ALL NEW YORK’S A STAGE New York City Small Theater Industry Cultural and Economic Impact Study

3x3 Commissioned by Anne del Castillo, Commissioner New York City Mayor's Office of Media and Entertainment About the Mayor’s Office of Media and About the Consultants Cover Photo Entertainment BuroHappold Cities is an international, New York Theatre Workshop – The Mayor's Office of Media and interdisciplinary team of consultants Hadestown; Anaïs Mitchell (author); Entertainment (MOME) comprises four that provides strategic planning, project Rachel Chavkin (director); Lulu Fall, divisions: the Office of Film, Theatre management, and analytical services Nabiyah Be, Jessie Shelton, Shaina and Broadcasting, which coordinates to a diverse range of public and private Taub, Chris Sullivan (pictured); Joan film and television production through- sector clients. The team brings together Marcus (photographer); courtesy of out the five boroughs; NYC Media, the planners, economists, engineers, urban New York Theatre Workshop largest municipal television and radio designers, real estate professionals, broadcasting entity in the country with and demographers to tackle urban Referencing this Report a reach of 18 million viewers within a development problems that represent 50-mile radius; workforce and edu- the built environment at its broadest Mayor's Office of Media and cational initiatives in film, television, scale. BuroHappold follows an evi- Entertainment: ALL NEW YORK'S A theater, music, publishing, advertising dence-based planning approach that STAGE: New York City Small Theater and digital content to support the de- ensures tailor-made and highly effective Industry Cultural and Economic Impact velopment of NYC's creative industries; solutions for today's multi-layered Study. New York, New York, 60 pp., and the office of Nightlife, supporting urban issues. 2019. the sustainable development of New York City's nightlife industry. Overall, 3x3 Design is a certified M/WBE MOME supports over $104 billion in social innovation and design strategy economic activity and nearly half a consultancy for urban and economic million workers. development initiatives. 3x3 helps civic organizations collaborate with their In 2015, Mayor Bill de Blasio stakeholders and glean insights from announced that the Mayor’s Office of applied research to design, pilot, and Media and Entertainment would sup- test innovative plans, programs, port an expanded theater portfolio. This and policies that unlock social value includes: workforce training, providing and improve how organizations free tickets to residents of public serve people. housing, and Broadway performances in neighborhoods outside of Manhattan. MOME continues to develop new About the Campaign: Launched in initiatives and to conduct studies to 2019, ALL NEW YORK'S A STAGE is build its understanding of the evolving the first-ever promotional campaign theater industry. MOME continues to dedicated to raising the visibility of our build partnerships and programs to vibrant local theater industry, which is strengthen the theater industry and made up of small venues, companies, increase access to theater throughout and related organizations throughout the five boroughs. the five boroughs. LETTER FROM THE COMMISSIONER

Dear Fellow New Yorkers,

We are proud to present this in-depth look the city through Broadway in the Boros and at a little-understood but all-important Off Broadway in the Boros; we distribute $5 part of New York City’s cultural scene: million to help artists complete projects led Small theaters, theater companies, and the by female-identified creatives through the organizations that support them. As far as NYC Women’s Fund for Media, Music and we know, the ALL NEW YORK’S A STAGE: Theater; we are helping to increase acces- NYC Small Theater Industry Cultural and sibility for people with hearing and visual Economic Impact Study is the first and impairments by supporting the installation most comprehensive of its kind. There are of assistive technologies at not-for-profit close to 750 small theater organizations and independent theaters; and we throughout our city, generating more than recently completed the All New York’s A $1 billion and supporting more than 8,000 Stage promotional campaign to raise the jobs. Small venues and companies are visibility of our city's small theaters, com- also where some of the best, most creative panies, and organizations that are the focus theater is made and theatrical artists of this study. are formed. We invite you to dig into the amazing infor- The Mayor’s Office of Media and mation contained here and check out the Entertainment works to ensure that New many theatrical performances happening York City continues to be the theater at venues big and small as well as in unex- capital of the world through a wide range pected places throughout New York City. of efforts. We bring free performances of As this study shows, All New York really hit shows to neighborhoods throughout is a stage.

Sincerely,

Anne del Castillo Commissioner New York City Mayor's Office of Media and Entertainment Ars Nova Stage 5 TABLE OF CONTENTS

07 Executive Summary

11 Introduction

15 Defining the Industry

23 Cultural Impacts

27 Economic Impacts

33 Revenue Generation and Expenses

39 Industry Support and Challenges

46 Recommendations

47 Conclusions to the Study

48 Appendix Target Margin Theater – Marjana and the Forty Thieves; David Herskovits (director); Isuri Wijesundara (pictured); Gaia Squarci (photographer) Executive Summary 7 EXECUTIVE SUMMARY

New York City has been a cornerstone of the global theater industry for almost a century. Many of the most notable names in the industry have called this city home, and today it remains a proving ground for countless artists, companies, and production teams. The industry’s allure is not just a result of the high concentration of creative spirit and endeavor throughout the city, but also its countless venues, of all shapes and sizes, that line the city’s streets.

There are over 220 stages throughout number of venues in boroughs In recent years, a number of small the city, with over 50,000 seats in total outside Manhattan. venue theaters in New York have spread among three main categories evolved beyond singular-purpose of theater venues: Broadway, Off- The small venue theater industry is performance houses into neigh- Broadway, and Off-Off-Broadway. The an integral piece of the larger per- borhood-oriented cultural centers, latter two categories, defined in this forming arts landscape, generating strengthening connections with local study as the small venue theater indus- ripple effects into larger scale theater communities, schools, and businesses. try, are especially important to New productions, as well as into television This role often includes providing York City’s creative sector. and film. This is evident in the fact that non-performance programming aimed the last five winners of the Tony for at the needs of the local community, These spaces offer an invaluable Best Musical came from this sector, including social justice initiatives and platform for playwrights and actors most recently The Band’s Visit and venues for community events. to push boundaries, give voice to Hadestown and that almost a dozen underrepresented communities, gain Pulitzer Prize-winning plays were In addition to being a cultural driver, exposure, and engage with a thriving developed in small theaters, including the small venue theater industry is also community of theater goers. There are Hamilton and Fairview. The growth an economic driver, generating approx- 748 small venue theater organizations of episodic content on streaming imately $1.3 billion in total economic throughout the city: 600 production platforms in recent years has further output, over 8,400 full-time equivalent companies, 97 producing or presenting strengthened this dynamic as TV series jobs and $512 million in wages in 2017. theaters (with a physical location) and produced in New York City have drawn The total economic output of the small 51 theater organizations that exist under talent from the small venue theater venue theater industry grew at approxi- the umbrella of a larger institution industry and expanded career opportu- mately 5% annually between 2014 outside of Academia. The majority of nities for actors, playwrights, designers and 2017, while citywide economic small theaters with physical locations and creative teams, as well as created output grew at just under 4%. Jobs are located in Manhattan below Central crossover demand for more skilled and wages also each grew within Park, but there are also a significant workers on sets and stages. the small venue theater industry at Executive Summary 8

