$$$$$$$$$$$30,834 4208 · Film Rental $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$$$$371 4209 · House Operations $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$6,464 4210 · Insurance Income $$$$$$$$$$$$$$$$$2,006$ $$$$$$$$$$$$$$$$$$315 $$$$$$$$$$$$$$$$$$$$$$$$$$609 4211 · Lighting Income $$$$$$$$$$$$$$$$$7,381$ $$$$$$$$$$$$$$1,150$ $$$$$$$$$$$$$$$$$$$$$$$$$$$C 4212 · Performers Merchandise Sales $$$$$$$$$$$$$$$$$3,117$ $$$$$$$$$$$$$$7,561$ $$$$$$$$$$$$$$$$$$$$$$$9,941 4214 · Projector Rental $$$$$$$$$$$$$$$$$$$$$325 $$$$$$$$$$$$$$$$$$271 $$$$$$$$$$$$$$$$$$$$$$$$$$$C 4215 · Rental Income $$$$$$$$$$$$$$$32,770 $$$$$$$$$$$$36,446 $$$$$$$$$$$$$$$$$$$41,943$ 4216 · Sales/Liquor Tax $$$$$$$$$$$$$$$$$4,847$ $$$$$$$$$$$$$$$$$$380 $$$$$$$$$$$$$$$$$$$$$18,943 4217 · Technical Director $$$$$$$$$$$$$$$11,579 $$$$$$$$$$$$$$4,781$ $$$$$$$$$$$$$$$$$$$$$10,791 4218 · Ticket Sales $$$$$$$$$$$$$419,300 $$$$$$$$$$715,667 $$$$$$$$$$$$$$$$$969,567$ 4219 · Spotllight Rental $$$$$$$$$$$$$$$$$$$$$450 $$$$$$$$$$$$$$$$$$225 $$$$$$$$$$$$$$$$$$$$$$$$$$$$75 4220 · Security $$$$$$$$$$$$$$$$$1,433$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$1,453 4221 · Sound Income $$$$$$$$$$$$$$$$$1,178$ $$$$$$$$$$$$$$1,500$ $$$$$$$$$$$$$$$$$$$$$$$6,043 4222 · Backlline Income $$$$$$$$$$$$$$$$$1,450$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$3,900 4223 · Stage Hand Income $$$$$$$$$$$$$$$$$1,114$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$3,665 4224 · Credit Card Processing Fee $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$208 $$$$$$$$$$$$$$$$$$$$$$$2,400 4200 · Events Revenue - Other $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$5,385$ $$$$$$$$$$$$$$$$$$$$$$$$$$$C 4213 - SMG Rebate $$$$$$$$$$$$$$$$$$$$$$$$$$$C Program Revenue &&&&&&&&&&&&&652,366 &&&&&&1,001,689& &&&&&&&&&&&&&&&1,423,308 4700 · Items for Resale 4701 · Fans $$$$$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$34 $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$1 4702 · Posters $$$$$$$$$$$$$$$$$$$$$195 $$$$$$$$$$$$$$$$$$$$15 $$$$$$$$$$$$$$$$$$$$$$$$$$$$29 4703 · Shirts $$$$$$$$$$$$$$$$$$$$$157 $$$$$$$$$$$$$$$$$$692 $$$$$$$$$$$$$$$$$$$$$$$$$$$$71 4704 · Hats $$$$$$$$$$$$$$$$$$$$$$$12 $$$$$$$$$$$$$$$$$$$$12 $$$$$$$$$$$$$$$$$$$$$$$$$$$$34 4705 · Koozies $$$$$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$28 $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 4706 · From the Land of Andalus $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$1,703$ $$$$$$$$$$$$$$$$$$$$$$$$$$810 4700 · Items for Resale - Other $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$104 $$$$$$$$$$$$$$$$$$$$$$$$$$585 &&&&&&&&&&&&&&&&&&&&366& &&&&&&&&&&&&&&2,588 &&&&&&&&&&&&&&&&&&&&&&&1,533
4213 - SMG Rebate $$$$$$$$$$$$$$$$$$$$$10,338 4800 · Interest Income &&&&&&&&&&&&&&&&&1,166& &&&&&&&&&&&&&&&&&&&&51 &&&&&&&&&&&&&&&&&&&&&&&&&&&&59 4900 · Misc. Income &&&&&&&&&&&&&100,033 &&&&&&&&&&&&&&3,548 &&&&&&&&&&&&&&&&&&&&&&&3,598 4901 · GAIN/LOSS ON SALE $$$$$$$$$$$$$$$$$$$$$$(86) $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$$$$$C
Total Earned Income &&&&&&&&&&&&&753,846 &&&&&&1,007,876& &&&&&&&&&&&&&&&1,438,836
Contributed Income 4001 · Donations General 4002 · Memorial Seats $$$$$$$$$$$$$$$13,724 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$$$$$C 4004 · Friends 0 $$$$$$$$$$188,448 $$$$$$$$$$$$$$$$$$121,976$ 4005Fundraising · Celebrity & Events Chef Cookoff $$$$$$$$$$$$$$$$$$$73,962$ 4001 · Donations General - Other $$$$$$$$$$$$$215,559 $$$$$$$$$$102,029 $$$$$$$$$$$$$$$$$$128,658$ &&&&&&&&&&&&&229,284 &&&&&&&&&&290,477 &&&&&&&&&&&&&&&&&&324,596& 4101 · Grants &&&&&&&&&&&&&&&46,188 &&&&&&&&&&131,057 &&&&&&&&&&&&&&&&&&&&&27,125 4102 · Tax Credit Income &&&&&&&&&&&&&&&10,000 &&&&&&&&&&&&&&&&&&-& &&&&&&&&&&&&&&&&&&110,407& Webb$Management$Services,$Inc. Page$4 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 Total Contributed Income &&&&&&&&&&&&&285,472 &&&&&&&&&&421,534 &&&&&&&&&&&&&&&&&&462,128&
Total Income &&&&&&&&&1,039,317& &&&&&&1,429,410& &&&&&&&&&&&&&&&1,900,964 Operating Expenses Existing Personnel 5500 · Payroll Expenses 5505 · Health Insurance $$$$$$$$$$$$$$$10,572 $$$$$$$$$$$$11,894 $$$$$$$$$$$$$$$$$$$$$15,102 5511 · Wages $$$$$$$$$$$$$161,452 $$$$$$$$$$187,075 $$$$$$$$$$$$$$$$$$234,160$ 5500 · Payroll Expenses - Other $$$$$$$$$$$$$$$22,547 $$$$$$$$$$$$26,722 $$$$$$$$$$$$$$$$$$$$$41,227 5080 · Workmans Comp. Insurance $$$$$$$$$$$$$$$$$$$$$920 $$$$$$$$$$$$$$2,804$ $$$$$$$$$$$$$$$$$$$$$$$2,103 &&&&&&&&&&&&&195,491 &&&&&&&&&&228,495 &&&&&&&&&&&&&&&&&&292,592& New Personnel Full-time Development Director Education Director Marketing Manager Sub-total Benefits Total New full-time
Part-time IT Manager Box Office House Staff Tech Labor F&B Staff Sub-total Benefits Total New full-time
Total New Personnel
Total Personnel &&&&&&&&&&&&&195,491 &&&&&&&&&&228,495 &&&&&&&&&&&&&&&&&&292,592&
Presenting 5101 · Advertising $$$$$$$$$$$$$$$86,488 $$$$$$$$$$157,478 $$$$$$$$$$$$$$$$$$177,165$ Adj: 90th Anniversary Brand Advertising (Eagle) $$$$$$$$$$$$$$$$$$$(14,722)$ 5104 · Co- Promotion $$$$$$$$$$$$$$$15,203 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$6,373 5106 · Event Expense Other $$$$$$$$$$$$$$$28,082 $$$$$$$$$$$$10,680 $$$$$$$$$$$$$$$$$$$$$10,417 5110 · Film Rental $$$$$$$$$$$$$$$$$7,326$ $$$$$$$$$$$$$$8,650$ $$$$$$$$$$$$$$$$$$$$$$$8,851 5111 · Hospitality $$$$$$$$$$$$$$$$$4,391$ $$$$$$$$$$$$13,906 $$$$$$$$$$$$$$$$$$$$$18,544 5115 · Lighting Expense $$$$$$$$$$$$$$$$$8,116$ $$$$$$$$$$$$$$9,806$ $$$$$$$$$$$$$$$$$$$$$$$1,074 5117 · Lodging $$$$$$$$$$$$$$$$$3,291$ $$$$$$$$$$$$$$9,516$ $$$$$$$$$$$$$$$$$$$$$$$7,472 5118 · Performers Fees $$$$$$$$$$$$$294,868 $$$$$$$$$$420,387 $$$$$$$$$$$$$$$$$$720,558$ 5122 · Ticket Sales $$$$$$$$$$$$$$$$$$$$$602 $$$$$$$$$$$$$$6,324$ $$$$$$$$$$$$$$$$$$$$$$$3,854 5123 · Transportation - Fuel/Parking $$$$$$$$$$$$$$$$$$$$$167 $$$$$$$$$$$$$$3,074$ $$$$$$$$$$$$$$$$$$$$$$$1,367 5124 · Vehicle Rental $$$$$$$$$$$$$$$$$$$$$529 $$$$$$$$$$$$$$2,006$ $$$$$$$$$$$$$$$$$$$$$$$1,384 5126 · Spotlight Rental $$$$$$$$$$$$$$$$$$$$$200 $$$$$$$$$$$$$$$$$$226 $$$$$$$$$$$$$$$$$$$$$$$$$$$C 5129 · Security $$$$$$$$$$$$$$$$$3,231$ $$$$$$$$$$$$$$5,307$ $$$$$$$$$$$$$$$$$$$$$$$8,333 5130 · Sound Expense $$$$$$$$$$$$$$$22,352 $$$$$$$$$$$$33,240 $$$$$$$$$$$$$$$$$$$$$63,215 5131 · Backline Expense $$$$$$$$$$$$$$$$$4,650$ $$$$$$$$$$$$19,900 $$$$$$$$$$$$$$$$$$$$$29,455 5121 · Tech Director Contract Labor $$$$$$$$$$$$$$$17,234 $$$$$$$$$$$$28,762 $$$$$$$$$$$$$$$$$$$$$22,996 5127 · Stage Hands $$$$$$$$$$$$$$$10,035 $$$$$$$$$$$$23,414 $$$$$$$$$$$$$$$$$$$$$29,788 5511 CleaningSalary & Crew Wages Expense (Cleaning $$$$$$$$$$$$$$$$$$$$$29,344 Webb$Management$Services,$Inc. Page$5 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 Other $$$$$$$$$$$$$$$$$$$$$$$1,427 Total Presenting &&&&&&&&&&&&&506,764 &&&&&&&&&&752,678 $$$$$$$$$$$$$$1,126,895 Programming Direct Programming Costs Fundraising 5600 · Fundraising Expense 5601 · Consultant Fees $$$$$$$$$$$$$$$40,960 $$$$$$$$$$$$61,697 5603 · Operations Fundraising Expense $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$1,579$ $$$$$$$$$$$$$$$$$$$$$84,762 5600 · Fundraising Expense - Other $$$$$$$$$$$$$$$18,375 $$$$$$$$$$$$11,891 $$$$$$$$$$$$$$$$$$$$$10,163 &&&&&&&&&&&&&&&59,335 &&&&&&&&&&&&75,167 &&&&&&&&&&&&&&&&&&&&&94,925 Administration 5000 · Advertising Expense $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$10,825 $$$$$$$$$$$$$$$$$$$$$$(1,235) Adj: 90th Anniversary Brand Advertising (Eagle) $$$$$$$$$$$$$$$$$$$$$14,722 5020 · Bank Charges $$$$$$$$$$$$$$$$$$$$$403 $$$$$$$$$$$$$$1,100$ $$$$$$$$$$$$$$$$$$$$$$$2,128 5025 - Board Expense $$$$$$$$$$$$$$$$$$$$$$$$$$165 5035 · Contract Labor $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$3,338$ $$$$$$$$$$$$$$$$$$$$$$$1,897 5040 · D & O Insurance $$$$$$$$$$$$$$$$$1,373$ $$$$$$$$$$$$$$1,373$ $$$$$$$$$$$$$$$$$$$$$$$1,373 5060 · Dues and Memberships $$$$$$$$$$$$$$$$$2,704$ $$$$$$$$$$$$$$4,683$ $$$$$$$$$$$$$$$$$$$$$$$4,145 5400 · Legal/Accounting $$$$$$$$$$$$$$$$$5,761$ $$$$$$$$$$$$$$8,943$ $$$$$$$$$$$$$$$$$$$$$$$6,711 5410 · Meals - Meetings $$$$$$$$$$$$$$$$$$$$$$$$$7 $$$$$$$$$$$$$$3,460$ $$$$$$$$$$$$$$$$$$$$$$$5,903 5420 · Office Equip. Repair/Maint. $$$$$$$$$$$$$$$$$6,550$ $$$$$$$$$$$$$$9,605$ $$$$$$$$$$$$$$$$$$$$$$$6,707 5421 · Office Maintenance $$$$$$$$$$$$$$$$$$$$$952 $$$$$$$$$$$$$$$$$$$$25 $$$$$$$$$$$$$$$$$$$$$$$$$$$C 5430 · Office Supplies $$$$$$$$$$$$$$$$$7,863$ $$$$$$$$$$$$$$9,966$ $$$$$$$$$$$$$$$$$$$$$$$7,866 5440 - Photo Expense $$$$$$$$$$$$$$$$$$$$$$$$$$$$82 5450 · Postage $$$$$$$$$$$$$$$$$7,153$ $$$$$$$$$$$$$$2,498$ $$$$$$$$$$$$$$$$$$$$$$$2,879 5460 · Printing & Copy Expense $$$$$$$$$$$$$$$$$6,155$ $$$$$$$$$$$$11,610 $$$$$$$$$$$$$$$$$$$$$$$4,226 5480 · Seminars and Education 5481 · Lodging $$$$$$$$$$$$$$$$$$$$$651 $$$$$$$$$$$$$$1,347$ $$$$$$$$$$$$$$$$$$$$$$$1,294 5482 · Meals $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$462 $$$$$$$$$$$$$$$$$$$$$$$$$$247 5483 · Misc Expense $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$37 $$$$$$$$$$$$$$$$$$$$$$$$$$$$66 5484 · Registration Fees $$$$$$$$$$$$$$$$$4,017$ $$$$$$$$$$$$$$3,594$ $$$$$$$$$$$$$$$$$$$$$$$2,673 5485 · Taxi, parking tolls $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$125 $$$$$$$$$$$$$$$$$$$$$$$$$$$$66 5486 · Transporation $$$$$$$$$$$$$$$$$$$$$751 $$$$$$$$$$$$$$1,767$ $$$$$$$$$$$$$$$$$$$$$$$1,083 5480 - Seminars and Educaiion Other $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$$6,830 5070 · Graphic Design 575 0 0 &&&&&&&&&&&&&&&44,916 &&&&&&&&&&&&74,757 &&&&&&&&&&&&&&&&&&&&&69,828 Operations 5102 · Catering Expense $$$$$$$$$$$$$$$$$$C$ 5102S · Non-Alcohol Bar Supplies $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$164 $$$$$$$$$$$$$$$$$$$$$$$2,629 5102 · Bar Expense - Other $$$$$$$$$$$$$$$12,461 $$$$$$$$$$$$21,920 $$$$$$$$$$$$$$$$$$$$$32,236 5102P · Pizza Expense $$$$$$$$$$$$$$$$$$$$$825 $$$$$$$$$$$$$$1,220$ $$$$$$$$$$$$$$$$$$$$$$$$$$579 5103 · Concession Expense $$$$$$$$$$$$$$$14,847 $$$$$$$$$$$$14,769 $$$$$$$$$$$$$$$$$$$$$15,978 5105 · Credit Card Fees $$$$$$$$$$$$$$$$$5,183$ $$$$$$$$$$$$16,281 $$$$$$$$$$$$$$$$$$$$$28,133 5112 · House Operations $$$$$$$$$$$$$$6,656$ $$$$$$$$$$$$$$$$$$$$$$$8,187 5114 · Insurance $$$$$$$$$$$$$$$21,550 $$$$$$$$$$$$22,610 $$$$$$$$$$$$$$$$$$$$$19,793 5116 · Liquor Tax $$$$$$$$$$$$$$$$$3,891$ $$$$$$$$$$$$$$6,979$ $$$$$$$$$$$$$$$$$$$$$$$4,309 5119 · Projecter Rental $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$500 $$$$$$$$$$$$$$$$$$$$$$$$$$$C 5120 · Sales Tax $$$$$$$$$$$$$$$28,616 $$$$$$$$$$$$59,475 $$$$$$$$$$$$$$$$$$$$$20,284 5125 · Licensing $$$$$$$$$$$$$$$$$2,165$ $$$$$$$$$$$$$$4,925$ $$$$$$$$$$$$$$$$$$$$$$$5,083 5800 · Items for resale expense $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$392 $$$$$$$$$$$$$$$$$$$$$$$$$$$C 5900 · Misc. Expenses $$$$$$$$$$$$$$$$$3,539$ $$$$$$$$$$$$$$8,172$ $$$$$$$$$$$$$$$$$$$$$$$1,788 5910 · Taxes, Licenses & Fees $$$$$$$$$$$$$$$$$3,535$ $$$$$$$$$$$$$$7,386$ $$$$$$$$$$$$$$$$$$$$$16,936 Webb$Management$Services,$Inc. Page$6 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012 &&&&&&&&&&&&&&&96,612 &&&&&&&&&&171,449 &&&&&&&&&&&&&&&&&&155,935& Building Expense 5200 · Theatre Expenses 5210 · Building Maintenance $$$$$$$$$$$$$$$$$1,055$ $$$$$$$$$$$$13,413 $$$$$$$$$$$$$$$$$$$$$$$3,168 5215 · Theatre Maintenance - Labor $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$2,596$ $$$$$$$$$$$$$$$$$$$$$$$5,244 5220 · Janitorial/Cleaning Theatre $$$$$$$$$$$$$$$$$$$$$$$95 $$$$$$$$$$$$$$2,359$ $$$$$$$$$$$$$$$$$$$$$$$1,219 5230 · Sign Expense $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$2,166$ $$$$$$$$$$$$$$$$$$$$$$$3,076 5240 · Theatre Equipment Repairs $$$$$$$$$$$$$$$11,460 $$$$$$$$$$$$14,181 $$$$$$$$$$$$$$$$$$$$$15,635 5250 · Theatre Supplies $$$$$$$$$$$$$$$$$8,276$ $$$$$$$$$$$$$$4,652$ $$$$$$$$$$$$$$$$$$$$$$$3,916 5491 · Equipment Rental $$$$$$$$$$$$$$$$$1,269$ $$$$$$$$$$$$$$1,538$ $$$$$$$$$$$$$$$$$$$$$$$2,775 5200 · Theatre Expenses - Other $$$$$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$148 $$$$$$$$$$$$$$$$$$$$$$$$$$412 5300 · Utilities 5310 · Electric $$$$$$$$$$$$$$$26,354 $$$$$$$$$$$$28,898 $$$$$$$$$$$$$$$$$$$$$28,787 5320 · Gas $$$$$$$$$$$$$$$$$2,263$ $$$$$$$$$$$$$$2,322$ $$$$$$$$$$$$$$$$$$$$$$$5,503 5330 · Water $$$$$$$$$$$$$$$$$1,078$ $$$$$$$$$$$$$$2,384$ $$$$$$$$$$$$$$$$$$$$$$$1,839 5470 · Rent $$$$$$$$$$$$$$$15,823 $$$$$$$$$$$$18,266 $$$$$$$$$$$$$$$$$$$$$35,008 &&&&&&&&&&&&&&&67,672 &&&&&&&&&&&&92,923 &&&&&&&&&&&&&&&&&&106,582&
Total Operating Expenses &&&&&&&&&&&&&970,790 &&&&&&1,395,468& &&&&&&&&&&&&&&&1,846,757
Result of Operations &&&&&&&&&&&&&&&68,527 &&&&&&&&&&&&33,942 &&&&&&&&&&&&&&&&&&&&&54,207
Non-operating Items 5520 · Depreciation Expense $$$$$$$$$$$$$167,805 $$$$$$$$$$167,805 $$$$$$$$$$$$$$$$$$167,805$ Allocation from Capital Budget Allocation to Capital Reserve
Final Result &&&&&&&&&&&&&(99,278)& &&&&&&&&(133,863)& &&&&&&&&&&&&&&&&&(113,598)
Ratios and Formulas % of op. Expense Covered by Earned Income 78% 72% 78%
Annual Escalation Rate (CPI) 2% 2%
Advertisting Income/Paid Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.15$
Non-Box Office Income Attributed to Presented Events Bar $$$$$$$$$$$$$$$97,780.00$ Concessions $$$$$$$$$$$$$$$76,791.00$ Pizza $$$$$$$$$$$$$$$$$$$$711.00$ Facility Fee $$$$$$$$$$$$$$$30,834.00$ Performers Merchandise $$$$$$$$$$$$$$$$$9,941.00$ $$$$$$$$$$$$216,057.00
Event Underwriting/Presented Performance $$$$$$$$$$$$$$$$$$$$720$ $$$$$$$$$$$$$$1,006$ $$$$$$$$$$$$$$$$$$$$$$$2,318$
Faclity Charge per Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.54$
Performer Merchandise Sales/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.17$
House Operations Fee/Performance $$$$$$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$$$$$$$$56.21$ Webb$Management$Services,$Inc. Page$7 4/8/13 Orpheum Performing Arts Centre, Ltd. Operating Budget 2010 %$Change 2011 %$Change 2012
Technical Director Fee/Performance $$$$$$$$$$$$$$$119.37$ $$$$$$$$$$$$$$46.42$ $$$$$$$$$$$$$$$$$$$$$$$93.83$
Spotllight Rental Income/Performance $$$$$$$$$$$$$$$$$$$4.64$ $$$$$$$$$$$$$$$$2.18$ $$$$$$$$$$$$$$$$$$$$$$$$$0.65$
Security income/Performance $$$$$$$$$$$$$$$$$14.77$ $$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$$$$$$$$12.63$
Sound Income/Performance $$$$$$$$$$$$$$$$$12.15$ $$$$$$$$$$$$$$14.56$ $$$$$$$$$$$$$$$$$$$$$$$52.55$
Backlline Income/Performance $$$$$$$$$$$$$$$$$14.95$ $$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$$$$$$$$33.91$
Stage Hand Income/Performance $$$$$$$$$$$$$$$$$11.48$ $$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$$$$$$$$31.87$
Credit Card Processing Fee/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.04$
Events Revenue/Performance $$$$$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$52.28$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$C$$$
SMG Rebate/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$$$$$C$$$
Orpheum Merchandise Sales/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.03$
Benefits for New Staff Full-time Part-time
Total Personnel Costs as % of Op. Expenses 20% 16% 16%
Fundraising Costs as a % of Contributed Income 21% 18% 21%
Bar Expense as a % of Bar Income 32% 28% 36%
Concession Expense as a % of Concession Income 26% 23% 21%
Credit Card Fees/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.50$
Hospitality Costs/Performance $$$$$$$$$$$$$$$$$45.27$ $$$$$$$$$$$$135.01$ $$$$$$$$$$$$$$$$$$$$161.25$
Insurance/Attender #DIV/0! #DIV/0! $$$$$$$$$$$$$$$$$$$$$$$$$0.35$
Office Square Footage $$$$$$$$$$$$$$$$$$3,334$ $$$$$$$$$$$$$$$3,334$ $$$$$$$$$$$$$$$$$$$$$$$$3,334$ Rent/sf $$$$$$$$$$$$$$$$$$$4.75$ $$$$$$$$$$$$$$$$5.48$ $$$$$$$$$$$$$$$$$$$$$$$10.50$
Facility GSF $$$$$$$$$$$$$$$$25,000$ $$$$$$$$$$$$$25,000$ $$$$$$$$$$$$$$$$$$$$$$25,000$ Utilities/sf $$$$$$$$$$$$$$$$$$$1.19$ $$$$$$$$$$$$$$$$1.34$ $$$$$$$$$$$$$$$$$$$$$$$$$1.45$ Building Maintenance/sf $$$$$$$$$$$$$$$$$$$0.04$ $$$$$$$$$$$$$$$$0.54$ $$$$$$$$$$$$$$$$$$$$$$$$$0.13$ Theatre Maintenance - Labor/sf $$$$$$$$$$$$$$$$$$$$$$$$C$$$ $$$$$$$$$$$$$$$$0.10$ $$$$$$$$$$$$$$$$$$$$$$$$$0.21$ Janitorial/Cleaning Theatre/sf $$$$$$$$$$$$$$$$$$$0.00$ $$$$$$$$$$$$$$$$0.09$ $$$$$$$$$$$$$$$$$$$$$$$$$0.05$
Webb$Management$Services,$Inc. Page$8 4/8/13
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! Regional Performance Facilities: Programming
45-mile Radius
Presenting Activity Producing Activity Rental Activity Film Broadway Comedy Dance Theatre Music Music Popular/Headliner Series Lecture Programming Family/Youth Community Festivals/Celebrations Theatre Theatre/Musical Education/Religious Music Dance Resident Company Arts Performing Events Private Promoters Commercial Facility Capacity Welsbacher Theatre, WSU 90 1 1 1 3 Iron Horse Concert Hall 100 1 1 2 The Artichoke 100 1 1 2 Port of Wichita 176 1 1 Forum Theatre 199 1 1 1 1 1 1 6 Cabaret Oldtown Theatre 200 1 1 1 1 1 5 Rock Island Live 200 1 1 1 3 Friends University Sebits Auditorium 300 1 1 1 1 1 1 1 7 Wiedemann Hall, WSU 425 1 1 1 1 1 5 CAC Theater, WSU 450 1 1 1 1 1 1 6 The Sene-Ary 459 1 1 1 1 1 5 Wichita Center for the Arts 484 1 1 1 1 1 5 Murdock Theatre 494 1 1 1 1 4 Crown Uptown Theatre 500 1 1 1 1 1 1 1 1 8 Miller Concert Hall, WSU 530 1 1 1 1 1 1 1 1 1 9 Wilner Auditorium, WSU 600 1 1 1 1 1 1 1 1 1 9 Mary Jane Teall Theater (Century II) 656 1 1 1 1 1 1 1 1 1 9 Scottish Rite Center Auditorium 700 1 1 2 Friends University Alumni Auditorium 800 1 1 1 3 OrpheumTheater 1,281 1 1 1 1 1 1 1 1 1 1 10 The Cotillion 2,000 1 1 1 1 1 1 6 Century II Performing Arts & Convention Center Concert Hall 2,195 1 1 1 1 1 1 1 1 1 1 1 11 Hartman Arena 6,750 1 1 1 1 4 INTRUST Bank Arena 15,000 1 1 1 1 1 1 1 1 8 *In Development: NoMar Theatre 300 1 1 1 1 1 1 1 1 1 9 28% 4% 28% 28% 52% 80% 28% 20% 24% 28% 28% 24% 16% 8% 8% 56% 76% 32% 7 1 7 7 13 20 7 5 6 7 7 6 4 2 2 14 19 8
*Chart reflects programming expected at NoMar Theatre after renovations are completed. ! !
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appendix d: market analysis
Age Distribution
Wichita
Sedgewick Age 65+ County 30-mile Radius
45-mile Radius
Age 55 to 64
Age 35 to 54
Age 18 to 34
Age 17 and under
0% 5% 10% 15% 20% 25% 30%
Educational Attainment
Wichita Sedgewick County Graduate or Prof Degree 30-mile Radius 45-mile Radius USA
Bachelor's Degree
Associate Degree
Some College, No Degree
High School Graduate (or GED)
0% 5% 10% 15% 20% 25% 30% 35%
Household Income Distribution
Wichita $150,000 or more Sedgewick County
30-mile Radius $100,000 to $149,999 45-mile Radius
USA
$75,000 to $99,999
$50,000 to $74,999
$25,000 to $49,999
Less than $24,999
0% 5% 10% 15% 20% 25% 30% 35%
Race + Ethnicity
Wichita
Sedgewick Other County 30-mile Radius
45-mile Radius
Black or African American
Asian
Hispanic or Latino
White
0% 10% 20% 30% 40% 50% 60% 70% 80%
Language Spoken at Home
Wichita
Sedgewick Other Language County 30-mile Radius
45-mile Radius
Spanish
IndoEuropean Language
Asian Pacific Islander Language
Only English
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
'Empty Nester' and 'Retiree' Population Trend: Young Population Trend: Wichita Wichita 25% 25% 65 to 74 years 18 to 24 years
55 to 64 years 10 to 17 years
20% 45 to 54 years 20% 0 to 9 years
15% 15%
10% 10%
5% 5%
0% 0% 2000 2013 2018 2000 2013 2018 !!! ! 'Empty Nester' and 'Retiree' Population Trend: Young Population Trend: Sedgewick County Sedgewick County 25% 25% 65 to 74 years 18 to 24 years
55 to 64 years 10 to 17 years
20% 45 to 54 years 20% 0 to 9 years
15% 15%
10% 10%
5% 5%
0% 0% 2000 2013 2018 2000 2013 2018
'Empty Nester' and 'Retiree' Population Trend: Young Population Trend: 30-mile Radius 30-mile Radius 25% 25% 65 to 74 years 18 to 24 years 55 to 64 years 10 to 17 years 20% 45 to 54 years 20% 0 to 9 years
15% 15%
10% 10%
5% 5%
0% 0% 2000 2013 2018 2000 2013 2018 ! ! 'Empty Nester' and 'Retiree' Population Trend: Young Population Trend: 45-mile Radius 45-mile Radius 20% 20% 65 to 74 years 18 to 24 years 18% 18% 55 to 64 years 10 to 17 years
16% 45 to 54 years 16% 0 to 9 years
14% 14%
12% 12%
10% 10%
8% 8%
6% 6%
4% 4%
2% 2%
0% 0% 2000 2013 2018 2000 2013 2018 ! ! Median Household Income
$55,000 Wichita
Sedgewick County 30-mile Radius $50,000 45-mile Radius
USA
$45,000
$40,000
$35,000
$30,000 2000 2013 2018
Trend in Racial Composition: Wichita Trend in Racial Composition: 30-mile Radius
90% 90% Black or African Black or African American American 80% 80% Asian Asian 70% 70%
White White 60% 60%
Hispanic or Latino 50% 50% Hispanic or Latino
40% 40%
30% 30%
20% 20%
10% 10%
0% 0% 2000 2013 2018 2000 2013 2018
Trend in Racial Composition: Sedgewick County Trend in Racial Composition: 45-mile Radius
90% 90% Black or African Black or African American American 80% 80% Asian Asian 70% 70% White White 60% 60%
Hispanic or Latino Hispanic or Latino 50% 50%
40% 40%
30% 30%
20% 20%
10% 10%
0% 0% 2000 2013 2018 2000 2013 2018
Population Growth
800,000 2000 2010 700,000 2013 2018 600,000
500,000
400,000
300,000
200,000
100,000
0 Wichita Sedgewick County 30-mile Radius 45-mile Radius
appendix e: comparable markets !