approximately 5% annually within the Induced impact: Induced economic impacts an industry has on the rest same time period, which outpaced impact is created when employees of the city. The multiplier effect for citywide equivalents, which each grew of the small venue theater industry, the small venue theater industry is at approximately 2.5%, respectively. and those supported indirectly by this 2.2 as compared to approximately industry, spend their wages within 1.65 for other media and The small venue theater industry is a New York City and amounts to $208 entertainment organizations. cornerstone of New York City’s cultural million in economic output, 1,197 jobs, landscape and has an appreciable and $82 million in wages. · Small theaters are an integral part economic impact. Key characteristics of of the city’s performing arts sector. the industry include: · The small venue theater industry’s They continue to be a stage for growth has outpaced baseline provocative, cutting edge work, and · The small venue theater industry economic growth by 20% for are an invaluable platform for both generates $1.3 billion in total economic output and 100% for established and up-and-coming economic output, over 8,400 job and wage growth. Specifically, talent, playwrights, and creative full-time equivalent jobs, and $512 over the past four years, economic production teams. million in wages. output, wages, and jobs have each grown at approximately 5% annually The small venue theater industry Direct impact: The industry is directly within the sector. Citywide economic delivers critical cultural and economic responsible for $584 million in output has grown at just under 4% on benefits to New York City and has a economic output, 3,017 jobs, and average over the same time period, greater influence on the city’s cultural $165 million in wages. and jobs and wages have grown at character than ever before. Yet, small approximately 2.5%. grassroots theaters face increasing Indirect impact: Indirect economic challenges related to space provisions impact is a result of business-to- · The small venue theater industry has for production development and pre- business activity between the small a comparatively higher multiplier sentation, theater workforce and talent, venue theater industry and other effect on the rest of the City’s funding, and revenue generation. As industries in New York City and economy than many other industries. evidence to the high levels of activity amounts to $513 million in output, Multiplier effects are used to estimate throughout the sector, over 280 theater 4,195 jobs, and $264 million in wages. the size of the tangential economic organizations have been founded in the

Figure 1.1: Total Economic Impact of New York City Small Venue Sector

$1.3b 8,400 $512m in output jobs in wages Executive Summary 9

past decade, while over 100 theaters York City. Theater arts practitioners and have closed or relocated in the same policymakers working in the field are The small venue theater period. The majority of closures are well positioned to continue to support industry’s growth has outpaced concentrated in Manhattan below a thriving small venue theater industry baseline economic growth by Central Park, but a significant number that advances cultural innovation, rein- have also closed in parts of Brooklyn forces the depth of talent and careers in 20% for economic output and and Queens. While some of this turn- the sector, and provides benefits to 100% for job and wage growth. over can be attributed to natural indus- diverse audiences and communities Specifically, over the past four try cycles, the challenges listed above across the City. ● years, economic output, wages, are significant contributors. and jobs have each grown at approximately 5% annually The small venue theater industry is within the sector. Citywide seeing challenges and opportunities as it expands in New York City. Through economic output has grown it all, small theater's cultural and at just under 4% on average economic impacts are increasingly over the same time period, and important to the larger dramatic arts jobs and wages have grown at and entertainment industries of New approximately 2.5%.

Live Source Theatre Group – Solstice Party! performed at A.R.T./New York Theatres; Patrick Andrew Jones, Satomi Blair, Stephanie Weeks, Chris Ignacio, Phoebe Dunn (pictured); Mark Davis (photographer) The New Group –The True; Edie Falco (pictured); Monique Carboni (photographer) Introduction 11 INTRODUCTION

For well over a century, small theaters have been an integral component of New York City’s cultural landscape and identity. The small venue theater industry has been a platform to provoke discussion on contemporary issues, such as identity, politics, and culture through experimentations in form, text, and experience. Small theaters provide a space for a diverse array of programming and incite innovation in content development and new media and technology that influences a variety of performing arts, including fine arts, film, and television.

Venues throughout the city have recent years with the explosive growth been steady proving grounds for of film and television content, particu- This study assesses the countless productions and future larly on streaming platforms. Many of state of the theater industry household names in the early stages these productions, a number of which of their careers. are developed and filmed in New York beyond Broadway in New City, are staffed with talent that has York City. The sector The remarkable cultural achievements strong connections to the small venue is varied and complex, by the small venue theater industry are theater industry. including a diverse range a result of the ability and willingness of of organizations. The study small theater organi­zations to take risks In addition to their value for per­forming uses the terms, “small on provocative new work, acting both artists, theaters have a long history as incubators and counterbalances to of catalyzing social change and are venue theater industry” mainstream productions. The industry invaluable platforms for com­munity and “small theaters” to provides a space for emerging artists building and social activism. Small describe this broad group. not just to experiment, but is also a theaters provide a crucial voice for The Defining the Industry source of employment and steady underrepresented communities, elevat- section beginning on income for many in the dramatic arts ing stories that are some­times missed page 15 further explains field, including actors, directors, or infrequently covered by mainstream the segmentation and writers, designers, choreographers, entertainment media. Additionally, they agents, and many other cultural provide a valuable outlet for New York typologies of theater produc­ers, including those behind City’s young people to engage with the organizations that fit within the scenes such as managers, admin- dramatic arts sector as both partici- this sector. istrators and accountants, and those pants and audience members, working backstage. via education programs during and outside of school, discount ticketing, Small theaters’ role in the creation of and public forums. cultural capital has only increased in Introduction 12

This study describes the structure of As public and institutional funding the small venue theater sector includ- sources shift or decrease, theaters are ing its history, cultural and economic forced to scale back their productions, impacts, and operational practices, and shorten the runs of shows, or increase concludes with a series of high-level ticket prices, affecting the type of work findings that set the stage for future produced and the audiences able to efforts to support the small venue access the work. theater industry. The findings pre­sented in this study are supported through a Despite the industry’s challenges, research process that involved in-depth shows originated in small theaters engagements with over 40 industry are as culturally and economically "The small theaters stakeholders, which included artistic significant as ever before. Theatrical are the places where directors, theater operators, artists, productions have had a marked impact experimentation happens; and industry experts. This was further on other media forms, including we develop artists, often supple­mented by rigorous data analysis television and film. Cross-pollination and literature review. Working sessions between these mediums has fostered from underrepresented were conducted with a strategic advi- performance that melds installation, groups. We lay the sory group representing key theater video, dance, and other genres. More groundwork for inventive industry experts with experience and venues are opening in boroughs outside practitioners." influence within the fields of advocacy, of Manhattan, bringing theater to Susan Bernfield, New Georges education, and fundraising for the small historically marginalized communities, venue theater industry. and many theaters are engaging local communities through education pro- Why this study now? grams, discount tickets, and programs in public schools. These positive trends While the value of small venue theaters demonstrate that the small venue the- is undeniable, the challenges that ater industry is integral to the cultural venues, their employees, and artistic dialogue of our city. communities currently face are greater than ever. This study comes at a critical time. Despite the small venue theater indus- Employees are frequently faced with try’s immense—and growing—cultural unstable compensation structures in and intellectual value to our city, it comparison to other cultural sectors, faces acute challenges. Little is under- such as television, film, or other media. stood about the sector’s historic role As a result, housing affordability as a contributor to the city’s cultural and rising living costs have particularly economy. Simultaneously, its passionate outsized implications for this labor employees face a multitude of chal- force. In New York City, residential lenges as they combat rising real estate rents have increased on average 3.9% and living costs. This study lays out the while wage increases have increased industry’s key economic and cultural 1.8% over the same period from 2009 benefits to the city-at-large, as well as to 2017.1 Escalating production and real the issues and opportunities facing estate costs, a scarcity of funds to the sector today. ● hire staff members, and limited resources to dedicate to business development pose major challenges to these organizations. Clubbed Thumb –What the Constitution Means to Me; Heidi Schreck (playwright); Oliver Butler (director); Rosdely Ciprian, Heidi Schreck (pictured); Elke Young (photographer) Pregones/PRTT – Baile Cangrejero; Jorge B. Merced (director); Yaremis Féliz (pictured); Marisol Diaz (photographer) Defining the Industry 15 DEFINING THE INDUSTRY

The roots of the small venue theater industry emerged in the early 1900s as New York’s burgeoning theater industry was expanding beyond the Broadway district. Off-Broadway theaters, which primarily hosted plays and not musicals, offered a platform for new styles and approaches. During this period, cultural producers were rejecting the status quo by developing innovative forms of art, music, dance, literature, and drama that engaged critically with the issues of the time.

Small venue theaters provided an significance has progressively grown affordable alternative to Broadway and since its inception and is now at the extended theater to a wider audi­ence. forefront of global cultural dialogue and "The challenges faced by While the growth of this sector began is firmly intertwined with the rest different sizes and scales of at the beginning of the century, the of the dramatic arts landscape. small theaters are all vastly term “Off-Broadway” was popularized different from one another." in the early 1950s, shortly before the Industry Landscape Roundtable participant modern federal tax code's establish- ment, including section 501, which The small venue theater industry is provides tax exemption for eligible non- nuanced and does not always fall into profit organizations and section 170, a finite set of categories. This is par- which allows deductions for charitable tially due to the vast array of informal contributions. Sections 501 and 170 of and non-traditional participants and the tax code increased the ability of activities that make up the sector. Many small theaters to obtain donations workers in the industry are not standard and provided other benefits that ‘full-time employees’, but in fact work enabled small theaters to produce part-time, or on contract, or volunteer performances that were not viable in their time. commercial theaters. Small theaters continue to provide a space for theater- Furthermore, the sector spans a wide makers to produce work that may not range of operating models and struc- otherwise receive mainstream institu- tures. Shows at a specific theater venue tional support. may be produced by the theater com- pany operating the venue, or an outside Small theaters have a long history in theater company, or co-produced New York City’s culture. The industry’s across multiple theater companies, or Defining the Industry 16

by a production company created solely theaters falling beyond this traditional for one production. The industry is also categorization and beyond the scope closely intertwined with a variety of of Broadway. other creative sectors, such as dance, opera, stand-up comedy, and other Broadway theaters are traditionally visual performances. Due to the com- defined as production venues with plexity of the operation and structure capacities of 500 or more seats, located of this sector, the analysis in this report within the Theater District or the focuses on those organizations that are “Theater Box." The majority of collo- completely or predominantly involved quially-termed ‘Broadway’ theaters are in theatrical productions.2 Theaters managed as commercial entities, which Spotlight: Caffe Cino

within higher education institutions typically do not create productions Considered the birthplace of are also not included in the study due themselves. Instead, these theaters Off-Off-Broadway, the coffeehouse and to barriers associated with obtaining lease their venues to producers or art space Caffe Cino opened in 1958 accurate information specific to production companies for shows in Greenwich Village and presented theatrical performance. that generally run as long as they experimental and controversial short are profitable. plays. During this time, portraying ho- Theater Venue Categories: mosexuality within theater was illegal 3.1. and Caffe Cino became a platform for Broadway, Off-Broadway, and Off-Broadway refers to theater venues with capacities generally between gay playwrights and content including, Off-Off-Broadway Lanford Wilson’s The Madness of Lady 100 and 499 seats. While these may Bright in 1964. The theater closed in Theaters across New York City broadly be located anywhere on the island of 1968 but visitors are still reminded of fall into one of the following three Manhattan, many are located south of the significance as it was officially listed categories: Broadway, Off-Broadway, Central Park and on the West Side, with on the National Register of Historic and Off-Off-Broadway. This study a focus on Midtown and Greenwich Places.3 Photo: Caffe Cino exterior in focuses largely on the latter two Village. The majority of Off-Broadway 1965; photograph by James D. Gossage categories, namely Off-Broadway and theaters are non-profits, though some Off-Off-Broadway, as well as all other are commercial entities.

Figure 3.1: Broadway Theater District, Figure 3.2: Traditional Theater Categories "Theater Box" and Definitions

Manhattan 54th Street Off-Off- Broadway Off-Broadway Broadway

8th Avenue

Broadway

99 seats or 6th Avenue 500+ seats 100–499 seats less

Located 41st Street Located in Located in anywhere Manhattan's Manhattan in New York "Theater Box" City Defining the Industry 17

Off-Off-Broadway can be defined as Categorizing the Sector Today their venue to theater companies all theaters across New York City’s five on an ad-hoc basis during periods boroughs with a capacity of 99 seats or This study evaluated 748 small venue without curated programming. less. This category of theater became theater organizations, which fall into increasingly popular throughout the three discrete categories: 97 are pro- · Presenting theaters are stand-alone latter half of the 20th century. ducing or presenting theaters (with a theaters that are not involved in The vast majority of Off-Off-Broadway physical location), 51 are theaters that artistic programming and, instead, theaters are non-profits and offer are part of larger organizations, and rent their venue to theater companies a space to push the envelope of 600 are production companies. for productions, on short- or long- theatrical experience. term leases, often providing Theaters are organizations with physi- rental equipment and a la carte Limitations of Traditional cal venues where shows are presented. production services. Definitions Theaters can act as presenting or producing organizations, or a combi- Theaters may also be housed under While these definitions provide a broad nation of both. 97 have been included the umbrella of a larger organization, framework through which to under- in this report’s analysis, 73 of which are which include institutional organiza- stand the small theater land­scape, the non-profit and 24 are commercial. tions or cultural venues. Generally, reality is more nuanced. For example, these 51 venues are larger cultural there are theaters in Manhattan, · Producing theaters operate and spaces that host a broad variety outside of the ‘Theater Box’, such as manage a physical venue with of cultural programming, from New York City Center and the Park permanent in-house staff and oversee theater to dance to lectures to Avenue Armory, as well as in boroughs the artistic programming of the cinema to education. Theaters within outside Manhattan, such as St. Ann’s venue, presenting and producing education institutions have been Warehouse in Brooklyn, that hold work. While many theaters program excluded due to barriers associated more than 500 seats, thereby not full seasons, a number of producing with obtaining accurate information falling simply into one of the three theaters do not program their venue specific to theatrical performance. sector categories. full-time. Instead, theaters rent out

The Tank –Independent Study; Ben Gassman (playwright); Ran Xia (director); Gareth Tidball, Sharlee J. Taylor, Finn Kilgore (pictured); Asya Gorovits (photographer) Defining the Industry 18

Theater production companies process, structure, and outcome of the The 724 non-profit theaters and theater without dedicated venues (sometimes shows, certain trends exist, which are companies, as compared to only 24 referred to in this report as ‘nomadic’3.5. set out as follows: for-profit commercial venues within the theater companies) focus on artistic small venue theater industry, provide programming and generally rent space, Commercial Theaters the most common access point for as needed, during the development, Commercial theaters generally host a many New York City audiences to rehearsal, production, and presentation single show at a time that is produced experience professional theater. Non- of their shows. Production companies by a separate theater production profit theaters play a crucial role in New typically employ a core full-time staff company. Typically, production com- York City’s dramatic arts sector—not and assemble creative teams for each panies producing shows at commercial only in the development of new plays production, working in collaboration theaters do not own or operate the and musicals but also in the disruption with artists, playwrights, and theater- theater venues. Instead, the company of traditional economic models for large makers as necessary. In general, the leases the theater for the duration of commercial theaters. 600 theater production companies in the production. New York are non-profit organizations Space: Geography & Capacity that reinvest profits into organizational Non-profit Theaters expansion or future productions. For Since the late 1950s, non-profit Small venue theaters across New York a description of Theater Roles and theaters have the advantage of City hold a total capacity of 51,779 3.3. Responsibilities, see Appendix, pg 52. funding sources that are not usually seats, including 43,127 within non-profit available to commercial theaters. theaters, and 8,652 within commercial Financing Structure: Most government, foundation, and theaters. These seats are divided Commercial vs. Non-profit corporate grants require that theater among 226 stages, within 148 theater applicants be non-profits. And dona- venues in New York City (commercial Theaters and production companies tions to 501(c)(3) theaters generally theaters, non-profit theaters, and those across New York City are operated qualify for federal income tax within larger organizations, excluding either as commercial or non-profit deductions­—this encourages theaters housed within academic entities. While this categorization does individuals and corporations. institutions). A large proportion, 44%, not always reflect differences in the of these stages have capacities below

Figure 3.3: Small Venue Theater Figure 3.4: Total Number of Theater Organizations Organizations Studied by Financing Structure

Commercial

97 4% (24) Theaters

51 Theaters within larger organizations 96% (724) 600 Production companies Non-prot

748 748 total total 3.7.