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! Commercial Entertainment in Colorado Springs, CO Annual 2/3 Performances Attendance at Venue Capacity capacity per year 2/3 Capacity The Black Sheep 450 270 26 7,020 Colorado Springs World Arena 8,891 5,335 10 53,346 Pikes Peak Center 2,000 1,200 7 8,400 The Loft Music Venue 250 150 21 3,150 Sunshine Studios Live 350 210 17 3,570 Stargazers Theatre & Event Center 550 330 17 5,610 Gold Bar Room Theater 280 168 12 2,016 Totals 12,771 110 83,112
Arts/Culture in Colorado Springs, CO Annual 2/3 Performances per Attendance at 2/3 Venue Capacity capacity year Capacity Pikes Peak Center 2,000 1340 32 42,880 Butte Theater 199 133 32 4,267 Stargazers Theatre & Event Center 550 369 4 1,474 Gold Bar Room Theater 280 188 12 2,251 Colorado Springs Fine Art Center SaGaji Theatre 400 268 8 2,144
Colorado Springs Fine Art Center Second Stage 108 72 40 2,894 Total 3,537 128 55,910 Commercial Entertainment in Boise City, ID Annual 2/3 Performances Attendance at Venue Capacity capacity per year 2/3 Capacity Morrison Center for the Performing Arts 2,037 1,222 5 6,111 Knitting Factory Concert House 1,000 600 32 19,200 Outlaw Field At Idaho Botanical Gardens 4,000 2,400 10 24,000 Idaho Center 11,000 6,600 1 6,600 Taco Bell Arena, BSU 12,380 7,428 3 22,284 Eagle River Pavilion 3,000 1,800 6 10,800 CenturyLink Arena (Qwest Arena) 5,500 3,300 1 3,300 Jewett Auditorium 900 540 1 540 Egyptian Theatre 1,201 721 1 721 Totals 41,018 24,611 60 93,556
Arts/Culture in Boise City, ID Annual 2/3 Performances per Attendance at 2/3 Venue Capacity capacity year Capacity
Morrison Center for the Performing Arts 2,000 1,340 33 44,220 Egyptian Theatre 1,201 805 11 8,851 Jewett Auditorium 900 603 10 6,030 Total 4,101 54 59,101 Commercial Entertainment in Des Moines, IA Annual Performance Attendance at Venue Capacity 2/3 capacity s per year 2/3 Capacity Iowa Events Center Wells Fargo Arena 17,000 10,200 6 191,235 Vaudeville Mews 230 138 202 27,876 Val Air Ballroom 3,000 1,800 5 9,000 Civic Center of Greater Des Moines 2,700 1,620 3 4,860 Temple Theater, Civic Center of Greater Des Moines 250 150 4 600 The Gas Lamp 199 119 9 1,071 Hoyt Sherman Place 1,252 751 2 1,502 Totals 24,631 231 236,144
Arts/Culture Entertainment in Des Moines, IA Annual Performance Attendance at Venue Capacity 2/3 capacity s per year 2/3 Capacity Stoner Theater, Civic Center of Greater Des Moines 200 120 3 360 Temple Theater, Civic Center of Greater Des Moines 250 150 29 4,350 Civic Center of Greater Des Moines 2,700 1,620 78 126,360 Hoyt Sherman Place 1,252 751 8 6,008 Totals 4,402 118 137,078
Note:&All&attendance&estimates&confirmed&with&Pollstar&ticket&sales&data&whenever&possible Commercial Entertainment in Madison, WI 2/3 Performances per Annual Attendance Venue Capacity capacity year at 2/3 Capacity The Alchemy Café 99 59 200 11,880 The Annex 400 240 10 2,400 Barrymore Theatre 850 510 15 7,650 Brink Lounge 175 105 80 8,400 Edgewood College Black Box Theatre 120 72 14 1,008 The Frequency 99 59 22 1,307 The Majestic Theatre 600 360 62 22,320 Merchant (mostly Djs) 70 42 50 2,100 Overture Center's Capitol Theater 1,089 653 6 3,920 Overture Hall 2,255 1,353 3 4,059 Overture Rotunda Stage 300 180 6 1,080 High Noon Saloon 400 240 120 28,800 Orpheum Theatre 1,700 1,020 40 40,800 Alliant Energy Center Exhibition Hall 1,000 600 1 600 Alliant Energy Center Veterans Memorial Coliseum 10,231 6,139 2 12,277 Totals 17,045 631 148,601
Arts/Culture Offerings in Madison, WI 2/3 Avg performances Annual Attendance Venue Capacity capacity per year at 2/3 Capacity Mills Hall, UW 700 469 5 2,345 Mitby Theater, MATC 976 654 12 7,847 Overture Center Capitol Theater 1,089 730 30 21,889 Overture Center Promenade Hall 250 168 8 1,340 Overture Hall 2,255 1511 68 102,738 Overture Center Capitol Theater 1,089 730 4 2,919 First Unitarian Society Auditorium 500 335 18 6,030 Mitchell Theatre, UW 321 215 16 3,441 Music Hall, UW 380 255 3 764 Total 7,560 164 149,312 Commercial Entertainment in Syracuse, NY Annual 2/3 Performances Attendance at Venue Capacity capacity per year 2/3 Capacity Landmark Theatre 2,900 1,740 25 43,500 The Westcott Theatre 700 420 30 12,600 *Mulroy Civic Center Theaters (Carrier Theater & Crouse Hinds Theater) 2,580 1,548 1 1,548 Station 58 200 120 20 2,400 Mohegan Sun Casino Arena 10,000 6,000 43 258,000 Turning Stone Resort & Casino Event Center 5,000 3,000 7 21,000 Redhouse Theatre 120 60 1 60 Funk 'n Waffles 200 120 10 1,200 The Lost Horizon 600 360 5 1,800 Turning Stone Resort & Casino Event Center 5,000 3,000 6 18,000 Total 17,300 105 102,108
Arts/Culture in Syracuse, NY Avg performances Annual Attendance Venue Capacity 2/3 capacity per year at 2/3 Capacity
Mulroy Civic Center Theaters, OnCenter 2,580 1,729 24 41,486 Redhouse Theatre 120 80 53 4,261 Setnor Auditorium, SU 700 469 12 5,628 Oswego Music Hall 500 335 9 3,015 Earlville Opera House 300 201 1 201 Sheldon Hall Ballroom, SUNY-Oswego 350 235 7 1,642 Waterman Theatre, SUNY-Oswego 525 352 20 7,035 Auburn Public Theater 200 134 19 2,546 Nelson Odeon 99 24 19 456 Total 5,374 164 66,270 Commercial Entertainment in Tulsa, OK Annual Performances Attendance at Venue Capacity 2/3 capacity per year 2/3 Capacity
Tulsa Performing Arts Center John H. Williams Theatre 437 262 3 786 Brady Theater 2,800 1,680 8 13,440 Cain's Ballroom 1,700 1,020 37 37,740 BOK Center 19,199 11,519 17 195,823 Broken Arrow Performing Arts Center 1,492 895 9 8,055 Tulsa Hardrock, The Joint 2,700 1,620 13 21,060 Mabee Center 11,300 6,780 9 61,020 Tulsa Convention Center Arena 8,900 5,340 1 5,340 River Spirit Casino Event Center 2,500 1,500 23 34,500 Osage Casino - Tulsa Event Center 600 360 0 Totals 27,492 120 377,764
Arts/Culture Offerings in Tulsa, OK Annual Performances Attendance at Venue Capacity 2/3 capacity per year 2/3 Capacity Tulsa Performing Arts Center, Chapman Music Hall 2,365 1,419 45 63,855 Tulsa Performing Arts Center John H. Williams Theatre 437 262 30 7,860 Tulsa Performing Arts Center Liddy Doenges Theatre 300 180 18 3,240 Tulsa Convention Center Assembly Hall 1,000 600 8 4,800 Totals 4,102 101 79,755
Note:&All&attendance&estimates&confirmed&with&Pollstar&ticket&sales&data&whenever&possible Commercial Entertainment in Wichita, KS
Performances per Annual Attendance Venue Capacity 2/3 capacity year at 2/3 Capacity The Orpheum Theater 1,281 769 48 36,893 Century II Performing Arts & Convention Center 2,195 1,317 1 1,317 Concert Hall The Cotillion 2,000 1,200 14 16,800 The Scene-Ary 476 286 5 1,428 Iron Horse Concert Hall 100 60 30 1,800 Rock Island Live 200 120 20 2,400 Port of Wichita 176 106 15 1,584 The Artichoke 100 60 25 1,500 INTRUST Bank Arena 15,000 9,000 28 252,000 Hartman Arena 6,500 3,900 2 7,800 Total 28,028 188 323,522
Arts/Cultural Offerings in Wichita, KS
Performances per Annual Attendance Venue Capacity 2/3 capacity year at 2/3 Capacity The Orpheum Theater 1,281 858 6 5,150 Cabaret Oldtown 200 134 6 804 Miller Concert Hall, WSU 530 355 8 2,841 Friends University Alumni Auditorium 800 536 4 2,144 Friends University Sebits Auditorium 300 201 7 1,407 Wichita Center for the Arts 484 324 3 973 Century II Performing Arts & Convention Center Concert Hall 2,195 1,471 50 73,533 Mary Jane Teall Theater (Century II) 600 402 18 7,236 Total 6,390 102 94,087
appendix f: customer survey
3. On a scale of 1 to 10 (1 being poor and 10 being excellent) please rate the following attributes of your experiences attending events at the Orpheum Theatre.
Rating Response Poor Excellent Average Count
1.3% 0.9% 1.7% 0.9% 7.5% 6.3% 12.4% 19.7% 18.8% 30.6% Buying Tickets 8.06 702 (9) (6) (12) (6) (53) (44) (87) (138) (132) (215)
0.0% 0.1% 0.9% 1.3% 2.6% 3.3% 13.1% 16.6% 21.0% 41.1% Location 8.66 700 (0) (1) (6) (9) (18) (23) (92) (116) (147) (288)
0.9% 0.3% 2.4% 3.8% 10.1% 10.3% 19.7% 18.8% 17.5% 16.2% Ticket Price 7.44 702 (6) (2) (17) (27) (71) (72) (138) (132) (123) (114)
2.6% 2.1% 5.0% 4.4% 9.0% 12.5% 17.2% 17.0% 14.7% 15.5% Parking 7.03 702 (18) (15) (35) (31) (63) (88) (121) (119) (103) (109)
1.2% 1.2% 4.1% 5.3% 14.1% 12.9% 18.2% 17.1% 12.9% 12.9% Concessions 6.95 680 (8) (8) (28) (36) (96) (88) (124) (116) (88) (88)
8.3% 6.1% 8.1% 10.8% 12.1% 12.5% 14.8% 13.5% 8.0% Comfort 5.7% (40) 5.65 702 (58) (43) (57) (76) (85) (88) (104) (95) (56)
2.3% 2.9% 6.2% 6.3% 16.3% 16.3% 15.7% 16.7% 10.0% Amenities around the Theatre 7.2% (50) 6.37 693 (16) (20) (43) (44) (113) (113) (109) (116) (69)
answered question 704
skipped question 9
2 of 149 4. Do you believe it is important for the Orpheum Theatre to improve its facilities?
Response Response
Percent Count
Yes 91.0% 630
No 2.5% 17
I don't know 6.9% 48
Suggested improvements? 379
answered question 692
skipped question 21
3 of 149 5. Would you consider making a donation in support of a renovation project? (As a reminder, this survey is anonymous. This question is meant to gauge potential support for the project.)
Response Response
Percent Count
Yes 54.6% 372
No 15.4% 105
I don't know 30.0% 204
Comment 130
answered question 681
skipped question 32
4 of 149 6. What factors into your decision to attend events at the Orpheum Theatre? Please rate each factor on a scale of 1 to 10.
Not a Significant Rating Response
factor factor Average Count
57.6% 3.9% 3.6% 2.3% 7.8% 2.9% 4.2% 5.7% 2.9% Distance/Location 9.0% (62) 3.33 689 (397) (27) (25) (16) (54) (20) (29) (39) (20)
8.4% 1.9% 6.2% 4.9% 12.9% 8.0% 12.3% 14.2% 9.1% 22.1% Cost 6.66 691 (58) (13) (43) (34) (89) (55) (85) (98) (63) (153)
33.2% 7.0% 11.2% 6.0% 11.3% 6.2% 8.0% 7.3% 4.8% Parking 5.1% (35) 4.06 689 (229) (48) (77) (41) (78) (43) (55) (50) (33)
1.6% 0.7% 0.3% 0.1% 1.7% 1.0% 3.8% 7.2% 11.4% 72.2% Performances/Events 9.27 693 (11) (5) (2) (1) (12) (7) (26) (50) (79) (500)
38.1% 8.3% 13.0% 7.4% 13.6% 4.4% 6.6% 4.4% 2.3% Nearby Amenities 1.9% (13) 3.39 685 (261) (57) (89) (51) (93) (30) (45) (30) (16)
Opportunity to be with 22.4% 4.2% 5.4% 4.8% 15.5% 7.7% 8.3% 11.0% 7.7% 12.9% (88) 5.35 684 family/friends (153) (29) (37) (33) (106) (53) (57) (75) (53)
Other (please specify) 89
answered question 694
skipped question 19
5 of 149 7. How do you hear about events offered at the Orpheum Theatre? (Please select one or more.)
Response Response
Percent Count
Mail 14.0% 97
Email 92.4% 641
Newspaper: Wichita Eagle 54.0% 375
Newspaper: Salina Journal 0.0% 0
Newspaper: Hutchinson News 1.0% 7
Radio: KMUW 22.2% 154
Radio: Power 93.9 0.6% 4
Radio: Channel 96.3 1.2% 8
Radio: B98 4.8% 33
Radio: KISSIN’ 102.1 0.9% 6
Radio: 103.7 KEYN 7.8% 54
Radio: 105.3 The Buzz 2.4% 17
Radio: KWLS 107.9 0.3% 2
Radio: 107.3 The Road 2.2% 15
Television: KAKE 10.1% 70
Television: KWCH 10.8% 75
6 of 149 Television: KSN 7.2% 50
Television: Cox Cable 5.3% 37
Internet: Orpheum Website 37.2% 258
Internet: Facebook 18.4% 128
Internet: Twitter 4.3% 30
Internet: Kansas.com 5.9% 41
Magazine: SPLURGE! 7.5% 52
Magazine: Women's Focus 3.0% 21
Magazine: LIberty Press 1.3% 9
Poster 5.0% 35
Word of Mouth 22.9% 159
Other (please specify) 35
answered question 694
skipped question 19
7 of 149 8. What types of cultural activity are you interested in seeing at the Orpheum Theatre? Please rank each cultural activity on a scale of 1 to 5.
Definitely Rating Response Not interested interested Average Count
Popular/Headliner Music 3.0% (20) 4.0% (27) 10.5% (71) 19.2% (129) 63.3% (426) 4.36 673
World Music 21.4% (134) 22.2% (139) 26.0% (163) 17.9% (112) 12.5% (78) 2.78 626
Classical Music 24.1% (153) 22.2% (141) 24.9% (158) 18.4% (117) 10.4% (66) 2.69 635
Broadway/Popular Theatre 9.8% (64) 9.3% (61) 18.3% (120) 29.2% (191) 33.3% (218) 3.67 654
Other Theatre 13.2% (82) 15.2% (94) 27.5% (170) 27.0% (167) 17.1% (106) 3.20 619
Ballet - Dance 43.4% (269) 21.3% (132) 17.3% (107) 11.5% (71) 6.6% (41) 2.17 620
Modern - Dance 44.9% (275) 22.2% (136) 19.2% (118) 8.0% (49) 5.7% (35) 2.08 613
Family/Kids Performances 40.5% (255) 20.8% (131) 17.6% (111) 11.4% (72) 9.5% (60) 2.29 629
Film 14.7% (94) 12.2% (78) 23.8% (152) 22.7% (145) 26.5% (169) 3.34 638
Comedy 7.5% (49) 8.7% (57) 24.2% (159) 30.1% (198) 29.5% (194) 3.66 657
Lectures 30.8% (192) 20.5% (128) 26.9% (168) 13.3% (83) 8.5% (53) 2.48 624
Literary and Poetry Events 43.1% (269) 20.7% (129) 23.6% (147) 7.5% (47) 5.1% (32) 2.11 624
Events that celebrate cultural 30.6% (194) 22.2% (141) 24.6% (156) 13.7% (87) 8.8% (56) 2.48 634 diversity/heritage
New Work/World Premieres 23.9% (149) 17.0% (106) 28.6% (178) 18.8% (117) 11.7% (73) 2.77 623
Performances by local artists 6.9% (45) 13.6% (88) 34.0% (220) 27.9% (181) 17.6% (114) 3.36 648
8 of 149
appendix g: comparable projects
Nutmeg Conservatory at the Warner Theatre, Torrington, CT
The Warner Theatre was built in 1931 as a Warner Brothers movie palace. In the 1950s the Theatre was sold as part of a federally mandated divestment. The Theatre closed in 1981 due to business decline and was slated for demolition. In 1982, a concerned group of citizens formed the nonprofit Northwest Connecticut Association for the Arts, Inc. and raised enough money to purchase the 1,800-seat theater. Warner Theatre re-opened in 1983 as a performing arts center.
Several years later, the Theatre underwent two phases of renovation and restoration, lasting from 2002 to 2008. The project cost $19 million (in 2008 dollars,) with $6.7 million coming from public sources. Phase I included full upgrades of the building infrastructure, restoration of main theater and all public areas. The second phase included the expansion and renovation of an adjacent arts education center, including a 200-seat black box theatre, rehearsal halls, classrooms, studios, private lesson rooms and a dormitory facility. The project adapted an adjacent empty department store to create some of these facilities.
The arts education center is operated by the Nutmeg Conservatory, the home of Nutmeg Music, Nutmeg Ballet (a respected classical ballet training program), and WAPJ 89.9FM (a Community Service Radio station serving the greater Torrington area). The Conservatory for the Arts offers a wide-ranging program of both performance events and an intensive teaching program, providing ballet training and music and drama instruction.
The Nutmeg Ballet is committed to producing world-class dancers through quality pre- professional training, based on the Vaganova program. Throughout the year, the Ballet maintains a complete performance season including Fall Repertoire, Spring Repertoire, and the
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International Summer Festival. Students also appear in full-length productions such as Nutcracker, Coppelia, Cinderella, Sleeping Beauty and other classics.
The Nutmeg Conservatory's expanded music program provides students with self-discipline, confidence and life-long skills. Nutmeg Music tailors lessons, master classes, chamber music ensembles, and performance opportunities to meet the needs of each individual student. Nutmeg Music is an accredited member of the National Guild of Community Schools.
Warner Theatre and the adjacent Arts Education Center are in use year round, with over 160 annual events and nearly 92,000 patrons served. The Young Artists Series features students of the Center for Arts Education in productions ranging from children’s theater to Shakespeare. Additionally, the Theatre presents a wide array of events including digital cinema, comedy, opera, ballet, daytime performances, music (classical and contemporary), seminars and special events. The Theatre complex is also available for rentals.
The Nutmeg Conservatory supports a $2 million budget, more than 75% of which is earned. The Warner Theatre’s annual operating budget is $4.5 million, $860K of which is earned.
Patel Conservatory at the Straz Center for the Performing Arts, Tampa, FL
Opened in December 2004, Patel Conservatory offers 100 classes for all ages weekly, after school and on weekends in a three-story, 45,000-square-foot facility attached to the Straz Center for the Performing Arts. The facility includes studios and classrooms for dance, media arts, theater, on-camera acting and private lessons in all disciplines, plus a piano lab, a recording studio, a scene shop, a costume shop, a library and a black box theater.
The Patel Conservatory recently received accreditation from the Southern Association of College and Schools Council on Accreditation and School Improvement (SACS CASI) under the division of AdvancED. AdvancED is an entity that supports shared, research-based accreditation standards across state, regional and national boundaries. In order to earn and maintain accreditation from SACS CASI, the Conservatory had to meet the AdvancED Standards and Policies for Quality Schools, engage in continuous improvement and demonstrate quality assurance through internal and external review. The Conservatory is also a member of the National Guild for Community Arts Education and followed the associated code of best practices.
The Conservatory supports a departments in various performing arts disciplines.
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The Dance Department offers a range of classes and workshops for beginning and advanced dance students, both children and adults. Classes are organized by experience level (either open access or placement) and by age. The class roster changes each year and ongoing workshops and master classes are offered periodically. Last year’s highlight was offered by the Next Generation Ballet program, presenting three Nutcracker performances.
The Conservatory partners with the Orlando Ballet School (OBS) to offer classes for children in grades Pre-K through 12. No previous training or audition is required, but all students must take a placement class to determine their level of proficiency prior to registration. OBS at the Patel Conservatory offers performing opportunities. Students in grades 1-12 are encouraged to continue their training over the summer months by participating in the Summer Ballet Junior Intensive (for grades 1-12) or the Orlando Ballet School Summer Intensive (for grades 8-12) at the Conservatory.
The Theater Department is divided into three divisions: on-stage, on-camera and non- performance. On-stage and on-camera acting classes culminate in presentations of class work. Classes are organized by experience level (open access or placement), and by age. Specialty classes, workshops and master classes are also offered periodically. Non-performance classes, such as playwriting and technical theater, also are offered. Last season, the Conservatory’s Youth Theater presented four productions, including a non-musical main stage performance and a full-length musical specifically for students in grades 2-4.
The Music Department offers options for beginning and advanced musicians of all ages, featuring performance classes, theory classes, school-year programs, private lessons and other specialty classes. Rock School students learn to play an instrument while jamming with their customized Conservatory band. Jazz Ensemble is available for students in grades 8 through 12. Singers take voice and study a variety of vocal styles. There also are introductory music performance classes including Suzuki training for young children and their parents. School-year programs are audition-based programs for students in grades 2 through college level, including the Patel Conservatory Youth Orchestra classes. Students may also take private lessons with an experienced, professional musician. Private lessons include vocal as well as instrumental instruction. Last year, the music department’s Vocal Arts program grew from seven students to 70 in one semester, expanding to collaborate with the integrated musical theater program and Opera Tampa, the Straz Center’s resident opera company.
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The Media Arts Department offers classes such as Recording Studio and Hip-hop Music Creation and Production. Students learn from professionals who have worked extensively in film and television production, audio production and the music business. Additionally, the instructors are committed artists who continuously develop their own projects. In classes, students have the opportunity to learn how to work and create in the digital age.
Overall, the program serves more than 60,000 students each year, through offerings on site, outreach and a teacher training program. It is a program of the Straz Center, which supports a $27M annual budget.