Defining the Industry 19

Figure 3.5: Map of NYC Off-Broadway and Off-Off-Broadway Theaters

Midtown Manhattan

Manhattan Bronx

Theater Box Queens

Brooklyn

Staten Island

Non-prot theaters Commercial theaters Non-prot theaters within larger organizations Defining the Industry 20

99 seats, implying the vital role these Commercial Theaters Village, Soho, Tribeca, and Harlem, with smaller spaces play within the sector. The majority of New York City’s 24 a small number of outliers in Brooklyn 27% percent of these stages have small venue commercial theaters are and Queens. Non-profit theater venues capacities between 100 and 199 seats. located in Manhattan, clustered around are generally smaller than commercial Less than one third of these stages are Times Square. Outside of Midtown, theater venues, with a median capacity larger than 200 seats: 14% are between several small venue commercial the- of 128 seats. Several exist with capaci- 200 and 299, 7% are between 300 and aters exist in Greenwich Village, the ties of over 1,000, including the Apollo 499, and 8% are larger than 500 seats. East Village, and Soho, with outliers on and the Lincoln Center Theater. 3.6. the Upper West Side and in Chelsea. However, the geographic concentra- New World Stages is the largest The small venue theater industry is a tion, limited number, and high pro- commercial theater organization, with complex and multi-faceted sector that duction costs affiliated with Broadway a capacity of almost 2,400 across its takes advantage of a range of scales, houses, as well as price pressures of multiple stages. However, commercial operating models, and financing mech- Manhattan, contribute to the open- small theater venues have a median anisms. Because the sector is nimble in ing of theaters in boroughs outside capacity of 144 seats. scale and operation, it has the capacity Manhattan. Among contributing to develop work that is experimental, economic factors are the demographic Non-profit Theaters critical, and might not otherwise be shifts occurring as increasing numbers While most of New York City’s 97 non- produced in larger or more profit-ori- of city residents and younger gener- profit theater venues are still located ented venues. ations move outside Manhattan and in Manhattan, they are more evenly many theater artists and companies distributed throughout the city. Roughly The diversity of theater organizations are setting up shop nearby, thus cre- 30% of non-profit theater venues are demonstrates the variety of work pro- ating cultural hubs in neighborhoods located within Midtown and an addi- duced from ornate musicals to small- throughout the city. tional 15% are clustered near the East scale productions, all of which bring Village/Lower East Side. The remaining the capacity to move and entertain half of non-profit theater venues are New York City audiences. ● distributed throughout Greenwich

Figure 3.6: Seating Capacity of Small Venue Theaters

500+ seats 300-499 8% seats Under 99 seats 7%

44% 200-299 14% seats 51,779 total seats in NYC

27%

100-199 seats National Black Theatre – Kill Move Paradise; James Ijames (playwright); Saheem Ali (director); Sidiki Fofana, Donnell E. Smith, Ryan Jamaal Swain (pictured); Alan Edwards (photographer) Apollo Theater –We Shall Not Be Moved; Bill T. Jones (director); Daniel Bernard Roumain (composer); Marc Bamuthi Joseph (libretto); Lauren Whitehead, Kristin Chávez (pictured) Cultural Impacts 23 CULTURAL IMPACTS

Emerging in the early 20th century as an alternative space for diverse theater voices, small theaters have a long history in New York City. The force of the subsequent small theater industry has further solidified this mission; developing trailblazing work that has expanded cultural dialogue, given voice to underrepresented communities, and fostered some of the most important pieces in the American theatrical canon.

These often controversial shows— Household names such as Al Pacino, such as The Boys in the Band, Topdog/ Christopher Walken, Lea Michelle, and Underdog, Next to Normal, How I Denzel Washington all performed in "NYC is the greatest cultural Learned to Drive, Torch Song Trilogy, Off-Broadway productions before going capital in the world - on Jesus Hopped the A-train, Rent, Ruined on to become the actors they are today. every block, in every —have pushed theatrical conventions Many return to perform short runs in in the development of risk-taking work theaters where they have roots that borough there are artists. that is the hallmark of the small theaters allow for experimentation, and this can We call ourselves the media in New York City. As a result, New York often involve mentoring others. capital, the financial capital, City’s position as the world’s cultural but we are the cultural capital is due in no small part to the The impact of the work created within capital.” small venue theater industry. the New York City small venue theater Catherine Porter, The Scherman Foundation industry cannot be assessed in isolation. The cultural value of the sector is not Small theaters operate within a broader only generated from what is presented dramatic and performing arts industry but also who is presented. Small venue containing strong, interlinked relation- theaters have long acted as ‘incubator ships across theater, television, film, spaces’, providing an invaluable training podcasting, and many other creative ground for emerging artists, with the mediums. The rapid growth of episodic best and most iconoclastic writers, content on streaming platforms in actors, designers, composers, chore- recent years has further strengthened ographers, and directors all cutting this dynamic. These productions are their teeth within this sector. These frequently written, developed, and same artists routinely tour experimental produced in New York City and staffed works developed in the city interna- by creative teams and talent with tionally, work in film, in television, and strong connections to the small venue within other performance platforms. theater industry. Cultural Impacts 24

Furthermore, the sector can act as a connections with local communities pathway for the content itself, with and businesses. Educational and a number of shows developed in the family-oriented programs, as well as small venue theater industry in some discounted tickets for local residents instances finding their way to a larger and local hiring, are commonly used platform, such as playing in bigger to foster connections. In this way, they houses or on Broadway. This is evident provide ‘social capital’ in addition to in the fact that the last five winners of ‘cultural capital’ for neighborhoods the Tony for Best Musical came from and the city-at-large. This role often this sector, most recently The Band’s includes providing non-performance Visit and Hadestown. This trajectory programming aimed at the needs of Spotlight: The Movement has often been the result of the ability the local community, including social Theatre Company of small venues to take risks on provoc- justice initiatives, as well as providing The Movement Theatre Company's ative new work. Many shows now their theater venues for community mission is to develop and produce new deemed as cultural landmarks often events when not being used for rehears- work by artists of color on their own have a long development history that is als or productions. terms. Their work engages audiences not always evident. Small theaters in a rich theatrical dialogue, enlightens have helped develop the wider dramatic Small theaters are integral to the larger communities to the important issues and performing arts industry over dramatic and performing arts industry affecting our world, and empowers several generations. of New York City, ensuring that the artists to celebrate the many sides of landscape for theatermakers is sup- their unique voices. One such program, In recent years, a number of small the- portive of innovative and experimental Harlem Nights, celebrates Harlem with small businesses through free theatrical aters in New York have evolved beyond work. The unique dynamics of this shows in non-traditional spaces. Photo: singular-purpose performance houses sector are the engine for the city’s high And She Would Stand Like This at into neighborhood-oriented cultural caliber of theater production from A.R.T./New York Theatres; centers. As venues continue to open in plays and performances to education Ahron R. Foster (photographer); neighborhoods outside of Manhattan, and outreach to new works across Harrison David Rivers (playwright); many have made efforts to strengthen media forms. ● David Mendizábal (director)

Figure 4.1: Pulitzer Prize-Winning Plays Developed in Small Theaters

Fairview, Between Riverside Soho Rep. and Crazy, 2019 Linda Gross Theater 2015

The Flick, Clybourne Park, Playwrights Horizons Playwrights Horizons 2014 2011 Cultural Impacts 25

Figure 4.2: Celebrated Playwrights Who Have Written Works for the Small Venue Theater Sector