Music Conservatory at the Schwob School of Music, Columbus, GA
The Schwob School of Music of Columbus State University is housed in the RiverCenter for the Performing Arts in downtown Columbus, GA. RiverCenter for the Performing Arts is the centerpiece of the city’s arts and entertainment district. The Center was funded in part by $86 million of the over $100 million that was raised by the Columbus Challenge, a public-private fundraising effort that revitalized key local cultural venues. The remainder of funding came from a $17-million state appropriation and a $20-million matching pledge from a local foundation. The University moved the Schwob School there in 2001 as a co-tenant. The building is owned by the State of Georgia, with a distinct portion subleased to the Board of Regents of the University System, the governing and management authority of public higher education in Georgia.
The Schwob School established the Music Conservatory in 1978 to “offer quality music instruction to people of all ages and ability levels, and to support the musical life of the region by serving as a leading center for the training of musicians and teachers.” The Conservatory operates with a staff of professionals and associate faculty from the Schwob School to offer student training and a model teacher education program.
The Conservatory is considered an essential program of the School as it builds grassroots support and audiences in a community without a strong arts tradition, acts as a feeder program for the Schwob School, and increases outreach potential for fundraising.
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The program is operated by the University’s Continuing Education Department. Although initially underwritten by the University, the Conservatory has developed a broad participation base and is now operating as a break-even venture.
Although the Center’s three performance facilities are operated by RiverCenter, Inc. (the other tenant), the 450-seat Legacy Hall and the 220-seat Studio Theatre are within the Board of Regent’s lease and serve as the primary concert and recital facilities for the Schwob School and its 195 full-time students. Schwob also presents in the 2,000-seat Bill Heard Theatre on occasion.
The Conservatory offers a concert series specifically designed for its students. Leadership believes that attending professional events on a regular basis is a critical aspect of a musical education. As a part of their regular tuition, all Conservatory private lesson students receive two tickets (one for the student’s admission and one for an accompanying adult) to each of the events offered as part of the Concert Series, which includes guest artists and faculty musicians in a variety of solo, chamber music and large ensemble performances.
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appendix h: pro-forma operating budget !
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Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Activity Construction ReCopening Capacities Theater $$$$$$$$$$$$$$1,281$ $$$$$$$$$$$$$$1,281$ $$$$$$$$$$$$$$1,200$ $$$$$$$$$$$$$$1,200$ Multi-purpose Room $$$$$$$$$$$$$$$$$$200 $$$$$$$$$$$$$$$$$$200 Presenting Concerts Performances $$$$$$$$$$$$$$$$$$$$33 $$$$$$$$$$$$$$$$$$$$33 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$42 $$$$$$$$$$$$$$$$$$$$43 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$34 $$$$$$$$$$$$$$$$$$$$34 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$50 $$$$$$$$$$$$$$$$$$$$52 Ave Capacity Sold 55% 56% 60% 58% Total Attendance $$$$$$$$$$$$23,955 $$$$$$$$$$$$24,390 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$36,288 $$$$$$$$$$$$35,914 Average Ticket Price $$$$$$$$$$$$$41.00 2% $$$$$$$$$$$$$41.82 2% $$$$$$$$$$$$$42.66 2% $$$$$$$$$$$$$43.51 2% $$$$$$$$$$$$$44.38 Total Box Office $$$$$$$$982,119$ $$$$$1,019,975 $$$$$$$$$$$$$$$$$C$ $$$$$1,578,835 $$$$$1,593,797 Non Box Office Revene per Attender $$$$$$$$$$$$$$$8.45$ 2% $$$$$$$$$$$$$$$8.62$ 2% $$$$$$$$$$$$$$$8.79$ 2% $$$$$$$$$$$$$$$8.97$ 2% $$$$$$$$$$$$$$$9.15$ Non Box Office Revenue $$$$$$$$202,460$ $$$$$$$$210,264$ $$$$$$$$$$$$$$$$$C$ $$$$$$$$325,470$ $$$$$$$$328,554$ Average Direct Costs $$$$$$$$$$$33,631 2% $$$$$$$$$$$34,303 2% $$$$$$$$$$$34,989 10% $$$$$$$$$$$38,488 2% $$$$$$$$$$$39,258 Total Direct Costs $$$$$1,109,810 $$$$$1,132,006 $$$$$$$$$$$$$$$$$C$ $$$$$1,616,505 $$$$$1,688,093 Net Income $$$$$$$$$$$74,768 $$$$$$$$$$$98,232 $$$$$$$$$$$$$$$$$C$ $$$$$$$$287,801$ $$$$$$$$234,258$ Movies Performances $$$$$$$$$$$$$$$$$$$$21 $$$$$$$$$$$$$$$$$$$$21 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$35 $$$$$$$$$$$$$$$$$$$$36 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$23 $$$$$$$$$$$$$$$$$$$$23 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$30 $$$$$$$$$$$$$$$$$$$$30 Ave Capacity Sold 20% 21% 27% 25% Total Attendance $$$$$$$$$$$$$$5,893$ $$$$$$$$$$$$$$6,187$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$9,720$ $$$$$$$$$$$$$$9,000$ Average Ticket Price $$$$$$$$$$$$$$$4.11$ 2% $$$$$$$$$$$$$$$4.20$ 2% $$$$$$$$$$$$$$$4.28$ 2% $$$$$$$$$$$$$$$4.36$ 2% $$$$$$$$$$$$$$$4.45$ Total Box Office $$$$$$$$$$$24,236 $$$$$$$$$$$25,957 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$42,425 $$$$$$$$$$$40,068 Non Box Office Revene per Attender $$$$$$$$$$$$$$$3.13$ 2% $$$$$$$$$$$$$$$3.20$ 2% $$$$$$$$$$$$$$$3.26$ 2% $$$$$$$$$$$$$$$3.33$ 2% $$$$$$$$$$$$$$$3.39$ Non Box Office Revenue $$$$$$$$$$$18,472 $$$$$$$$$$$19,783 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$32,334 $$$$$$$$$$$30,538 Average Direct Costs $$$$$$$$$$$$$$$$780$ 2% $$$$$$$$$$$$$$$$796$ 2% $$$$$$$$$$$$$$$$812$ 10% $$$$$$$$$$$$$$$$893$ 2% $$$$$$$$$$$$$$$$911$ Total Direct Costs $$$$$$$$$$$16,387 $$$$$$$$$$$16,715 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$31,257 $$$$$$$$$$$32,793 Net Income $$$$$$$$$$$26,320 $$$$$$$$$$$29,025 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$43,502 $$$$$$$$$$$37,813 Dance Performances $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$$$1 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$4 $$$$$$$$$$$$$$$$$$$$$$4 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$4 $$$$$$$$$$$$$$$$$$$$$$4 Ave Capacity Sold 19% 20% 30% 28% Total Attendance $$$$$$$$$$$$$$$$$$974 $$$$$$$$$$$$$$1,025$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$1,537$ $$$$$$$$$$$$$$1,435$ Average Ticket Price $$$$$$$$$$$$$10.68 2% $$$$$$$$$$$$$10.89 2% $$$$$$$$$$$$$11.11 2% $$$$$$$$$$$$$11.33 2% $$$$$$$$$$$$$11.56 Total Box Office $$$$$$$$$$$10,395 $$$$$$$$$$$11,161 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$17,418 $$$$$$$$$$$16,582 Non Box Office Revene per Attender $$$$$$$$$$$$$16.22 2% $$$$$$$$$$$$$16.54 2% $$$$$$$$$$$$$16.87 2% $$$$$$$$$$$$$17.21 2% $$$$$$$$$$$$$17.55 Non Box Office Revenue $$$$$$$$$$$15,787 $$$$$$$$$$$16,950 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$26,453 $$$$$$$$$$$25,183 Average Direct Costs $$$$$$$$$$$$$4,191 2% $$$$$$$$$$$$$4,275 2% $$$$$$$$$$$$$4,361 2% $$$$$$$$$$$$$4,448 2% $$$$$$$$$$$$$4,537 Total Direct Costs $$$$$$$$$$$$$4,191 $$$$$$$$$$$$$4,275 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$4,448 $$$$$$$$$$$$$4,537 Net Income $$$$$$$$$$$21,991 $$$$$$$$$$$23,836 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$39,423 $$$$$$$$$$$37,228 Total Presenting Performances $$$$$$$$$$$$$$$$$$$$55 $$$$$$$$$$$$$$$$$$$$55 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$78 $$$$$$$$$$$$$$$$$$$$80 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$61 $$$$$$$$$$$$$$$$$$$$61 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$84 $$$$$$$$$$$$$$$$$$$$86 Ave Capacity Sold $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$$$1 $$$$$$$$$$$$$$$$$$$$$$1 Total Attendance $$$$$$$$$$$$30,821 $$$$$$$$$$$$31,602 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$47,545 $$$$$$$$$$$$46,348 Average Ticket Price $$$$$$$$$$$$$55.79 $$$$$$$$$$$$$56.91 $$$$$$$$$$$$$58.04 $$$$$$$$$$$$$59.20 $$$$$$$$$$$$$60.39 Total Box Office $$$$$1,016,750 $$$$$1,057,093 $$$$$$$$$$$$$$$$$C$ $$$$$1,638,678 $$$$$1,650,446 Total Non Box Office Revenue $$$$$$$$236,718$ $$$$$$$$246,997$ $$$$$$$$$$$$$$$$$C$ $$$$$$$$384,257$ $$$$$$$$384,275$ Average Direct Costs $$$$$$$$$$$20,553 $$$$$$$$$$$20,964 $$$$$$$$$$$21,182 $$$$$$$$$$$21,568 Total Direct Costs $$$$$1,130,388 $$$$$1,152,996 $$$$$$$$$$$$$$$$$C$ $$$$$1,652,210 $$$$$1,725,423 Net Income $$$$$$$$123,080$ $$$$$$$$151,093$ $$$$$$$$$$$$$$$$$C$ $$$$$$$$370,726$ $$$$$$$$309,299$ Fundraising Events Performances $$$$$$$$$$$$$$$$$$$$$$9 $$$$$$$$$$$$$$$$$$$$$$9 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$10 $$$$$$$$$$$$$$$$$$$$10 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$$$9 $$$$$$$$$$$$$$$$$$$$$$9 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$10 $$$$$$$$$$$$$$$$$$$$10 Ave Capacity Sold 7% 8% 12% 12% Total Attendance $$$$$$$$$$$$$$$$$$807 $$$$$$$$$$$$$$$$$$922 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$1,537$ $$$$$$$$$$$$$$1,537$ Average Ticket Price $$$$$$$$$$$104.21 2% $$$$$$$$$$$106.29 2% $$$$$$$$$$$108.42 5% $$$$$$$$$$$113.84 2% $$$$$$$$$$$116.11 Gross Procceds $$$$$$$$$$$84,097 $$$$$$$$$$$98,033 $$$$$$$$$$$$$$$$$C$ $$$$$$$$174,990$ $$$$$$$$178,489$ Average Direct Costs $$$$$$$1,933.69$ 2% $$$$$$$1,972.37$ 2% $$$$$$$2,011.81$ 2% $$$$$$$2,052.05$ 2% $$$$$$$2,093.09$ Total Direct Costs $$$$$$$$$$$17,403 $$$$$$$$$$$17,751 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$20,521 $$$$$$$$$$$20,931 Net Income $$$$$$$$$$$66,694 $$$$$$$$$$$80,282 $$$$$$$$$$$$$$$$$C$ $$$$$$$$154,469$ $$$$$$$$157,559$ Non-profit Rentals (Theater) Performances $$$$$$$$$$$$$$$$$$$$25 $$$$$$$$$$$$$$$$$$$$25 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$30 $$$$$$$$$$$$$$$$$$$$35 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$28 $$$$$$$$$$$$$$$$$$$$28 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$35 $$$$$$$$$$$$$$$$$$$$40 Ave Capacity Sold 33% 34% 40% 36% Total Attendance $$$$$$$$$$$$11,836 $$$$$$$$$$$$12,195 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$17,934 $$$$$$$$$$$$18,446 Webb$Management$Services,$Inc. Page$1 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Average Daily Rental Rate $$$$$$$$$$$560.00 2% $$$$$$$$$$$571.20 2% $$$$$$$$$$$582.62 2% $$$$$$$$$$$594.28 2% $$$$$$$$$$$606.16 Total Rent Collected $$$$$$$$$$$$15,680 $$$$$$$$$$$$15,994 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$20,800 $$$$$$$$$$$$24,246 Commercial Rentals (Theater) Performances $$$$$$$$$$$$$$$$$$$$26 $$$$$$$$$$$$$$$$$$$$26 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$40 $$$$$$$$$$$$$$$$$$$$45 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$26 $$$$$$$$$$$$$$$$$$$$26 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$$$40 $$$$$$$$$$$$$$$$$$$$45 Ave Capacity Sold 53% 53% 60% 58% Total Attendance $$$$$$$$$$$$17,652 $$$$$$$$$$$$17,652 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$30,744 $$$$$$$$$$$$33,434 Average Daily Rental Rate $$$$$$$1,146.15$ 2% $$$$$$$1,169.08$ 2% $$$$$$$1,192.46$ 2% $$$$$$$1,216.31$ 2% $$$$$$$1,240.63$ Total Rent Collected $$$$$$$$$$$$29,800 $$$$$$$$$$$$30,396 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$48,652 $$$$$$$$$$$$55,829 Non-profit Rentals (200-Capacity Multi-purpose Room) Performances $$$$$$$$$$$$$$$$$$$$80 10% $$$$$$$$$$$$$$$$$$$$88 Total Days in the Theater $$$$$$$$$$$$$$$$$$120 $$$$$$$$$$$$$$$$$$132 Ave Capacity Sold 33% 33% Total Attendance $$$$$$$$$$$$$$7,920$ $$$$$$$$$$$$$$8,712$ Average Daily Rental Rate $$$$$$$$$$$200.00 2% $$$$$$$$$$$204.00 Total Rent Collected $$$$$$$$$$$24,000 $$$$$$$$$$$26,928 Commercial Rentals (Multi-purpose Room) Performances $$$$$$$$$$$$$$$$$$$$40 10% $$$$$$$$$$$$$$$$$$$$44 Total Days in the Theater $$$$$$$$$$$$$$$$$$$$60 $$$$$$$$$$$$$$$$$$$$66 Ave Capacity Sold 33% 33% Total Attendance $$$$$$$$$$$$$$3,960$ $$$$$$$$$$$$$$4,356$ Average Daily Rental Rate $$$$$$$$$$$400.00 2% $$$$$$$$$$$408.00 Total Rent Collected $$$$$$$$$$$24,000 $$$$$$$$$$$26,928 Non-profit Rentals (Classrooms) Four-hour Rentals $$$$$$$$$$$$$$$$$$200 10% $$$$$$$$$$$$$$$$$$220 Total Days in the Space $$$$$$$$$$$$$$$$$$$$67 $$$$$$$$$$$$$$$$$$$$73 Average Four-Hour Rental Rate $$$$$$$$$$$$$$$$$$$50 2% $$$$$$$$$$$$$$$$$$$51 Total Rent Collected $$$$$$$$$$$$$$3,333$ $$$$$$$$$$$$$$3,740$ Commercial Rentals (Classrooms) Four-hour Rentals $$$$$$$$$$$$$$$$$$100 10% $$$$$$$$$$$$$$$$$$110 Total Days in the Space $$$$$$$$$$$$$$$$$$$$33 $$$$$$$$$$$$$$$$$$$$37 Average Four-Hour Rental Rate $$$$$$$$$$$$$$$$100$ 2% $$$$$$$$$$$$$$$$102$ Total Rent Collected $$$$$$$$$$$$$$3,333$ $$$$$$$$$$$$$$3,740$