Suzan-Lori Parks “She's one of the most productive and acclaimed people working in theater today, and she's known for pulling off remarkable feats like writing 365 plays in 365 days.” – NPR

Annie Baker “Drawing on the immediacy of overheard conversation, she has pioneered a style of theater made to seem as untheatrical as possible, while using the tools of the stage to Spotlight: Hadestown: The focus audience attention.” – The New Yorker Myth. The Musical

Originally a concept album and later Branden Jacobs-Jenkins a stage production by songwriter, mu- “Using a range of theatrical genres in subversive, often unsettling works that engage sician and playwright Anaiïs Mitchell, frankly with the ways in which race, class, and history are negotiated in both private and public.” – MacArthur Foundation Hadestown tells the story of the ancient Greek myth of Orpheus and Eurydice. Dominique Morisseau Developed with and directed by Rachel “A playwright of piercing eloquence. She bravely and repeatedly dives into the muddled Chavkin, the production premiered shadows of social issues often presented in cold statistics and cleanly drawn graphs. Ms. Off-Broadway in 2016 at New York Morisseau has made it a mission to put onstage people of a race and class and type that Theatre Workshop (NYTW) and grew much mainstream theater might ignore or demonize.” – The New York Times into today’s renowned stage musical. Actors Amber Gray, Patrick Page, and Lynn Nottage Jessie Shelton reprised their roles when “Lynn Nottage is dedicated to opening up stories that we’re not used to hearing. She the play moved to Broadway at the brings a sense of curiosity to all sorts of subjects and a clear eye to notoriously difficult Walter Kerr Theatre in March 2019. parts of American culture and society. She’s the only writer I can think of working now, The show went on to receive critical in any medium, who so understands poor white Americans, with compassion for their acclaim and 8 Tony awards including terror but no pity for the racial attitudes people end up getting stuck in.” – Time Best Musical. Photo: Hadestown at Taylor Mac NYTW; Patrick Page, Nabiyah Be (pic- “Mac is challenging audiences to reimagine our relationships to one another and demon- tured); Joan Marcus (photographer) strating ways in which the arts can be a tool for inspiring social change.” – MacArthur Foundation

Amy Herzog “Ms. Herzog has dug deep into the terrain where generations intersect, in ways political as well as personal, with a perspective as clear-eyed as it is compassionate.” – The New York Times

Adam Rapp “Rapp is a gifted storyteller. He makes demands on his audience, and he rewards its close "Increasing our engagement attention with depth and elegance.” – The New Yorker with schools, listening to more local residents, and Young Jean Lee “A genuinely original playwright and theater-maker who explores diverse theatrical styles, creating things that are forms and subjects with a dramaturgy that constantly takes risks and pushes the boundar- more meaningful to the ies of what is possible.” – Windham-Campbell Prize Committee neighborhood is how we define community.” David Herskovits, Target Margin Theater Clubbed Thumb – Men on Boats; Jaclyn Backhaus (playwright); Will Davis (director); Elke Young (photographer) Economic Impacts 27 ECONOMIC IMPACTS

Small theaters play an integral role in New York City’s economy. The collection of largely non-profit small theaters analyzed throughout this study have significant impacts across the city, generating more than $1.3 billion5.1. yearly in direct, indirect, and induced benefits, as well as over 8,400 (full-time equivalent) jobs and $512 million in wages. Over the past four years, output, wages, and jobs have grown 5% annually within the small theater industry outpacing the larger performing arts and entertainment industry, which has grown at a rate of approximately 2%.

Economic Analysis Approach Focusing the scope of this report’s assess- ment on theaters that normally have Figure 5.1: Included in the The small venue theater industry gross receipts of $50,000 or more allows Economic Study is nuanced. As such, the criteria to for an accurate representation of small establish its economic impact needs to theaters, as data was inconsistent among 24 be flexible enough to account for the theaters below the $50,000 threshold. Commercial varying types of theaters. While the City A full description of this category is theaters recognizes all those within the 748 small described in the methodology on page venue theater organizations across New 48. IMPLAN is the industry-standard eco- York City that host and/or produce the- nomic analysis tool that utilizes industry 73 Non-prot atrical programming, not all are included specific multipliers to extrapolate direct, theaters in the economic analysis. The economic indirect, and induced economic impacts impact analysis includes the 291 commer- of a specific sector. Industry specific cial entities and non-profit organizations multipliers were sourced from IMPLAN 12 that normally have annual gross receipts and were used to assess the indirect and Theaters within of $50,000 or more.4 This set includes induced economic impact of the small larger organizations 267 non-profits (73 theaters, 182 produc- venue theater industry. tion companies and 12 theaters within 182 larger organizations), and 24 commercial The study aggregates financial informa- Production theaters. The study also excluded certain tion from a number of sources in order companies theaters within larger organizations that to understand organizational structure, do not publicly share disaggregated revenues and expenses, and economic 291 information, specifically relating to impact. An overview of data sources and total theatrical programming. methodology is as follows: Economic Impacts 28

1. Tax data: Fiscal data is sourced from Direct Economic Impact Broader Economic Impact publicly available 2017 tax forms (IRS-990 forms). The small venue theater industry's The direct economic impact of the direct economic impact includes small venue theater industry leads to 2. Ticket sales: For commercial revenues generated by theaters, theater indirect and induced economic impacts, theaters, 2017 ticket sales data from production companies, and theaters which yields the industry’s total eco- industry organizations was used in the that are part of larger organizations nomic impact. analysis. Where show-specific data was through ticket sales, rental income not obtainable, it was estimated using from performance venues, government The small venue theater industry is the revenue estimation methodology grants, private contributions, and inextricably linked to a multitude of described in the Appendix. other sources. These organizations are other industries beyond the arts and annually responsible for: makes an important contribution to 3. Proprietary data: In cases where New York City’s total economic output. · $584 million in output information was not publicly available, For example, theaters reach out to · 3,017 jobs (full-time equivalent) 5.6.a specific request was made to each advertising agencies to promote shows, organization individually requesting · $166 million in wages hire consultants, contract specialized a breakdown of financial data. The designers for sets, costumes, lighting availability of data varied by organiza- and sound, and pay rent to use tion and was based on information from commercial venues, among other either 2017 or 2018.

Figure 5.2: Types of Economic Impact

Theater Direct Business- Indirect Consumption Revenues generated by to-business Suppliers to the small venue small venue theater spending theater industry, includes organizations through ticket business-to-business spending sales, renting their spaces, between theater organizations as well as grants and and non-theater organizations contributions from the (legal services, advertising, public and private sector. consultants, etc.)

Wages Wages Spent Spent

Induced Businesses that benet from employees of direct and indirect industries spending their wages within NYC. Economic Impacts 29

5.3.secondary services. Additionally, The second largest industry supported Indirect economic impact is a result of many theatergoers will also double by small theaters is the ‘real estate business-to-business activity between as restaurant patrons on the same industry.’ Theater, unlike other the small venue theater industry and night they go to a show, which has entertainment sectors, requires physical other industries in New York City a significant impact on the larger space to be experienced and generate (such as advertising, legal services, hospitality industry. Unsurprisingly, revenue. Real estate economic output consultants, etc.). This impact annually the largest industry supported by the is generated by production companies amounts to: small theaters is ‘independent artists, paying rent to theater venues and other · $513 million in output writers, and performers’ (as designated entities that lease out rehearsal space, by IMPLAN, the industry-standard and theaters paying rent to landlords. · 4,195 jobs (full-time equivalent) tool for economic impact analysis). ‘Promoters of performing arts’ is · $264 million in wages This group includes creative workers the third largest industry supported such as actors, directors, lighting by theater companies that includes designers, dancers, sound designers, advertising and ticketing agencies to Induced economic impact is created and musicians who are hired on short, undertake marketing campaigns and when employees of the small venue fixed-term contracts. buy advertising space in newspapers. theater industry, and those supported indirectly by this industry, spend their wages within New York City. The

Figure 5.3: Direct, Indirect, and Induced Economic Impacts of Small Venue Sector

$1.3 8,409 $512 billion jobs million

100% $208m 1,197 $82m Induced 90%

80% $513m 4,195 $264m

70%

60% Indirect

50%

40% $584m 3,017 30% $166m

20% Direct

10%

0% Output Jobs Wages 5.9.

Economic Impacts 30

induced economic impact annually economic impacts measures full-time outpaced baseline citywide economic results in: equivalent jobs, as this is the standard output by approximately 20% and jobs metric to determine industry economic and wages by 100%. · $208 million in output impact. It is important to note, however, $140m $133.0m · 1,197 jobs (full-time equivalent) that many organizations within the Despite challenging economic factors, · $82 million in wages small venue theater industry rely heavily the demand for small venue theaters $120m on volunteer and part-time workers. So, and the art that emerges from them has while the small venue theater industry continued to expand in recent years. $100m $93.1m Significant Multiplier Impacts is directly responsible for 3,017 full-time With the right support, it will continue 5 Multiplier effects are used to estimate equivalent jobs, as many as 12,571 to grow in the years to come. ● $80m the size of the tangential economic wage-earners, both full- and part-time,

impacts an industry has on the rest of support theater organizations through- $60m the city. With a total economic impact out the year. Additionally, the industry of $1.3 billion and a direct output of is supported by approximately 9,336 $40m $35.8m $584 million, a distinguishing factor of non-salaried volunteers. $25.9m $24.9m $22.1m the small venue theater industry is its $18.5m $18.5m $20m $14.9m $13.7m large multiplier effect on the rest of the An analysis of data from the non-profit city’s economy, comparatively higher tax forms suggests that organizations $0 than many other industries. The multi- with smaller budgets depend more The small venue theater plier effect of the small venue theater heavily on volunteers than those with industry is inextricably industry, which is predominantly made larger budgets. In fact, 92% of labor linked to a multitude of up of non-profit organizations, is 2.2. is volunteer work within organizations Real Estate Management Wholesale trade other industries beyond Insurance carriers Independent artists, consulting services Employment services Other media and entertainment orga- with budgets below $100,000. writers and performers Promoters of performing Management of the arts and makes an Advertising, public arts and sports and agentsOwner-occupied dwellings companies and enterprises nizations, which are largely made up of Contrastingly, 39% of labor is unpaid relations, and related services for public gures commercial entities, have a multiplier volunteer work among organizations important contribution to New York City’s total effect of approximately 1.65. with annual budgets above $5 million, Indirect Induced a still significant proportion.6 economic output. Non-profits, unlike commercial entities, do not distribute their profits Sector Growth to any shareholders and do not pay taxes, leaving 100% of revenues to Over the past four years, output, wages, be re-circulated within the economy. and jobs have grown 5% annually Additionally, the small venue theater within the sector outpacing the larger industry spends a large proportion performing arts industry, which has a of its revenues locally, as opposed to growth rate of approximately 2%. spending revenue in other parts of the country or world. The nature of theater According to the limited available as an art form is predominantly place- data, the total economic output of the based, requiring local collaborators, small venue theater industry grew at The total economic such as actors, repair services, set approximately 5% annually between output of the small venue designers, etc. 2014 and 2017, while the citywide theater industry grew at growth equivalent grew at just under approximately 5% annually Employment 4%.7 Jobs and wages also each between 2014 and 2017 grew within the small venue theater while the citywide growth It is estimated that the small venue industry at approximately 5% annually equivalent grew at just theater industry directly supports 3,017 within the same time period, which 9 full-time equivalent jobs across the- outpaced citywide growth equivalents under 4%. aters and production companies. The of approximately 2.2% and 2.5%.8 The analysis of direct, indirect, and induced small venue theater industry growth has 5.9.

Economic Impacts 31

Figure 5.4: Inter-Industry Indirect and Induced Economic Output $140m $133.0m

$120m

$100m $93.1m

$80m

$60m

5.5. $35.8m $40m $25.9m $24.9m $22.1m $18.5m $18.5m $20m $14.9m $13.7m

$0

Real Estate Management Wholesale trade Insurance carriers Independent artists, consulting services Employment services writers and performers Promoters of performing Management of Advertising, public arts and sports and agentsOwner-occupied dwellings companies and enterprises relations, and related services for public gures

Indirect Induced

Figure 5.3: Theater Organization Volunteers

Theaters with Revenue $1m + Theaters with Revenue < $100k

8%

39%

61%

92%

Volunteer sta Paid sta Soho Rep. – Fairview; Jackie Sibblies Drury (playwright); Sarah Benson (director); Raja Feather Kelly (choreographer); MaYaa Boateng (pictured); Julieta Cervantes (photographer) Revenue Generation and Expenses 33 REVENUE GENERATION AND EXPENSES

The small venue theater industry is host to a multitude of organizational models. These variations affect the mechanisms through which theaters secure funding, hire workers, and produce theater. Theaters with ample funding and revenue generation have freedom to hire full-time workers, while theaters that generate less revenue spend a higher percentage of income on operating expenses related to maintenance of physical space, such as rent.

The publicly available financial data on Non-profit Small Venue organizations with budgets of between tax returns and industry data used to Theaters $500,000 and $5 million annually gener- conduct the economic analysis within ate 38% of revenues from programming. this study also provided information on To better understand the non-profit Organizations with annual budgets of the revenue and expense structure for theater industry, organizations have between $100,000 and $500,000 gener- many of the institutions included within been broken down into five budgetary ate 26% of revenues from programming, the analysis. The way these institutions tiers.11 Larger organizations (with annual on average, and organizations with collect and spend their earnings provides revenues greater than $5 million) make annual budgets between $100,000 and valuable insight into how the sector up approximately 3% of the industry, $500,000 generate 37% from program- operates on a day-to-day level, and thus but contribute 74% of the industry’s ming. Theaters with budgets of under is summarized here.10 revenue. Inversely, fundamentally smaller $100,000 typically generate 30% of organizations (those with revenues under revenues from programming. Theaters Generally, organizations with smaller $500,000) make up nearly two-thirds with smaller budgets generate­ between budgets (under $100,000) rely much of the sector but contribute 26% to the 60% and 72% of revenues through more on private contributions and gov- industry's revenue. contributions and government grants. ernment grants, and spend a significantly In comparison, larger organizations with larger proportion of their income on rent, Programming services, which include annual budgets above $1 million generate compared to those organizations with ticket sales and venue rentals account for between 45% and 58% of revenues from larger budgets (greater than $1 million). 41% of revenues for non-profit theaters. grants. Larger theaters have capacity to An additional 41% comes from private generate higher revenues than smaller As indicated in the analysis, there is contributions and grants. 10% of revenues theaters due to their seating capacity a wide diversity in the ways in which come from other sources, such as and average ticket prices. As such, larger theaters function financially, with operat- merchandise and concessions. The theaters are not as reliant on private ing structure (i.e. theaters vs. production remaining 8% of revenues comes from contributions as theaters with smaller companies vs. theaters within a larger government grants. annual revenues. institution) and size of venue acting as key factors. Organizations with budgets of over On average, 58% of all expenses for $5 million annually generate 42% of non-profit small theater organizations revenues from programming. Similarly, are dedicated to salaries, benefits, 6.1. Revenue Generation and Expenses 34

Figure 6.1: Number of Non-Profit Theater Organizations by Tier

100

10090 93 93 8090 75 75 8070

6070 65 48 5060 65 48 4050 70 24 70 30 3040 SUM24 Number of Organizations 30 3 21 30 5 3 20 20 SUM 2 Number of Organizations 3 21 20 5 21 3 10 23 SUM20 1 16 2 1 9 4 21 100 23 SUM 1 16 1 9 0 $50k- $100k4 $100k - $500k $500k - $1m $1m - $5m $5m + $50k- $100k $100k - $500k $500k - $1m $1m - $5m $5m + Operating Budget