Theater Activity Performances $$$$$$$$$$$$$$$$$$115 $$$$$$$$$$$$$$$$$$115 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$158 $$$$$$$$$$$$$$$$$$170 Total Days in the Theater $$$$$$$$$$$$$$$$$$124 $$$$$$$$$$$$$$$$$$124 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$169 $$$$$$$$$$$$$$$$$$181 Total Attendance $$$$$$$$$$$$60,309 $$$$$$$$$$$$61,450 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$96,223 $$$$$$$$$$$$98,229 Total Box Office $$$$$1,016,750 $$$$$1,057,093 $$$$$$$$$$$$$$$$$C$ $$$$$1,638,678 $$$$$1,650,446 Non Box Office Revenue $$$$$$$$236,718$ $$$$$$$$246,997$ $$$$$$$$384,257$ $$$$$$$$384,275$ Special Event Proceeds $$$$$$$$$$$84,097 $$$$$$$$$$$98,033 $$$$$$$$174,990$ $$$$$$$$178,489$ Total Rent Collected $$$$$$$$$$$45,480 $$$$$$$$$$$46,390 $$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$69,452 $$$$$$$$$$$80,075 Total Direct Costs from Presenting $$$$$1,130,388 $$$$$1,152,996 $$$$$1,652,210 $$$$$1,725,423 Multi-purpose Room Activity Performances $ $$$$$$$$$$$$$$$$$$$$80 $$$$$$$$$$$$$$$$$$132 Total Days in the Theater $$$$$$$$$$$$$$$$$$180 $$$$$$$$$$$$$$$$$$198 Total Attendance $$$$$$$$$$$$11,880 $$$$$$$$$$$$13,068 Total Rent Collected $$$$$$$$$$$72,652 $$$$$$$$$$$82,757 Classroom Activity Four-hour Rentals $$$$$$$$$$$$$$$$$$300 $$$$$$$$$$$$$$$$$$330 Total Days in the Space $$$$$$$$$$$$$$$$$$100 $$$$$$$$$$$$$$$$$$110 Total Rent Collected $$$$$$$$$$$$$6,667 $$$$$$$$$$$$$7,480 Total Activity Total Performance Attendance $$$$$$$$$$108,103 $$$$$$$$$$111,297 Total Rent Collected $$$$$$$$148,771$ $$$$$$$$170,312$ Programming Program #1 Annual Program Hours $$$$$$$$$$$$$$1,000$ $$$$$$$$$$$$$$1,000$ Average # of Students $$$$$$$$$$$$$$$$$$$$10 $$$$$$$$$$$$$$$$$$$$10 Average Fee/Student $$$$$$$$$$$$$$$$250$ 2% $$$$$$$$$$$$$$$$255$ Program Revenue $$$$$$$$$$$$$2,500 $$$$$$$$$$$$$2,550 Instructor Costs $$$$$$$$$$$$$1,250 $$$$$$$$$$$$$1,275 Other Direct Costs $$$$$$$$$$$$$$$$625$ $$$$$$$$$$$$$$$$638$ Net from Program $$$$$$$$$$$$$$$$625$ $$$$$$$$$$$$$$$$638$ Program #2 Annual Program Hours $$$$$$$$$$$$$$$$$$500 $$$$$$$$$$$$$$$$$$500 Webb$Management$Services,$Inc. Page$2 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Average # of Students $$$$$$$$$$$$$$$$$$100 $$$$$$$$$$$$$$$$$$100 Average Fee/Student $$$$$$$$$$$$$$$$$$$50 2% $$$$$$$$$$$$$$$$$$$51 Program Revenue $$$$$$$$$$$$$5,000 $$$$$$$$$$$$$5,100 Instructor Costs $$$$$$$$$$$$$2,500 $$$$$$$$$$$$$2,550 Other Direct Costs $$$$$$$$$$$$$1,250 $$$$$$$$$$$$$1,275 Net from Program $$$$$$$$$$$$$1,250 $$$$$$$$$$$$$1,275 Program #3 Annual Program Hours Average # of Students $$$$$$$$$$$$$$$$$$100 $$$$$$$$$$$$$$$$$$100 Average Fee/Student $$$$$$$$$$$$$$$$$$250 $$$$$$$$$$$$$$$$$$250 Program Revenue $$$$$$$$$$$$$$$$$$$25 2% $$$$$$$$$$$$$$$$$$$26 Instructor Costs $$$$$$$$$$$$$6,250 $$$$$$$$$$$$$6,375 Other Direct Costs $$$$$$$$$$$$$3,125 $$$$$$$$$$$$$3,188 Net from Program $$$$$$$$$$$$$1,563 $$$$$$$$$$$$$1,594 Total $$$$$$$$$$$$$1,563 $$$$$$$$$$$$$1,594 Program Revenue Direct Program Expenses $$$$$$$$$$$13,750 $$$$$$$$$$$14,025 $$$$$$$$$$$10,313 $$$$$$$$$$$10,519 Income Earned Income 4200 · Events Revenue 4201 · Advertising $$$$$$$$$$$$$$9,000$ $$$$$$$$$$$$$$9,354$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$15,238 $$$$$$$$$$$$15,867 4202 · Bar Income $$$$$$$$$$107,131 $$$$$$$$$$111,782 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$173,902 $$$$$$$$$$173,910 4203 · Concession Income $$$$$$$$$$$$84,134 $$$$$$$$$$$$87,788 $$$$$$$$$$136,573 $$$$$$$$$$136,579 4203P · Pizza Income $$$$$$$$$$$$$$$$$$779 $$$$$$$$$$$$$$$$$$813 $$$$$$$$$$$$$$1,265$ $$$$$$$$$$$$$$1,265$ 4204 · Convenience Fee $$$$$$$$$$$$$$$$$$$$10 2% $$$$$$$$$$$$$$$$$$$$10 C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$$$$$$$11 2% $$$$$$$$$$$$$$$$$$$$11 4205 · Events - Other Income $$$$$$$$$$$$$$8,500$ 2% $$$$$$$$$$$$$$8,670$ C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$9,017$ 2% $$$$$$$$$$$$$$9,197$ 4206 · Event Underwriting $$$$$$$$$$160,000 $$$$$$$$$$163,200 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$240,798 $$$$$$$$$$251,911 4207 · Facility Charge $$$$$$$$$$$$33,783 $$$$$$$$$$$$35,250 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$54,838 $$$$$$$$$$$$54,841 4208 · Film Rental $$$$$$$$$$$$$$$$$$300 2% $$$$$$$$$$$$$$$$$$306 C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$$$$$318 2% $$$$$$$$$$$$$$$$$$325 4209 · House Operations $$$$$$$$$$$$$$5,300$ $$$$$$$$$$$$$$5,406$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$7,727$ $$$$$$$$$$$$$$8,481$ 4210 · Insurance Income $$$$$$$$$$$$$$$$$$660 2% $$$$$$$$$$$$$$$$$$673 C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$$$$$700 2% $$$$$$$$$$$$$$$$$$714 4211 · Lighting Income $$$$$$$$$$$$$$$$$$300 2% $$$$$$$$$$$$$$$$$$306 C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$$$$$318 2% $$$$$$$$$$$$$$$$$$325 4212 · Performers Merchandise Sales $$$$$$$$$$$$10,892 $$$$$$$$$$$$11,365 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$17,680 $$$$$$$$$$$$17,681 4214 · Projector Rental $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 4215 · Rental Income $$$$$$$$$$$$45,480 $$$$$$$$$$$$46,390 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$148,771 $$$$$$$$$$170,312 4216 · Sales/Liquor Tax 4217 · Technical Director $$$$$$$$$$$$10,500 $$$$$$$$$$$$10,710 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$15,309 $$$$$$$$$$$$16,801 4218 · Ticket Sales $$$$$$1,016,750$ $$$$$$1,057,093$ $$$$$$$$$$$$$$$$$$C$ $$$$$$1,638,678$ $$$$$$1,650,446$ 4219 · Spotllight Rental $$$$$$$$$$$$$$$$$$$$75 2% $$$$$$$$$$$$$$$$$$$$77 C100% $$$$$$$$$$$$$$$$$$C$ 4% $$$$$$$$$$$$$$$$$$$$80 2% $$$$$$$$$$$$$$$$$$$$81 4220 · Security $$$$$$$$$$$$$$1,500$ $$$$$$$$$$$$$$1,530$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$2,187$ $$$$$$$$$$$$$$2,400$ 4221 · Sound Income $$$$$$$$$$$$$$4,800$ $$$$$$$$$$$$$$4,896$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$6,998$ $$$$$$$$$$$$$$7,681$ 4222 · Backlline Income $$$$$$$$$$$$$$4,000$ $$$$$$$$$$$$$$4,080$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$5,832$ $$$$$$$$$$$$$$6,400$ 4223 · Stage Hand Income $$$$$$$$$$$$$$3,250$ $$$$$$$$$$$$$$3,315$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$4,739$ $$$$$$$$$$$$$$5,200$ 4224 · Credit Card Processing Fee $$$$$$$$$$$$$$2,300$ $$$$$$$$$$$$$$2,390$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$3,894$ $$$$$$$$$$$$$$4,055$ 4200 · Events Revenue - Other $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 4213 - SMG Rebate $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ Program Revenue $$$$$$$$$$$$13,750 $$$$$$$$$$$$14,025 ((((((1,509,443( ((((((1,565,402( ((((((((((((((((((+( ((((((2,498,623( ((((((2,548,508( 4700 · Items for Resale 4701 · Fans $$$$$$$$$$$$$$$$$$$$$$5 4702 · Posters $$$$$$$$$$$$$$$$$$C$ 4703 · Shirts $$$$$$$$$$$$$$$$$$300 4704 · Hats $$$$$$$$$$$$$$$$$$C$ 4705 · Koozies $$$$$$$$$$$$$$$$$$C$ 4706 · From the Land of Andalus $$$$$$$$$$$$$$$$$$900 4700 · Items for Resale - Other $$$$$$$$$$$$$$$$$$500 ((((((((((((((1,705 ((((((((((((((1,772 ((((((((((((((((((+( ((((((((((((((2,887 ((((((((((((((3,006
4213 - SMG Rebate $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 4800 · Interest Income ((((((((((((((((((((62 2% ((((((((((((((((((((63 C100% ((((((((((((((((((+( 4% $$$$$$$$$$$$$$$$$$$$66 2% $$$$$$$$$$$$$$$$$$$$67 4900 · Misc. Income ((((((((((((((5,000 2% ((((((((((((((5,100 C100% ((((((((((((((((((+( 4% $$$$$$$$$$$$$$5,304$ 2% $$$$$$$$$$$$$$5,410$ 4901 · GAIN/LOSS ON SALE
Total Earned Income ((((((1,516,210( ((((((1,572,337( ((((((((((((((((((+( ((((((2,506,879( ((((((2,556,991(
Webb$Management$Services,$Inc. Page$3 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Contributed Income 4001 · Donations General 4002 · Memorial Seats $$$$$$$$$$175,000 2% $$$$$$$$$$178,500 2% $$$$$$$$$$182,070 2% $$$$$$$$$$185,711 2% $$$$$$$$$$189,426 4004 · Friends 4005Fundraising · Celebrity & Events Chef Cookoff $$$$$$$$$$$$84,097 $$$$$$$$$$$$98,033 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$174,990 $$$$$$$$$$178,489 4001 · Donations General - Other $$$$$$$$$$$$80,000 2% $$$$$$$$$$$$81,600 10% $$$$$$$$$$$$89,760 50% $$$$$$$$$$134,640 50% $$$$$$$$$$201,960 ((((((((((339,097 ((((((((((358,133 ((((((((((271,830 ((((((((((495,341 ((((((((((569,875 4101 · Grants ((((((((((((40,000 2% ((((((((((((40,800 2% ((((((((((((41,616 50% ((((((((((((62,424 2% ((((((((((((63,672 4102 · Tax Credit Income ((((((((((((10,000 2% ((((((((((((10,200 2% ((((((((((((10,404 2% ((((((((((((10,612 2% ((((((((((((10,824
Total Contributed Income ((((((((((389,097 ((((((((((409,133 ((((((((((323,850 ((((((((((568,377 ((((((((((644,372
Total Income ((((((1,905,307( ((((((1,981,471( ((((((((((323,850 ((((((3,075,256( ((((((3,201,363( Operating Expenses Existing Personnel 5500 · Payroll Expenses 5505 · Health Insurance $$$$$$$$$$$$16,000 15% $$$$$$$$$$$$18,400 C25% $$$$$$$$$$$$13,800 50% $$$$$$$$$$$$20,700 15% $$$$$$$$$$$$23,805 5511 · Wages $$$$$$$$$$348,000 5% $$$$$$$$$$365,400 C25% $$$$$$$$$$274,050 50% $$$$$$$$$$411,075 4% $$$$$$$$$$427,518 5500 · Payroll Expenses - Other $$$$$$$$$$$$45,000 2% $$$$$$$$$$$$45,900 C25% $$$$$$$$$$$$34,425 54% $$$$$$$$$$$$53,015 4% $$$$$$$$$$$$55,135 5080 · Workmans Comp. Insurance $$$$$$$$$$$$$$2,100$ 2% $$$$$$$$$$$$$$2,142$ C25% $$$$$$$$$$$$$$1,607$ 54% $$$$$$$$$$$$$$2,474$ 4% $$$$$$$$$$$$$$2,573$ ((((((((((411,100 ((((((((((431,842 ((((((((((323,882 ((((((((((487,264 ((((((((((509,031 New Personnel Full-time Development Director $$$$$$$$$$$$35,000 100% $$$$$$$$$$$$70,000 4% $$$$$$$$$$$$72,800 Education Director $$$$$$$$$$$$25,000 100% $$$$$$$$$$$$50,000 4% $$$$$$$$$$$$52,000 Marketing Manager $$$$$$$$$$$$30,000 100% $$$$$$$$$$$$60,000 4% $$$$$$$$$$$$62,400 Sub-total ((((((((((((((((((+( ((((((((((((90,000 ((((((((((180,000 ((((((((((187,200 Benefits $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$31,500 $$$$$$$$$$$$63,000 $$$$$$$$$$$$65,520 Total New full-time ((((((((((((((((((+( ((((((((((121,500 ((((((((((243,000 ((((((((((252,720
Part-time IT Manager $$$$$$$$$$$$25,000 4% $$$$$$$$$$$$26,000 Box Office $$$$$$$$$$$$20,000 4% $$$$$$$$$$$$20,800 House Staff $$$$$$$$$$$$15,000 4% $$$$$$$$$$$$15,600 Tech Labor $$$$$$$$$$$$25,000 4% $$$$$$$$$$$$26,000 F&B Staff $$$$$$$$$$$$20,000 4% $$$$$$$$$$$$20,800 Sub-total ((((((((((((((((((+( ((((((((((((((((((+( ((((((((((105,000 ((((((((((109,200 Benefits $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$15,750 $$$$$$$$$$$$16,380 Total New full-time ((((((((((((((((((+( ((((((((((((((((((+( ((((((((((120,750 ((((((((((125,580
Total New Personnel ((((((((((((((((((+( ((((((((((121,500 ((((((((((363,750 ((((((((((378,300
Total Personnel ((((((((((411,100 ((((((((((431,842 ((((((((((445,382 ((((((((((851,014 ((((((((((887,331
Presenting 5101 · Advertising Adj: 90th Anniversary Brand Advertising (Eagle) 5104 · Co- Promotion 5106 · Event Expense Other 5110 · Film Rental 5111 · Hospitality 5115 · Lighting Expense 5117 · Lodging 5118 · Performers Fees 5122 · Ticket Sales 5123 · Transportation - Fuel/Parking 5124 · Vehicle Rental 5126 · Spotlight Rental 5129 · Security 5130 · Sound Expense 5131 · Backline Expense 5121 · Tech Director Contract Labor 5127 · Stage Hands 5511 CleaningSalary & Crew Wages Expense (Cleaning Other Total Presenting ((((((1,130,388( ((((((1,152,996( ((((((((((((((((((+( ((((((1,652,210( ((((((1,725,423( Programming Direct Programming Costs ((((((((((((10,313 ((((((((((((10,519 Webb$Management$Services,$Inc. Page$4 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Fundraising 5600 · Fundraising Expense 5601 · Consultant Fees 5603 · Operations Fundraising Expense $$$$$$$$$$$$25,000 5% $$$$$$$$$$$$26,250 5% $$$$$$$$$$$$27,563 25% $$$$$$$$$$$$34,453 25% $$$$$$$$$$$$43,066 5600 · Fundraising Expense - Other $$$$$$$$$$$$$$7,000$ 5% $$$$$$$$$$$$$$7,350$ 5% $$$$$$$$$$$$$$7,718$ 5% $$$$$$$$$$$$$$8,103$ 5% $$$$$$$$$$$$$$8,509$ ((((((((((((32,000 ((((((((((((33,600 ((((((((((((35,280 ((((((((((((42,557 ((((((((((((51,575 Administration 5000 · Advertising Expense $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ 2% $$$$$$$$$$$$$$1,530$ 25% $$$$$$$$$$$$$$1,913$ 2% $$$$$$$$$$$$$$1,951$ Adj: 90th Anniversary Brand Advertising (Eagle) 5020 · Bank Charges $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ 2% $$$$$$$$$$$$$$1,561$ 10% $$$$$$$$$$$$$$1,717$ 2% $$$$$$$$$$$$$$1,751$ 5025 - Board Expense $$$$$$$$$$$$$$7,000$ 2% $$$$$$$$$$$$$$7,140$ 2% $$$$$$$$$$$$$$7,283$ 10% $$$$$$$$$$$$$$8,011$ 2% $$$$$$$$$$$$$$8,171$ 5035 · Contract Labor $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ C100% $$$$$$$$$$$$$$$$$$C$ 10% $$$$$$$$$$$$$$1,683$ 2% $$$$$$$$$$$$$$1,717$ 5040 · D & O Insurance $$$$$$$$$$$$$$1,373$ 2% $$$$$$$$$$$$$$1,400$ 2% $$$$$$$$$$$$$$1,428$ 10% $$$$$$$$$$$$$$1,571$ 2% $$$$$$$$$$$$$$1,603$ 5060 · Dues and Memberships $$$$$$$$$$$$$$4,100$ 2% $$$$$$$$$$$$$$4,182$ 2% $$$$$$$$$$$$$$4,266$ 10% $$$$$$$$$$$$$$4,692$ 2% $$$$$$$$$$$$$$4,786$ 5400 · Legal/Accounting $$$$$$$$$$$$$$5,000$ 2% $$$$$$$$$$$$$$5,100$ C50% $$$$$$$$$$$$$$2,550$ 10% $$$$$$$$$$$$$$2,805$ 2% $$$$$$$$$$$$$$2,861$ 5410 · Meals - Meetings $$$$$$$$$$$$$$2,500$ 2% $$$$$$$$$$$$$$2,550$ C50% $$$$$$$$$$$$$$1,275$ 10% $$$$$$$$$$$$$$1,403$ 2% $$$$$$$$$$$$$$1,431$ 5420 · Office Equip. Repair/Maint. $$$$$$$$$$$$$$5,000$ 2% $$$$$$$$$$$$$$5,100$ 2% $$$$$$$$$$$$$$5,202$ 10% $$$$$$$$$$$$$$5,722$ 2% $$$$$$$$$$$$$$5,837$ 5421 · Office Maintenance $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 5430 · Office Supplies $$$$$$$$$$$$$$6,000$ 2% $$$$$$$$$$$$$$6,120$ 2% $$$$$$$$$$$$$$6,242$ 10% $$$$$$$$$$$$$$6,867$ 2% $$$$$$$$$$$$$$7,004$ 5440 - Photo Expense $$$$$$$$$$$$$$$$$$$$50 2% $$$$$$$$$$$$$$$$$$$$51 2% $$$$$$$$$$$$$$$$$$$$52 10% $$$$$$$$$$$$$$$$$$$$57 2% $$$$$$$$$$$$$$$$$$$$58 5450 · Postage $$$$$$$$$$$$$$2,500$ 2% $$$$$$$$$$$$$$2,550$ 2% $$$$$$$$$$$$$$2,601$ 10% $$$$$$$$$$$$$$2,861$ 2% $$$$$$$$$$$$$$2,918$ 5460 · Printing & Copy Expense $$$$$$$$$$$$$$3,500$ 2% $$$$$$$$$$$$$$3,570$ 2% $$$$$$$$$$$$$$3,641$ 10% $$$$$$$$$$$$$$4,006$ 2% $$$$$$$$$$$$$$4,086$ 5480 · Seminars and Education $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 5481 · Lodging $$$$$$$$$$$$$$2,500$ 2% $$$$$$$$$$$$$$2,550$ 2% $$$$$$$$$$$$$$2,601$ 10% $$$$$$$$$$$$$$2,861$ 2% $$$$$$$$$$$$$$2,918$ 5482 · Meals $$$$$$$$$$$$$$$$$$500 2% $$$$$$$$$$$$$$$$$$510 2% $$$$$$$$$$$$$$$$$$520 10% $$$$$$$$$$$$$$$$$$572 2% $$$$$$$$$$$$$$$$$$584 5483 · Misc Expense $$$$$$$$$$$$$$$$$$$$75 2% $$$$$$$$$$$$$$$$$$$$77 2% $$$$$$$$$$$$$$$$$$$$78 10% $$$$$$$$$$$$$$$$$$$$86 2% $$$$$$$$$$$$$$$$$$$$88 5484 · Registration Fees $$$$$$$$$$$$$$3,000$ 2% $$$$$$$$$$$$$$3,060$ 2% $$$$$$$$$$$$$$3,121$ 10% $$$$$$$$$$$$$$3,433$ 2% $$$$$$$$$$$$$$3,502$ 5485 · Taxi, parking tolls $$$$$$$$$$$$$$$$$$$$50 2% $$$$$$$$$$$$$$$$$$$$51 2% $$$$$$$$$$$$$$$$$$$$52 10% $$$$$$$$$$$$$$$$$$$$57 2% $$$$$$$$$$$$$$$$$$$$58 5486 · Transporation $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ 2% $$$$$$$$$$$$$$1,561$ 10% $$$$$$$$$$$$$$1,717$ 2% $$$$$$$$$$$$$$1,751$ 5480 - Seminars and Educaiion Other $$$$$$$$$$$$$$5,000$ 2% $$$$$$$$$$$$$$5,100$ 2% $$$$$$$$$$$$$$5,202$ 10% $$$$$$$$$$$$$$5,722$ 2% $$$$$$$$$$$$$$5,837$ 5070 · Graphic Design ((((((((((((54,148 ((((((((((((55,231 ((((((((((((50,766 ((((((((((((57,756 ((((((((((((58,911 Operations 5102 · Catering Expense $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 5102S · Non-Alcohol Bar Supplies $$$$$$$$$$$$$$2,300$ 5102 · Bar Expense - Other $$$$$$$$$$$$34,000 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$58,925 $$$$$$$$$$$$58,927 5102P · Pizza Expense $$$$$$$$$$$$$$$$$$500 2% $$$$$$$$$$$$$$$$$$510 C100% $$$$$$$$$$$$$$$$$$C$ 10% $$$$$$$$$$$$$$$$$$561 2% $$$$$$$$$$$$$$$$$$572 5103 · Concession Expense $$$$$$$$$$$$15,000 $$$$$$$$$$$$15,651 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$24,349 $$$$$$$$$$$$24,350 5105 · Credit Card Fees $$$$$$$$$$$$28,000 $$$$$$$$$$$$29,100 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$47,408 $$$$$$$$$$$$49,364 5112 · House Operations $$$$$$$$$$$$$$4,000$ 2% $$$$$$$$$$$$$$4,080$ C100% $$$$$$$$$$$$$$$$$$C$ 10% $$$$$$$$$$$$$$4,488$ 2% $$$$$$$$$$$$$$4,578$ 5114 · Insurance $$$$$$$$$$$$22,000 $$$$$$$$$$$$22,864 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$37,249 $$$$$$$$$$$$38,786 5116 · Liquor Tax 5119 · Projecter Rental 5120 · Sales Tax 5125 · Licensing $$$$$$$$$$$$$$5,500$ 2% $$$$$$$$$$$$$$5,610$ C100% $$$$$$$$$$$$$$$$$$C$ 10% $$$$$$$$$$$$$$6,171$ 2% $$$$$$$$$$$$$$6,294$ 5800 · Items for resale expense $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 5900 · Misc. Expenses $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ C50% $$$$$$$$$$$$$$$$$$765 $$$$$$$$$$$$$$1,500$ $$$$$$$$$$$$$$1,500$ 5910 · Taxes, Licenses & Fees $$$$$$$$$$$$13,000 2% $$$$$$$$$$$$13,260 C50% $$$$$$$$$$$$$$6,630$ $$$$$$$$$$$$13,000 $$$$$$$$$$$$13,000 ((((((((((125,800 ((((((((((((92,605 ((((((((((((((7,395 ((((((((((193,651 ((((((((((197,372 Building Expense 5200 · Theatre Expenses 5210 · Building Maintenance $$$$$$$$$$$$$$4,000$ $$$$$$$$$$$$$$4,080$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$8,490$ $$$$$$$$$$$$$$8,659$ 5215 · Theatre Maintenance - Labor $$$$$$$$$$$$$$5,500$ $$$$$$$$$$$$$$5,610$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$11,673 $$$$$$$$$$$$11,907 5220 · Janitorial/Cleaning Theatre $$$$$$$$$$$$$$1,000$ $$$$$$$$$$$$$$1,020$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$2,122$ $$$$$$$$$$$$$$2,165$ 5230 · Sign Expense $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ 2% $$$$$$$$$$$$$$1,561$ 5% $$$$$$$$$$$$$$1,639$ 2% $$$$$$$$$$$$$$1,671$ 5240 · Theatre Equipment Repairs $$$$$$$$$$$$10,000 2% $$$$$$$$$$$$10,200 C50% $$$$$$$$$$$$$$5,100$ 5% $$$$$$$$$$$$$$5,355$ 2% $$$$$$$$$$$$$$5,462$ 5250 · Theatre Supplies $$$$$$$$$$$$$$3,000$ 2% $$$$$$$$$$$$$$3,060$ C50% $$$$$$$$$$$$$$1,530$ 5% $$$$$$$$$$$$$$1,607$ 2% $$$$$$$$$$$$$$1,639$ 5491 · Equipment Rental $$$$$$$$$$$$$$1,500$ 2% $$$$$$$$$$$$$$1,530$ C50% $$$$$$$$$$$$$$$$$$765 5% $$$$$$$$$$$$$$$$$$803 2% $$$$$$$$$$$$$$$$$$819 5200 · Theatre Expenses - Other $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$$$$$$$C$ 5300 · Utilities $$$$$$$$$$$$32,334 $$$$$$$$$$$$$$$$$$C$ $$$$$$$$$$$$67,281 $$$$$$$$$$$$68,626 5310 · Electric $$$$$$$$$$$$27,000 5320 · Gas $$$$$$$$$$$$$$2,800$ 5330 · Water $$$$$$$$$$$$$$1,900$ 5470 · Rent $$$$$$$$$$$$30,000 2% $$$$$$$$$$$$30,600 C100% $$$$$$$$$$$$$$$$$$C$ ((((((((((((88,200 ((((((((((((89,964 ((((((((((((((8,956 ((((((((((((98,969 ((((((((((100,949 Webb$Management$Services,$Inc. ((((((1,430,536( Page$5 ((((((2,055,455( 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017 Total Operating Expenses ((((((1,841,636( ((((((1,856,239( ((((((((((547,778 ((((((2,906,468( ((((((3,032,079(
Result of Operations ((((((((((((63,671 ((((((((((125,232 (((((((((223,928)( ((((((((((168,788 ((((((((((169,283
Non-operating Items 5520 · Depreciation Expense $$$$$$$$$$167,805 $$$$$$$$$$167,805 $$$$$$$$$$167,805 $$$$$$$$$$167,805 $$$$$$$$$$167,805 Allocation from Capital Budget Allocation to Capital Reserve $$$$$$$$$$400,000
Final Result (((((((((104,134)( ((((((((((((42,573) ((((((((((((((8,267 (((((((((((((((((983( ((((((((((((((1,478
Ratios and Formulas % of op. Expense Covered by Earned Income 82% 85% 0% 86% 84%
Annual Escalation Rate (CPI) 2% 2% 2% 2%
Advertisting Income/Paid Attender $$$$$$$$$$$$$$$$0.15$ 2% $$$$$$$$$$$$$$$$0.15$ 2% $$$$$$$$$$$$$$$$0.16$ 2% $$$$$$$$$$$$$$$$0.16$ 2% $$$$$$$$$$$$$$$$0.16$
Non-Box Office Income Attributed to Presented Events Bar 45% 45% 45% 45% 45% Concessions 36% 36% 36% 36% 36% Pizza 0% 0% 0% 0% 0% Facility Fee 14% 14% 14% 14% 14% Performers Merchandise 5% 5% 5% 5% 5% 100% 100% 100% 100% 100%
Event Underwriting/Presented Performance $$$$$$$$$$$$$$2,909$ 2% $$$$$$$$$$$$$$2,967$ 2% $$$$$$$$$$$$$$3,027$ 2% $$$$$$$$$$$$$$3,087$ 2% $$$$$$$$$$$$$$3,149$
Faclity Charge per Attender $$$$$$$$$$$$$$$$0.56$ 2% $$$$$$$$$$$$$$$$0.57$ 2% $$$$$$$$$$$$$$$$0.58$ 2% $$$$$$$$$$$$$$$$0.59$ 2% $$$$$$$$$$$$$$$$0.61$
Performer Merchandise Sales/Attender $$$$$$$$$$$$$$$$0.18$ 2% $$$$$$$$$$$$$$$$0.18$ 2% $$$$$$$$$$$$$$$$0.19$ 2% $$$$$$$$$$$$$$$$0.19$ 2% $$$$$$$$$$$$$$$$0.20$
House Operations Fee/Performance $$$$$$$$$$$$$$46.09$ 2% $$$$$$$$$$$$$$47.01$ 2% $$$$$$$$$$$$$$47.95$ 2% $$$$$$$$$$$$$$48.91$ 2% $$$$$$$$$$$$$$49.89$
Technical Director Fee/Performance $$$$$$$$$$$$$$91.30$ 2% $$$$$$$$$$$$$$93.13$ 2% $$$$$$$$$$$$$$94.99$ 2% $$$$$$$$$$$$$$96.89$ 2% $$$$$$$$$$$$$$98.83$
Spotllight Rental Income/Performance $$$$$$$$$$$$$$$$0.65$ 2% $$$$$$$$$$$$$$$$0.67$ 2% $$$$$$$$$$$$$$$$0.68$ 2% $$$$$$$$$$$$$$$$0.69$ 2% $$$$$$$$$$$$$$$$0.71$
Security income/Performance $$$$$$$$$$$$$$13.04$ 2% $$$$$$$$$$$$$$13.30$ 2% $$$$$$$$$$$$$$13.57$ 2% $$$$$$$$$$$$$$13.84$ 2% $$$$$$$$$$$$$$14.12$
Sound Income/Performance $$$$$$$$$$$$$$41.74$ 2% $$$$$$$$$$$$$$42.57$ 2% $$$$$$$$$$$$$$43.43$ 2% $$$$$$$$$$$$$$44.29$ 2% $$$$$$$$$$$$$$45.18$
Backlline Income/Performance $$$$$$$$$$$$$$34.78$ 2% $$$$$$$$$$$$$$35.48$ 2% $$$$$$$$$$$$$$36.19$ 2% $$$$$$$$$$$$$$36.91$ 2% $$$$$$$$$$$$$$37.65$
Stage Hand Income/Performance $$$$$$$$$$$$$$28.26$ 2% $$$$$$$$$$$$$$28.83$ 2% $$$$$$$$$$$$$$29.40$ 2% $$$$$$$$$$$$$$29.99$ 2% $$$$$$$$$$$$$$30.59$
Credit Card Processing Fee/Attender $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$
Events Revenue/Performance $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$$C$$$
SMG Rebate/Attender $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$
Orpheum Merchandise Sales/Attender $$$$$$$$$$$$$$$$0.03$ 2% $$$$$$$$$$$$$$$$0.03$ 2% $$$$$$$$$$$$$$$$0.03$ 2% $$$$$$$$$$$$$$$$0.03$ 2% $$$$$$$$$$$$$$$$0.03$
Benefits for New Staff Full-time 35% 35% 35% 35% Part-time 15% 15% 15% 15%
Total Personnel Costs as % of Op. Expenses 22% 23% 59% 17% 17%
Fundraising Costs as a % of Contributed Income 8% 8% 11% 7% 8%
Bar Expense as a % of Bar Income 34% 34% 34% 34% 34%
Concession Expense as a % of Concession Income 18% 18% 18% 18% 18% Webb$Management$Services,$Inc. Page$6 4/8/13 Orpheum Performing Arts Centre, Ltd.