Operating Budget Non-prot theaters Non-prot production companies Non-prot theaters within larger organizations

Non-prot theaters Non-prot production companies Non-prot theaters within larger organizations

Figure 6.2: Sum of Annual Revenue of Non-Profit Theater Organizations by Tier

$500

$500 $384.9m $400 $384.9m $400$350

$300$350

$300$250

$200$250

$200$150 $88.2m $100$150

Sum of Annual Revenue (in millions) Revenue of Annual Sum $88.2m $100$50 $22.7m $21.4m Sum of Annual Revenue (in millions) Revenue of Annual Sum $3.0m $50$0 $22.7m $21.4m $3.0m $0 $50k- $100k $100k - $500k $500k - $1m $1m - $5m $5m +

$50k- $100k $100k - $500k Operating$500k - $1mBudget $1m - $5m $5m +

Operating Budget Non-prot theaters Non-prot production companies Non-prot theaters within larger organizations

Non-prot theaters Non-prot production companies Non-prot theaters within larger organizations The Chocolate Factory Theater – Ivy Baldwin Dance [Keen No. 2]; Ivy Baldwin (choreographer); Brian Rogers (photographer) 6.2.Revenue Generation and Expenses 36

Figure 6.3: Non-Profit Theater Revenue Composition

Average By Tier

70% 70% % 6262% 60% % 60% 5656% 49% 10% 50% 49% 6.5. 10% 50% % % 4141% 41 % % 41 % 8% % 38 % 38 % 8% 37 % 38 38 40%40% 37 % 3030% 41% % 41% 30%30% 2626% 20% 20% 20% 20% % % 12 % % 11 % 12 10 % 11 % 10% 10 9 % % 10% % 9 % 7 % 3 % % 5 % 7 3% 22% 22% 5 41% 0%0% $50k-$50k- $100k$100k $100k$100k -- $500k$500k $500k$500k -- $1m$1m $1m$1m -- $5m$5m $5m$5m ++

Operating Budget

ProgramProgram servicesservices Contributions and private grants Government grants Other revenue

Figure 6.4: Non-Profit Theater Expense Composition

$50 $48.8m 7 Average By Tier $45 6 % 6 6262% 60% $40 60% % % 5 5 5858% 5858% $35 5 % 4848% 4 44% 4 44% % $30 % 41 % 4 40% 4040% 41 40% % 34% 35 % 34% % 35 $25 34% 3131% 34% 3 Count $20 58%

20% (in millions) Revenue 20% % $15 1616% 2 % $11.5 11 % 11 % 8 % % % $10 8 77% 77% 1 7% 0% $5 $3.1m 7% 0% $657k 0 $132k 0 $50k-$50k- $100k$100k $100k$100k -- $500k$500k $500k$500k -- $1m$1m $1m$1m -- $5m$5m $5m$5m ++ $50k- $100k $100k - $500k $500k - $1m $1m - $5m $5m + Operating Budget Operating Budget

Salaries, bene‰ts, professional fees Other expenses Rent Salaries, bene‰ts, professional fees Other expenses Rent Revenue Count Revenue Generation and Expenses 37

and professional fees, while 34% is Commercial Small Venue The majority of New York City’s small dedicated to other production-related Theaters theaters generate less than $1 million expenses. The remaining 7% is dedicated­ in revenue annually. However, the bulk to rent. This is demonstrative of a lean, While commercial organizations only of revenue throughout the small venue talent-centric industry focused primarily account for 3% of New York City’s theater industry is generated by a finite around worker’s labor. small venue theater organizations, number of small theaters that bring in ticket sales and theater rentals suggest over $5 million annually. Many small Theater organizations with annual bud- that the 21 commercial small theater theaters are limited by their income gets above $1 million expend a greater venues generate approximately $63 when making hiring decisions and are proportion of their annual budgets on million in annual revenue, nearly 11% reliant on part-time or volunteer work. 6.5.annual expenses such as salaries, bene- of the sector total. In comparison to Furthermore, theaters with higher fits and professional fees, representing non-profit organizations whose revenue revenues spend a larger portion of their approximately 58% for theaters with composition is somewhat reliant upon income on employees, which further over $5 million in revenue and 62% for private contributions and government enforces that many small theaters are theaters with revenues between grants, commercial theater organizations’ understaffed and would hire more $1 and $5 million. Organizations with revenue is predominantly from employees if resources were available. budgets under $1 million spend a programming (ticket sales). Small venue theaters are resourceful significantly lower percentage of and continuously find ways to propel the revenues on the same expenses, indi- Figure 6.5 shows the distribution of dramatic arts forward. However, theaters cating that rents do not scale down as commercial theaters by revenue group. with the lowest revenues are particularly organization size shrinks and that larger The number of theaters in each revenue susceptible to staffing constraints, as organizations expend more resources on bracket is relatively evenly distributed. the operating expenses associated with administrative staff. However, the bulk of total revenue is a physical venue make up the largest among theaters with operating budgets portion of spending relative to theaters above $5 million. that generate more income. ●

Figure 6.5: Commercial Theater Organizations by Tier

$50 $48.8m 7

$45 6 6 $40 5 5 $35 5 4 4 $30 4 $25

3 Count $20

Revenue (in millions) Revenue $15 2 $11.5 $10 1 $5 $3.1m $657k 0 $132k 0

$50k- $100k $100k - $500k $500k - $1m $1m - $5m $5m +

Operating Budget

Revenue Count Beth Morrison Projects –Angel's Bone; Du Yun (composer); Royce Vavrek (librettist); photo courtesy of Hong Kong Leisure and Cultural Services Department Industry Support and Challenges 39 INDUSTRY SUPPORT AND CHALLENGES

The small venue theater industry delivers critical cultural and economic benefits to New York City and has a greater influence on the city’s cultural character than ever before. Yet, small theaters face increasing challenges related to space provisions for production development and presentation, theater workforce and talent, funding, and revenue generation. The following section outlines the existing challenges facing small theaters and identifies opportunities to support the increasingly popular and ever- innovative industry.

Space: Access to Theaters Often, theater organizations in New York that currently have their own dedicated Given the nature of theater—a fixed- venue have been the beneficiaries of space, fixed-time activity—space is public or outside support and strong always a critical consideration for relationships with property owners, the small venue theater industry. local elected officials, and community Unsurprisingly, a theater’s relationship to organizations. For these theaters, access space is dictated by its operating model to long-term space acts as a source of which tends to determine whether it stability and credibility, removing many owns its own venue (or holds a favor- challenges commonly faced with finding able lease), or if it is required to face performance and, in particular, rehearsal Spotlight: HERE Arts Center the market for each production. Many space. For a number of these theaters, With the support of the City of New permutations and combinations of the such as Pregones/PRTT in the Bronx York and the Lower Manhattan Devel- producing and/or presenting operational and HERE Arts Center in Manhattan, opment Corporation, HERE purchased models, described in the Defining the among many others, having dedicated its long-time home in Hudson Square Industry section beginning on page 15, venues has allowed the organizations with two performance spaces, a lounge, exist across the sector. These include to operate with a diversified model and gallery. The venue allows them co-producing, self-producing, or that combines dedicated self-producing to have the right balance of their own enhancement funding, where a commer- with curated presenting of productions productions and guest-presented work cial producer subsidizes a production from other companies and collaborators. that is affordable, challenging, and alternative. The presenting side of their developed by a non-profit production The presenting theater model, where model allows them to rent their venue company. A number of incubators theater venues present work produced without overpowering their own work, also exist in the sector, which focus on by outside production companies, offers creating additional stability for their fostering and developing the talents of flexibility as the venue owner is able to work-in-progress showings, workshop emerging artists in the sector, particu- curate the programming. productions, post-show artist talk- larly playwrights, including organizations backs, and full productions. such as The Lark and P73. Photo: Soundstage; Rob Roth (creator) Industry Support and Challenges 40