Operating Budget 2013 %$Change 2014 %$Change 2015 %$Change 2016 %$Change 2017
Credit Card Fees/Attender $$$$$$$$$$$$$$$$0.46$ 2% $$$$$$$$$$$$$$$$0.47$ 2% $$$$$$$$$$$$$$$$0.48$ 2% $$$$$$$$$$$$$$$$0.49$ 2% $$$$$$$$$$$$$$$$0.50$
Hospitality Costs/Performance $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$ 2% $$$$$$$$$$$$$$$$$$$$$C$$$
Insurance/Attender $$$$$$$$$$$$$$$$0.36$ 2% $$$$$$$$$$$$$$$$0.37$ 2% $$$$$$$$$$$$$$$$0.38$ 2% $$$$$$$$$$$$$$$$0.39$ 2% $$$$$$$$$$$$$$$$0.39$
Office Square Footage $$$$$$$$$$$$$$$3,334$ $$$$$$$$$$$$$$$3,334$ $$$$$$$$$$$$$$$3,334$ $$$$$$$$$$$$$$$3,334$ Rent/sf $$$$$$$$$$$$$$$$9.00$ 2% $$$$$$$$$$$$$$$$9.18$ 2% $$$$$$$$$$$$$$$$9.36$ 2% $$$$$$$$$$$$$$$$9.55$ 2% $$$$$$$$$$$$$$$$9.74$
Facility GSF $$$$$$$$$$$$$25,000$ $$$$$$$$$$$$$25,000$ $$$$$$$$$$$$$50,000$ $$$$$$$$$$$$$50,000$ Utilities/sf $$$$$$$$$$$$$$$$1.27$ 2% $$$$$$$$$$$$$$$$1.29$ 2% $$$$$$$$$$$$$$$$1.32$ 2% $$$$$$$$$$$$$$$$1.35$ 2% $$$$$$$$$$$$$$$$1.37$ Building Maintenance/sf $$$$$$$$$$$$$$$$0.16$ 2% $$$$$$$$$$$$$$$$0.16$ 2% $$$$$$$$$$$$$$$$0.17$ 2% $$$$$$$$$$$$$$$$0.17$ 2% $$$$$$$$$$$$$$$$0.17$ Theatre Maintenance - Labor/sf $$$$$$$$$$$$$$$$0.22$ 2% $$$$$$$$$$$$$$$$0.22$ 2% $$$$$$$$$$$$$$$$0.23$ 2% $$$$$$$$$$$$$$$$0.23$ 2% $$$$$$$$$$$$$$$$0.24$ Janitorial/Cleaning Theatre/sf $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$ 2% $$$$$$$$$$$$$$$$0.04$
Webb$Management$Services,$Inc. Page$7 4/8/13
appendix i: economic impact multipliers
RIMS II Multipliers (2002/2010) 1 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 1111C0 Oilseed and grain farming 1.5927 0.2453 8.1660 0.6519 2.2262 2.5328 111200 Vegetable and melon farming 1.4792 0.2806 10.6773 0.7846 1.7313 1.5734 1113B0 Fruit and tree nut farming 1.4849 0.3263 17.6940 0.8076 1.6103 1.2685 111400 Greenhouse, nursery, and floriculture production 1.4736 0.3764 15.8996 0.9120 1.4865 1.3307 111910 Tobacco farming 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 111920 Cotton farming 1.6537 0.2829 8.3538 0.5764 2.1829 2.4842 1119C0 All other crop farming, including sugarcane and sugar beet farming 1.5885 0.2721 8.8326 0.6715 2.0844 2.1073 1121A0 Cattle ranching and farming 1.5417 0.2277 6.8060 0.4586 2.0667 2.2158 112120 Dairy cattle and milk production 1.4753 0.2429 8.0730 0.6615 1.9141 1.7628 112A00 Animal production, except cattle and poultry and eggs 1.3702 0.2134 7.1904 0.7232 1.7482 1.6672 112300 Poultry and egg production 1.4722 0.2284 5.5059 0.4462 2.0725 2.4267 113A00 Forest nurseries, forest products, and timber tracts 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 113300 Logging 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 114100 Fishing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 114200 Hunting and trapping 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 115000 Support activities for agriculture and forestry 1.3914 0.2684 9.4863 0.8049 1.6859 1.4762 211000 Oil and gas extraction 1.6995 0.3721 12.1839 0.9418 1.9745 1.6558 212100 Coal mining 1.6120 0.3711 7.2549 0.8759 1.8059 2.4830 212210 Iron ore mining 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 2122A0 Gold, silver, and other metal ore mining 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 212230 Copper, nickel, lead, and zinc mining 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 212310 Stone mining and quarrying 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 212320 Sand, gravel, clay, and ceramic and refractory minerals mining and quarrying 1.5943 0.3401 8.7779 0.8640 1.9343 1.9536 212390 Other nonmetallic mineral mining and quarrying 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 213111 Drilling oil and gas wells 1.6958 0.4170 11.0568 0.8749 1.8428 1.8130 213112 Support activities for oil and gas operations 1.8082 0.5101 13.3840 0.9189 1.7971 1.8787 21311A Support activities for other mining 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 2211A0 Electric power generation, transmission, and distribution 1.4674 0.3172 5.9558 0.9568 1.6410 2.7252 221200 Natural gas distribution 1.6812 0.2553 6.2099 0.7112 2.6427 4.9290 221300 Water, sewage and other systems 1.6594 0.4278 11.3906 1.0582 1.7968 1.9399 230000 Construction 1.8231 0.5527 14.6310 0.9834 1.6801 1.8348 311111 Dog and cat food manufacturing 1.7474 0.2776 6.7601 0.6788 2.6464 2.9602 311119 Other animal food manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311210 Flour milling and malt manufacturing 1.9685 0.3410 8.2883 0.6812 3.2510 3.8675 311221 Wet corn milling 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 31122A Soybean and other oilseed processing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 2 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 311225 Fats and oils refining and blending 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311230 Breakfast cereal manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 31131A Sugar cane mills and refining 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311313 Beet sugar manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311320 Chocolate and confectionery manufacturing from cacao beans 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311330 Confectionery manufacturing from purchased chocolate 1.6571 0.2936 8.2429 0.7185 2.4728 2.0624 311340 Nonchocolate confectionery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311410 Frozen food manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311420 Fruit and vegetable canning, pickling, and drying 1.7107 0.2850 7.6976 0.6385 2.7166 2.3844 31151A Fluid milk and butter manufacturing 1.6886 0.2697 6.7831 0.5465 2.5711 2.7912 311513 Cheese manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311514 Dry, condensed, and evaporated dairy product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311520 Ice cream and frozen dessert manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 31161A Animal (except poultry) slaughtering, rendering, and processing 1.7734 0.2740 7.2908 0.4577 2.6126 2.6533 311615 Poultry processing 1.5620 0.2974 9.3866 0.5077 2.1534 1.7456 311700 Seafood product preparation and packaging 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311810 Bread and bakery product manufacturing 1.9237 0.4930 13.6541 0.8765 2.1052 2.0917 311820 Cookie, cracker, and pasta manufacturing 1.8495 0.3448 7.9560 0.7562 2.7732 3.1895 311830 Tortilla manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311910 Snack food manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311920 Coffee and tea manufacturing 1.7178 0.2988 7.5547 0.6190 2.8486 2.7885 311930 Flavoring syrup and concentrate manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 311940 Seasoning and dressing manufacturing 1.7172 0.2954 6.4970 0.5778 2.6980 3.6324 311990 All other food manufacturing 1.7325 0.3376 8.5526 0.6833 2.3844 2.5132 312110 Soft drink and ice manufacturing 1.6920 0.2828 7.1617 0.5116 2.5646 2.5063 312120 Breweries 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 312130 Wineries 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 312140 Distilleries 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 3122A0 Tobacco product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 313100 Fiber, yarn, and thread mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 313210 Broadwoven fabric mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 313220 Narrow fabric mills and schiffli machine embroidery 1.6487 0.4734 16.5420 0.7776 1.6335 1.4366 313230 Nonwoven fabric mills 1.6051 0.3159 8.4177 0.6518 1.9930 1.9595 313240 Knit fabric mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 313310 Textile and fabric finishing mills 1.6167 0.3300 10.9704 0.6676 2.0198 1.6812 313320 Fabric coating mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 3 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 314110 Carpet and rug mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 314120 Curtain and linen mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 314910 Textile bag and canvas mills 1.6340 0.4170 13.2128 0.8020 1.6992 1.5973 314990 All other textile product mills 1.5625 0.3347 10.9985 0.6924 1.8229 1.6606 315100 Apparel knitting mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 315210 Cut and sew apparel contractors 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 315220 Men's and boys' cut and sew apparel manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 315230 Women's and girls' cut and sew apparel manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 315290 Other cut and sew apparel manufacturing 1.7018 0.4911 22.7807 0.8477 1.6980 1.3508 315900 Apparel accessories and other apparel manufacturing 1.7661 0.4911 14.1840 0.7954 1.7616 1.7389 316100 Leather and hide tanning and finishing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 316200 Footwear manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 316900 Other leather and allied product manufacturing 1.6917 0.4496 17.7004 0.8527 1.7040 1.4300 321100 Sawmills and wood preservation 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 32121A Veneer and plywood manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 32121B Engineered wood member and truss manufacturing 1.5511 0.3061 8.7744 0.6791 1.9954 1.8718 321219 Reconstituted wood product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 321910 Wood windows and doors and millwork 1.5629 0.2921 7.9412 0.6420 2.1303 2.1019 321920 Wood container and pallet manufacturing 1.5574 0.3091 9.2166 0.6938 1.9785 1.8257 321991 Manufactured home (mobile home) manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 321992 Prefabricated wood building manufacturing 1.6338 0.3195 8.9964 0.7060 2.1819 2.1070 321999 All other miscellaneous wood product manufacturing 1.6420 0.3386 9.2789 0.7278 2.1295 2.1835 322110 Pulp mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322120 Paper mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322130 Paperboard mills 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322210 Paperboard container manufacturing 1.5685 0.3438 7.3820 0.6114 1.8541 2.3626 32222A Coated and laminated paper, packaging paper and plastics film manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 32222B All other paper bag and coated and treated paper manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322230 Stationery product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322291 Sanitary paper product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 322299 All other converted paper product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 323110 Printing 1.6792 0.4613 12.5384 0.8692 1.7046 1.7994 323120 Support activities for printing 1.7690 0.6175 14.5798 1.0752 1.5364 1.7999 324110 Petroleum refineries 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 324121 Asphalt paving mixture and block manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 324122 Asphalt shingle and coating materials manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 4 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 324191 Petroleum lubricating oil and grease manufacturing 1.5935 0.3452 7.0590 0.5986 1.9043 2.7127 324199 All other petroleum and coal products manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325110 Petrochemical manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325120 Industrial gas manufacturing 1.6533 0.3024 5.8903 0.7940 2.3661 3.3671 325130 Synthetic dye and pigment manufacturing 1.8415 0.3841 8.5846 0.7193 2.4631 2.8662 325181 Alkalies and chlorine manufacturing 1.8622 0.3975 7.5858 0.7253 2.4849 3.9507 325182 Carbon black manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325188 All other basic inorganic chemical manufacturing 1.8334 0.4600 8.5221 0.7967 1.9153 3.2869 325190 Other basic organic chemical manufacturing 1.7902 0.3206 6.8502 0.5715 2.5920 3.5606 325211 Plastics material and resin manufacturing 1.8293 0.3126 6.3586 0.5835 2.8502 4.3748 325212 Synthetic rubber manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325220 Artificial and synthetic fibers and filaments manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325310 Fertilizer manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325320 Pesticide and other agricultural chemical manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325411 Medicinal and botanical manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325412 Pharmaceutical preparation manufacturing 1.5068 0.2619 4.8731 0.7966 2.3503 3.7762 325413 In-vitro diagnostic substance manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325414 Biological product (except diagnostic) manufacturing 1.6921 0.4060 8.8509 0.8411 2.0544 2.3649 325510 Paint and coating manufacturing 1.8381 0.3439 7.0604 0.6984 2.6116 3.5812 325520 Adhesive manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325610 Soap and cleaning compound manufacturing 1.5834 0.2659 5.2869 0.7616 2.4244 3.5951 325620 Toilet preparation manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 325910 Printing ink manufacturing 1.9170 0.3976 7.9697 0.6860 2.4760 3.4882 3259A0 All other chemical product and preparation manufacturing 1.7820 0.3945 8.8554 0.7292 2.1911 2.4269 326110 Plastics packaging materials and unlaminated film and sheet manufacturing 1.6343 0.3095 8.0232 0.6936 2.0362 2.0803 326121 Unlaminated plastics profile shape manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 326122 Plastics pipe and pipe fitting manufacturing 1.5375 0.2593 6.7333 0.6013 2.0392 2.0359 326130 Laminated plastics plate, sheet (except packaging), and shape manufacturing 1.7540 0.3849 10.2238 0.7746 1.9944 1.9799 326140 Polystyrene foam product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 326150 Urethane and other foam product (except polystyrene) manufacturing 1.6803 0.3193 8.0506 0.6896 2.1155 2.1780 326160 Plastics bottle manufacturing 1.6026 0.2865 6.7377 0.6882 2.0482 2.3122 32619A Other plastics product manufacturing 1.7251 0.3944 9.9271 0.7971 1.9248 2.0840 326210 Tire manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 326220 Rubber and plastics hoses and belting manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 326290 Other rubber product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 5 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 32711A Pottery, ceramics, and plumbing fixture manufacturing 1.7921 0.5100 17.8138 0.9548 1.7293 1.4862 32712A Brick, tile, and other structural clay product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 32712B Clay and nonclay refractory manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327211 Flat glass manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327212 Other pressed and blown glass and glassware manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327213 Glass container manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327215 Glass product manufacturing made of purchased glass 1.6903 0.3876 9.9959 0.7953 1.9381 2.0177 327310 Cement manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327320 Ready-mix concrete manufacturing 1.6908 0.3624 9.5539 0.7381 2.0873 2.1611 327330 Concrete pipe, brick, and block manufacturing 1.6799 0.4035 10.5435 0.8567 1.9009 1.9840 327390 Other concrete product manufacturing 1.7254 0.4478 12.3057 0.8860 1.8022 1.8160 3274A0 Lime and gypsum product manufacturing 1.5702 0.2936 7.4573 0.7409 2.0986 2.2625 327910 Abrasive product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327991 Cut stone and stone product manufacturing 1.8444 0.5409 14.8971 0.9682 1.7830 1.8104 327992 Ground or treated mineral and earth manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327993 Mineral wool manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 327999 Miscellaneous nonmetallic mineral products 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331110 Iron and steel mills and ferroalloy manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331200 Steel product manufacturing from purchased steel 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33131A Alumina refining and primary aluminum production 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331314 Secondary smelting and alloying of aluminum 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33131B Aluminum product manufacturing from purchased aluminum 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331411 Primary smelting and refining of copper 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331419 Primary smelting and refining of nonferrous metal (except copper and aluminum) 1.5290 0.3112 9.2798 0.5991 1.8822 1.7377 331420 Copper rolling, drawing, extruding and alloying 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331490 Nonferrous metal (except copper and aluminum) rolling, drawing, extruding and alloying 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 331510 Ferrous metal foundries 1.7184 0.4907 12.3405 0.9169 1.6992 1.8427 331520 Nonferrous metal foundries 1.7027 0.4574 15.8909 0.8001 1.7682 1.5412 33211A All other forging, stamping, and sintering 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332114 Custom roll forming 1.5633 0.3107 7.0441 0.6208 1.9982 2.5929 33211B Crown and closure manufacturing and metal stamping 1.6743 0.4285 11.8896 0.7635 1.7273 1.7864 33221A Cutlery, utensil, pot, and pan manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33221B Handtool manufacturing 1.6212 0.4136 10.0288 0.8602 1.7082 1.9243 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 6 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 332310 Plate work and fabricated structural product manufacturing 1.6965 0.4054 9.6176 0.7872 1.9348 2.4273 332320 Ornamental and architectural metal products manufacturing 1.7381 0.4298 10.9231 0.8058 1.8897 2.0765 332410 Power boiler and heat exchanger manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332420 Metal tank (heavy gauge) manufacturing 1.6351 0.4174 9.7492 0.7873 1.7363 2.0822 332430 Metal can, box, and other metal container (light gauge) manufacturing 1.6691 0.2623 6.4853 0.6331 2.5315 2.8079 33299A Ammunition manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33299B Arms, ordnance, and accessories manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332500 Hardware manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332600 Spring and wire product manufacturing 1.5734 0.3831 9.1708 0.7993 1.6962 1.9554 332710 Machine shops 1.8087 0.5493 13.3122 0.9716 1.6938 1.9607 332720 Turned product and screw, nut, and bolt manufacturing 1.6337 0.4476 10.4770 0.8642 1.6453 1.9064 332800 Coating, engraving, heat treating and allied activities 1.6821 0.4138 10.1898 0.8258 1.7749 1.9866 33291A Valve and fittings other than plumbing 1.6280 0.3867 8.8838 0.8533 1.8193 2.1970 332913 Plumbing fixture fitting and trim manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332991 Ball and roller bearing manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 332996 Fabricated pipe and pipe fitting manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33299C Other fabricated metal manufacturing 1.6305 0.3901 9.6970 0.8178 1.7723 1.9493 333111 Farm machinery and equipment manufacturing 1.5969 0.3167 7.1641 0.7211 2.0910 2.6145 333112 Lawn and garden equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333120 Construction machinery manufacturing 1.6468 0.3247 6.8273 0.6857 2.2355 3.1422 333130 Mining and oil and gas field machinery manufacturing 1.7735 0.4511 10.3450 0.7862 1.9189 2.3186 33329A Other industrial machinery manufacturing 1.8450 0.5124 10.7074 0.8806 1.8532 2.4109 333220 Plastics and rubber industry machinery manufacturing 1.8253 0.4980 10.4925 0.8585 1.8670 2.4170 333295 Semiconductor machinery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33331A Vending, commercial, industrial, and office machinery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333314 Optical instrument and lens manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333315 Photographic and photocopying equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333319 Other commercial and service industry machinery manufacturing 1.7208 0.3946 8.0617 0.8196 1.9853 2.7772 33341A Air purification and ventilation equipment manufacturing 1.7597 0.4374 10.6315 0.8302 1.8613 2.0107 333414 Heating equipment (except warm air furnaces) manufacturing 1.7171 0.4011 9.9272 0.8077 1.9711 2.1335 333415 Air conditioning, refrigeration, and warm air heating equipment manufacturing 1.7129 0.3535 8.0486 0.7910 2.1433 2.5447 333511 Industrial mold manufacturing 1.7823 0.5973 13.0862 0.9796 1.5732 1.9088 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 7 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 33351A Metal cutting and forming machine tool manufacturing 1.8474 0.5500 11.3210 0.9194 1.7685 2.3071 333514 Special tool, die, jig, and fixture manufacturing 1.7751 0.5915 13.6314 0.9668 1.5776 1.8220 333515 Cutting tool and machine tool accessory manufacturing 1.7205 0.5303 11.6447 0.9632 1.6284 1.9393 33351B Rolling mill and other metalworking machinery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333611 Turbine and turbine generator set units manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333612 Speed changer, industrial high-speed drive, and gear manufacturing 1.7415 0.4921 11.7086 0.8967 1.7603 2.0044 333613 Mechanical power transmission equipment manufacturing 1.7350 0.4614 9.5660 0.8537 1.8339 2.5194 333618 Other engine equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333911 Pump and pumping equipment manufacturing 1.7674 0.4208 8.9758 0.8287 2.0016 2.5830 333912 Air and gas compressor manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333920 Material handling equipment manufacturing 1.7795 0.4435 9.8003 0.7762 1.9474 2.3570 333991 Power-driven handtool manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33399A Other general purpose machinery manufacturing 1.7674 0.4665 10.4071 0.8509 1.8378 2.2074 333993 Packaging machinery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 333994 Industrial process furnace and oven manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33399B Fluid power process machinery 1.7358 0.4621 10.2534 0.8618 1.8204 2.1742 334111 Electronic computer manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334112 Computer storage device manufacturing 1.7028 0.3787 8.1445 0.7437 2.1408 2.5586 33411A Computer terminals and other computer peripheral equipment manufacturing 1.7816 0.4210 10.0353 0.7755 2.0873 2.2198 334210 Telephone apparatus manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334220 Broadcast and wireless communications equipment 1.9448 0.4195 8.8845 0.7726 2.6036 3.6290 334290 Other communications equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334300 Audio and video equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334411 Electron tube manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334412 Bare printed circuit board manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334413 Semiconductor and related device manufacturing 1.6470 0.3379 6.5059 0.8718 2.2116 3.5578 33441A Electronic capacitor, resistor, coil, transformer, and other inductor manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334417 Electronic connector manufacturing 1.8363 0.4876 10.3053 0.8477 1.9654 2.5130 334418 Printed circuit assembly (electronic assembly) manufacturing 1.8129 0.3569 9.2495 0.7206 2.4968 2.2167 334419 Other electronic component manufacturing 1.8667 0.5071 12.4296 0.8804 1.9415 2.0327 334510 Electromedical and electrotherapeutic apparatus manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334511 Search, detection, and navigation instruments manufacturing 1.8408 0.5157 11.5922 0.9155 1.8866 2.2010 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 8 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 334512 Automatic environmental control manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334513 Industrial process variable instruments manufacturing 1.8262 0.4830 11.0093 0.8483 1.9198 2.2669 334514 Totalizing fluid meters and counting devices manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334515 Electricity and signal testing instruments manufacturing 1.7354 0.5257 11.7111 0.9030 1.5985 1.9204 334516 Analytical laboratory instrument manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334517 Irradiation apparatus manufacturing 1.6287 0.3408 9.0363 0.7545 2.1058 1.9636 33451A Watch, clock, and other measuring and controlling device manufacturing 1.8001 0.4851 10.5906 0.8458 1.8874 2.3134 33461A Software, audio, and video media reproducing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 334613 Magnetic and optical recording media manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335110 Electric lamp bulb and part manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335120 Lighting fixture manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335210 Small electrical appliance manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335221 Household cooking appliance manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335222 Household refrigerator and home freezer manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335224 Household laundry equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335228 Other major household appliance manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335311 Power, distribution, and specialty transformer manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335312 Motor and generator manufacturing 1.6056 0.3812 8.3070 0.7908 1.7894 2.1460 335313 Switchgear and switchboard apparatus manufacturing 1.6369 0.3738 8.8885 0.8826 1.8704 2.0334 335314 Relay and industrial control manufacturing 1.6852 0.4238 10.7429 0.8825 1.8169 1.8508 335911 Storage battery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335912 Primary battery manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335920 Communication and energy wire and cable manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335930 Wiring device manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335991 Carbon and graphite product manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 335999 All other miscellaneous electrical equipment and component manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336111 Automobile manufacturing 1.3624 0.1939 3.9362 0.4592 2.0513 2.7291 336112 Light truck and utility vehicle manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336120 Heavy duty truck manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336211 Motor vehicle body manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336212 Truck trailer manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336213 Motor home manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336214 Travel trailer and camper manufacturing 1.6516 0.3490 12.4632 0.6235 1.9990 1.6006 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 9 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 336300 Motor vehicle parts manufacturing 1.7002 0.3516 9.8333 0.6994 2.2348 2.0595 336411 Aircraft manufacturing 1.8118 0.3706 7.6791 0.7903 2.4681 3.4152 336412 Aircraft engine and engine parts manufacturing 1.7418 0.3787 8.0826 0.7929 2.1664 2.8596 336413 Other aircraft parts and auxiliary equipment manufacturing 1.8226 0.4836 12.1762 0.9087 1.9457 2.0602 336414 Guided missile and space vehicle manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33641A Propulsion units and parts for space vehicles and guided missiles 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336500 Railroad rolling stock manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336611 Ship building and repairing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336612 Boat building 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336991 Motorcycle, bicycle, and parts manufacturing 1.6491 0.3114 9.1758 0.7068 2.3241 2.0120 336992 Military armored vehicle, tank, and tank component manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 336999 All other transportation equipment manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 337110 Wood kitchen cabinet and countertop manufacturing 1.7584 0.4362 11.8476 0.7684 1.9161 2.0592 337121 Upholstered household furniture manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 337122 Nonupholstered wood household furniture manufacturing 1.5839 0.3882 12.0328 0.8387 1.6946 1.6044 33712A Metal and other household furniture (except wood) manufacturing 1.6679 0.3620 9.2094 0.7454 1.9559 2.1482 337127 Institutional furniture manufacturing 1.6592 0.4013 10.0716 0.8188 1.7960 2.0270 33721A Wood television, radio, and sewing machine cabinet manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 337212 Office furniture and custom architectural woodwork and millwork manufacturing 1.6231 0.3869 9.0145 0.8517 1.7714 2.1553 337215 Showcase, partition, shelving, and locker manufacturing 1.6614 0.4236 10.7980 0.7774 1.7292 1.8886 337910 Mattress manufacturing 1.7138 0.3249 7.5827 0.7529 2.3073 3.0008 337920 Blind and shade manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 33911A Laboratory apparatus and surgical appliance and supplies manufacturing 1.6544 0.4384 10.6090 0.9266 1.6881 1.9323 339112 Surgical and medical instrument manufacturing 1.6441 0.4552 9.7326 0.9489 1.6298 2.0678 339114 Dental equipment and supplies manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 339115 Ophthalmic goods manufacturing 1.5898 0.4253 10.9553 0.9311 1.6170 1.7499 339116 Dental laboratories 1.7955 0.7205 15.7509 1.1228 1.4473 1.7213 339910 Jewelry and silverware manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 339920 Sporting and athletic goods manufacturing 1.7784 0.4433 9.3556 0.8616 1.8962 2.5921 339930 Doll, toy, and game manufacturing 1.6380 0.3667 10.8217 0.8348 1.8004 1.7113 339940 Office supplies (except paper) manufacturing 1.6627 0.4261 12.3242 0.9109 1.6791 1.6398 339950 Sign manufacturing 1.8710 0.5195 13.2201 0.8817 1.7958 1.9611 339991 Gasket, packing, and sealing device manufacturing 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 10 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 339992 Musical instrument manufacturing 1.6796 0.5201 14.0695 0.9234 1.5663 1.6163 33999A All other miscellaneous manufacturing 1.7214 0.4900 12.1308 0.8951 1.6603 1.8272 339994 Broom, brush, and mop manufacturing 1.7608 0.4762 11.2760 0.9484 1.7751 2.0679 420000 Wholesale trade 1.6416 0.4799 10.3894 1.0720 1.6182 2.1103 4A0000 Retail trade 1.6462 0.5021 19.7540 1.0562 1.5427 1.4036 481000 Air transportation 1.8220 0.5501 16.2992 0.9271 1.7243 1.7579 482000 Rail transportation 1.6008 0.2987 6.3787 0.8417 2.3418 3.8316 483000 Water transportation 1.0000 0.0000 0.0000 0.0000 0.0000 0.0000 484000 Truck transportation 1.8625 0.5291 14.2284 0.9893 1.9899 2.3148 485A00 Transit and ground passenger transportation 1.8107 0.5205 20.7111 0.8115 1.7909 1.4696 486000 Pipeline transportation 1.7999 0.3272 8.1883 0.7333 3.6771 7.6319 48A000 Scenic and sightseeing transportation and support activities for transportation 1.9129 0.6475 16.6546 1.1128 1.7456 2.0400 492000 Couriers and messengers 1.6980 0.4601 14.1751 1.0130 1.8477 1.8265 493000 Warehousing and storage 1.7250 0.5518 16.4258 1.0684 1.5770 1.6713 511110 Newspaper publishers 1.6705 0.4695 16.7338 0.9768 1.6985 1.5131 511120 Periodical publishers 1.8677 0.4420 11.9099 0.9532 2.2866 2.5585 511130 Book publishers 1.6708 0.3611 10.0148 0.9422 2.1766 2.3045 5111A0 Directory, mailing list, and other publishers 1.7345 0.3510 9.3100 0.9236 2.5148 2.9950 511200 Software publishers 1.7010 0.5051 10.4301 1.0690 1.6970 2.8451 512100 Motion picture and video industries 1.4382 0.3054 18.4490 0.9202 1.6750 1.2931 512200 Sound recording industries 1.5543 0.3280 10.4256 0.7054 1.9583 1.9441 515100 Radio and television broadcasting 1.7434 0.5842 13.5544 0.8821 1.5703 1.9469 515200 Cable and other subscription programming 1.6369 0.5348 12.0009 0.8420 1.4849 1.8807 51A000 Internet and other information services 1.6552 0.4651 12.0456 1.0308 1.6389 1.9140 517000 Telecommunications 1.6404 0.3107 6.5647 0.9334 2.0483 3.2063 52A000 Monetary authorities and depository credit intermediation 1.5000 0.3672 9.5482 1.0041 1.6157 1.8770 522A00 Nondepository credit intermediation and related activities 1.5890 0.3851 8.2277 0.9905 1.7374 2.5296 523000 Securities, commodity contracts, investments, and related activities 1.7616 0.6496 27.5473 1.0368 1.4791 1.3276 524100 Insurance carriers 1.6613 0.4394 10.2670 0.9273 1.7594 2.1863 524200 Insurance agencies, brokerages, and related activities 1.7531 0.5216 14.0034 1.0470 1.7280 2.0983 525000 Funds, trusts, and other financial vehicles 1.5414 0.2908 12.4612 0.5198 2.2773 1.8716 531000 Real estate 1.3317 0.2146 16.5987 0.9980 1.6936 1.2272 S00800 Owner-occupied dwellings 1.2916 0.0767 2.3568 0.8839 0.0000 0.0000 532100 Automotive equipment rental and leasing 1.6724 0.3774 8.5682 0.9919 2.0488 2.8149 532A00 General and consumer goods rental except video tapes and discs 1.8783 0.5796 11.9416 1.0775 1.7897 2.4650 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 11 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 532230 Video tape and disc rental 1.9171 0.5312 19.0944 1.1568 1.9668 1.5791 532400 Commercial and industrial machinery and equipment rental and leasing 1.8237 0.4517 9.0018 1.0333 2.1717 4.0460 533000 Lessors of nonfinancial intangible assets 1.2752 0.1765 4.3604 0.9861 1.7526 2.3217 541100 Legal services 1.7835 0.7562 15.7900 1.2292 1.3894 1.8211 541200 Accounting, tax preparation, bookkeeping, and payroll services 1.6461 0.5874 18.6822 1.1499 1.4420 1.4600 541300 Architectural, engineering, and related services 1.7126 0.5420 11.9992 1.0647 1.6215 2.2759 541400 Specialized design services 1.6529 0.5285 18.8407 1.1064 1.5352 1.4821 541511 Custom computer programming services 1.8397 0.7779 16.0228 1.2219 1.4540 2.0718 541512 Computer systems design services 1.8725 0.7125 14.4836 1.1141 1.5346 2.2707 54151A Other computer related services, including facilities management 1.6974 0.6380 12.9775 1.1374 1.4355 1.9788 541610 Management, scientific, and technical consulting services 1.7472 0.6254 17.2556 1.1405 1.5150 1.6746 5416A0 Environmental and other technical consulting services 1.7019 0.5758 16.2629 1.1218 1.5401 1.6820 541700 Scientific research and development services 1.7790 0.5919 12.9943 1.0502 1.6050 2.2224 541800 Advertising and related services 1.7205 0.5919 15.3573 1.0961 1.5114 1.7164 5419A0 All other miscellaneous professional, scientific, and technical services 1.8261 0.8236 17.5029 1.2482 1.3855 1.7694 541920 Photographic services 1.8405 0.7248 21.9699 1.1310 1.4726 1.5513 541940 Veterinary services 1.7852 0.6320 16.8041 1.0018 1.5030 1.6646 550000 Management of companies and enterprises 1.7364 0.5995 11.5743 1.0758 1.5152 2.1959 561300 Employment services 1.7415 0.7693 34.1493 1.2784 1.3723 1.2510 561500 Travel arrangement and reservation services 1.7252 0.5242 17.8311 1.0370 1.6340 1.5792 561100 Office administrative services 1.8399 0.6857 16.7362 1.1480 1.5502 1.9410 561200 Facilities support services 1.7832 0.5755 22.5899 1.0848 1.6759 1.5150 561400 Business support services 1.7280 0.5387 20.2809 1.0854 1.6500 1.5262 561600 Investigation and security services 1.7409 0.6863 28.7154 1.1635 1.4302 1.3008 561700 Services to buildings and dwellings 1.7182 0.5327 24.2071 0.9875 1.6079 1.3627 561900 Other support services 1.6377 0.4321 16.5531 1.0250 1.7385 1.5780 562000 Waste management and remediation services 1.6052 0.3882 10.0201 0.9267 1.7946 2.0900 611100 Elementary and secondary schools 1.7653 0.6079 31.1520 1.0662 1.4742 1.3020 611A00 Junior colleges, colleges, universities, and professional schools 1.7676 0.5973 21.7244 1.0254 1.4768 1.4348 611B00 Other educational services 1.6730 0.4526 19.8487 1.0097 1.7096 1.4508 621A00 Offices of physicians, dentists, and other health practitioners 1.7879 0.7049 14.3322 1.1424 1.4630 2.0067 621B00 Medical and diagnostic labs and outpatient and other ambulatory care services 1.8391 0.6711 16.8843 1.1155 1.5749 1.8495 621600 Home health care services 1.8064 0.7701 27.6027 1.2132 1.4205 1.3721 (Continued)
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis. RIMS II Multipliers (2002/2010) 12 Table 1.5 Total Multipliers for Output, Earnings, Employment, and Value Added by Detailed Industry Wichita (Type II)
Multiplier Final Demand Direct Effect INDUSTRY Output/1/ Earnings/2/ Employment/3/ Value-added/4/ Earnings/5/ Employment/6/ (dollars) (dollars) (jobs) (dollars) (dollars) (jobs) 622000 Hospitals 1.7607 0.5845 14.9387 1.0413 1.5637 1.8823 623000 Nursing and residential care facilities 1.7497 0.6609 25.4149 1.1270 1.4477 1.3688 624A00 Individual and family services 1.7667 0.6075 29.9388 1.0584 1.5264 1.3084 624200 Community food, housing, and other relief services, including rehabilitation services 1.7606 0.5570 25.1257 1.0199 1.5987 1.4133 624400 Child day care services 1.6236 0.4668 25.5004 0.9824 1.5655 1.2994 711100 Performing arts companies 1.7449 0.5642 30.5455 1.0344 1.6254 1.3098 711200 Spectator sports 1.7575 0.6862 18.1403 1.0999 1.4536 1.5882 711A00 Promoters of performing arts and sports and agents for public figures 1.7493 0.4691 23.3923 0.9193 1.8196 1.4418 711500 Independent artists, writers, and performers 1.5168 0.4274 11.1335 1.0226 1.5514 1.8204 712000 Museums, historical sites, zoos, and parks 1.7309 0.5375 22.1929 1.0665 1.5725 1.4484 713A00 Amusement parks, arcades, and gambling industries 1.6281 0.5322 23.5398 1.0855 1.5006 1.3052 713B00 Other amusement and recreation industries 1.6841 0.5083 28.7572 1.0414 1.5869 1.2696 713940 Fitness and recreational sports centers 1.7431 0.5137 36.3375 1.0265 1.6455 1.2211 713950 Bowling centers 1.6289 0.4657 33.0985 1.0119 1.5799 1.1901 7211A0 Hotels and motels, including casino hotels 1.6541 0.4792 20.6758 1.0487 1.6432 1.3846 721A00 Other accommodations 1.6793 0.4047 17.9024 0.9897 1.9452 1.5231 722000 Food services and drinking places 1.7282 0.5056 24.9410 0.9598 1.6424 1.3169 8111A0 Automotive repair and maintenance, except car washes 1.6622 0.4799 13.0267 0.9592 1.6152 1.8302 811192 Car washes 1.6722 0.4974 22.8418 1.0058 1.5992 1.3458 811200 Electronic and precision equipment repair and maintenance 1.7185 0.5961 12.7007 1.1154 1.5235 2.0458 811300 Commercial and industrial machinery and equipment repair and maintenance 1.5955 0.4667 10.6309 1.0588 1.5484 1.9130 811400 Personal and household goods repair and maintenance 1.5861 0.3763 10.7766 0.9512 1.7752 1.9325 812100 Personal care services 1.6788 0.5260 17.0546 1.0736 1.5435 1.5651 812200 Death care services 1.8106 0.5224 13.0402 0.9747 1.7761 2.1265 812300 Dry-cleaning and laundry services 1.4529 0.3744 9.9995 1.0530 1.5007 1.5936 812900 Other personal services 1.5637 0.2834 9.4905 0.9274 2.4516 2.4906 813100 Religious organizations 1.8027 0.5981 22.5888 0.9380 1.5829 1.4963 813A00 Grantmaking, giving, and social advocacy organizations 1.8602 0.5286 18.5595 0.9403 1.8540 1.8220 813B00 Civic, social, professional, and similar organizations 1.8331 0.5096 17.9757 0.9194 1.7774 1.6864 491000 Postal service 1.7314 0.7756 17.3376 1.2381 1.3426 1.5987 S00A00 Other government enterprises 1.8352 0.4691 11.9216 0.9170 1.9398 2.3431 H00000 Households 0.9348 0.2484 8.1896 0.5783 0.0000 0.0000
Region Definition: Sedgwick, KS *Includes Government enterprises. 1. Each entry in column 1 represents the total dollar change in output that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 2. Each entry in column 2 represents the total dollar change in earnings of households employed by all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 3. Each entry in column 3 represents the total change in number of jobs that occurs in all industries for each additional 1 million dollars of output delivered to final demand by the industry corresponding to the entry. Because the employment multipliers are based on 2010 data, the output delivered to final demand should be in 2010 dollars. 4. Each entry in column 4 represents the total dollar change in value added that occurs in all industries for each additional dollar of output delivered to final demand by the industry corresponding to the entry. 5. Each entry in column 5 represents the total dollar change in earnings of households employed by all industries for each additional dollar of earnings paid directly to households employed by the industry corresponding to the entry. 6. Each entry in column 6 represents the total change in number of jobs in all industries for each additional job in the industry corresponding to the entry. NOTE.--Multipliers are based on the 2002 Benchmark Input-Output Table for the Nation and 2010 regional data. Industry List A identifies the industries corresponding to the entries. SOURCE.--Regional Input-Output Modeling System (RIMS II), Regional Product Division, Bureau of Economic Analysis.
appendix j: critical path plan ! Orpheum Renovation Critical Path Plan 2013 2014 2015 2016 2017
Responsibility Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Q1 Q2 Q3 Q4 Capital Campaign Complete Feasibility Study Campaign Committee Complete materials Campaign Committee Initiate campaign Campaign Committee Planning and Design Review and update renovation plan Building Committee Select design team Building Committee Initiate planning and design Building Committee Orpheum Leadership
Re-establish nominating committee Board of Directors Renovation for Orpheum Closed Agree on board development goals Nominating Committee Board recruitment Nominating Committee Staff Development Complete new job descriptions Executive Director Being search to have these positions in place by: Building Manager Executive Director Technical Director Executive Director Other Operational Staff Executive Director Programming Programming Plan Executive Director/Programming Director Execution Schedule Programs Executive Director/Programming Director Contract Programs Executive Director/Programming Director Market Programs Executive Director/Programming Director Education Programs Design Programs (with Partners) Executive Director/Education Director Identify Funding Executive Director/Education Director Schedule Programs Executive Director/Education Director Contract Programs Executive Director/Education Director Market Programs Executive Director/Education Director Marketing + Ticketing Planning Marketing Strategy Executive Director/Marketing Director Ticketing Plan Executive Director/Marketing Director PR Plan Executive Director/Marketing Director FOH/Facility Policy and Manual Executive Director/Marketing Director Annual Fundraising Planning Membership Plan Executive Director/Development Director Annual Fundraising Plan Executive Director/Development Director Execution Membership Launch Executive Director/Development Director Begin Foundation and Government Grant Apps Executive Director/Development Director Begin Cultivation of Individual Donors Executive Director/Development Director Facility Operations Planning Ops Manual Executive Director/Operations Manager Booking Policy Executive Director/Operations Manager Rental Rates Executive Director/Operations Manager Rental Agreement Form Executive Director/Operations Manager Vendor Policy Executive Director/Operations Manager Insurance Plan Executive Director/Operations Manager Alcohol Policy Executive Director/Operations Manager Food Service Plan Executive Director/Operations Manager Write Technical Specs Executive Director/Operations Manager Maintenance Plan Executive Director/Operations Manager Capital Replacement Plan Executive Director/Operations Manager Safety Procedures Executive Director/Operations Manager Execution Accept Rentals Executive Director/Operations Manager Contractors in Place Executive Director/Operations Manager