‘Nomadic’ theater production com- availability and affordable performance on small theaters. It has contributed panies—those without dedicated space. Productions such as those devel- to the closure of over 100 of theater space—are required to navigate their oped through residency programs at the organizations (as seen in Figure 7.1 space needs on a project-by-project Park Avenue Armory and HI-ARTS, and NYC Theater Closures since 2011), in basis. Established organizations with those at the Kitchen, Performance Space neighborhoods that have seen extremely existing relationships to venues, or who New York, Creative Time, and the many rapid commercial and residential rent co-produce their shows7.1. with bigger immersive theater projects developed at growth in the last decade including institutions, have an easier time navigat- spaces across the city test the boundaries Soho, Greenwich Village, and the East ing the market. In some instances, lack of dramatic arts and reinforce the value Village in Manhattan, but also parts of of site-specific obligations can act as an of collaborations between visual artists, Brooklyn, such as Williamsburg. Most advantage, allowing them to be more dancers, video artists, and other diverse of the mapped closures are small and flexible and adaptive as an organization media forms. This component of the mid-sized theaters. and to tailor space acquisition to the sector has been expanding since the needs of each specific production. 1980s with the increased development of The industry is growing in spite of However, for newer, less established multi-media and video work. closures. Since 2011, 100+ theater theater companies, this often acts as organizations have closed, including 37 a burden, as they have fewer connections Theater Closures venues. During that same period, more and available resources, and thus than 280 theater organizations have tend to find identifying suitable There is significant turnover in the opened including affordable multiplex rehearsal and production space to be sector, with many smaller companies theaters such as The Flea Theater, ART/ a consistent challenge. opening and closing each year, or active NY Theatres, BAM Fisher, and St. Ann’s in semi-regular ‘bursts’, such as when Warehouse. Additionally, small theaters Inter-disciplinary collaboration and a production opportunity emerges. opened such as The Bushwick Starr, production in spaces beyond traditional While some of this turnover can be Chocolate Factory Theater, and Claire theater venues are common in New attributed to natural industry cycles, the Tow Theater at Lincoln Center. York City’s small venue theater industry rapidly increasing costs of real estate both for creative purposes and due to has had a remarkably adverse impact

Manhattan Figure 7.1: NYC Theater Closures since 2011

Theater Box

The small venue theater industry is characterized by a constant flux of openings and closures. This Queens map represents 37 venues of the 100+ theaters organizations that have closed in the past decade (those with recorded addresses are mapped). However, the number of theater organizations that opened during that same time period was more than double (280+) those that closed, indicative of the significant turnover in this sector.

Brooklyn

Staten Island Industry Support and Challenges 41

Space: Ongoing Operations struggle to navigate the regulatory productions. However, a small number environment of construction permits, of the larger, more established theater Theater companies that specialize in zoning, and building regulations. venues have longer-term contracts with highly-technical shows or shows with some performers. In many cases, and in elaborate sets find navigating space to Workforce particular with the smaller theaters, the be a consistent challenge due to their relationship between production com- 7.1. specific needs. Few complete web- From the outset of concept development panies and theater venues may be more based resources exist to assist organiza- through a play’s closing night, a range of nuanced and collaborative. For example, tions in finding suitable spaces. There is creative, technical, and administrative the presenting theater might take on a also indication that more progress needs workers are involved in the various role as producer, finding funding sources to be made in ensuring venues are physi- stages of the production process. The or providing artistic direction, cally accessible and sensory-friendly. amount of staff involved in a production as required. depends upon the scale and scope of As indicated earlier, a theater’s cost of the show. Smaller productions are often The theater industry, by nature, is space is directly related to the orga- required to be more nimble, with many extremely varied and creative, and its nization's relation­ship to that space taking on more than one role, whereas working structures are no different. through ownership or lease terms. While larger productions tend to have larger Modular staff models, partnerships, a favorable lease or outright ownership and more specialized teams. and production structures give many indicates lesser occupancy costs, throughout the industry flexibility to theaters must continue to spend on day- Depending on whether a theater venue adapt staff based on the needs of the to-day upkeep and maintenance of their acts as a producing or presenting performance venue and production venue. Maintenance and construction theater, the creative team will either be itself. This model allows for theater- costs have been on the rise throughout part of the theater organization, part of makers to nimbly draw upon the most New York City­—an issue that many the production company, or contracted talented pool of theaters-makers other industries are also forced to tackle. by either of the two, on a short- or long- in the world. In addition to costs associated with term basis. Performers tend to be free- venue maintenance, many small theaters lance and are usually hired for specific

Manhattan Spotlight: Theater Renovations

Atlantic Theater Company BAM Fisher La MaMa St. Ann's Warehouse Theater Box

Originally built in 1870 as a The 45,000 sf 7-story building was The gut renovation of the Originally built in 1860, the Queens church, the Atlantic Theater Com- completed in 2012 and includes La MaMa theater building is conversion of DUMBO's Tobacco pany (ATC) was completed in 2012 a black box theater, rehearsal/ currently under construction Warehouse into a 25,000 sf theater after the renovation of ATC's Linda workshop space, front and back of and includes a new facade, two was completed in 2015. The con- Gross Theater. The project entailed house operational spaces, a rooftop black box theaters, new building version included a main perfor- interior and exterior upgrades in- event space, and functional office systems, expanded lobby and ADA mance space to accommodate the cluding new restrooms, an expand- space for the organization's edu- accessibility, a cafe, and rehearsal productions, festivals, and larger ed lobby and seating area, a larger cation program. The project cost a space. The total project cost is $16 events of St. Ann's and its cultural stage, improved disability access, total of $43 million and included million and includes $12.4 million partners, as well as a dedicated and a new roof. In aggregate, the $32 million in City funding. in City funding. smaller venue for rehearsals, small Brooklyn project cost $10 million, $2.9 of scale performances, meetings, which was funded by a grant from educational programs, and activ- the City government. ities that reflect the needs of local community groups. The project cost $31.6 million, $16.05 million of which was City funded. Staten Island Industry Support and Challenges 42

Employment and Wage Some theatrical unions and professional primarily ticket sales. Non-profit Requirements organizations in New York City form theaters, like non-profits in a number partnerships to undertake initiatives of other industries, generate their As the economic impacts section that serve local industry and are given revenues from a wide variety of both beginning on page 27 of this study City government support. A model earned and contributed sources. In this highlights, the small venue theater program created by Roundabout sector, earned sources include perfor- industry employs a vast number of Theatre Company, Theatrical Workforce mance-based (including ticket sales workers locally and is a critical source Development Program (TWDP), now and subscriptions), other programming of work for many local artists in the in its third year, is an example of this. (such as education programs), and rent dramatic arts industry. The nature of A partnership founded with mentor (if they own their own venue or hold a this employment is varied and diverse, members of I.A.T.S.E. and SDC unions, long lease), while primary contributed both on the production side and within with a wide base of local theater sources include board member and theater venue organizations. Those employment partners across the city, foundation support, corporate sponsors, working in professional theater may end the program enlists young and diverse individual donors, and government. The up joining one or more of the various New Yorkers seeking careers in the proportion varies widely by organization, theatrical unions, or may interact with theater industry throughout the five but broad trends are seen across the union members. boroughs in a multi-year paid training sector, with larger and more established program that, upon completion, gives institutions able to draw more from There are numerous unions or them the professional skills to work in earned revenue, such as ticket sales and professional organizations that play a the industry and if desired, apply for venue rentals, and smaller, communi- role in the small venue theater industry. union membership. ty-based organizations and institutions Contracts for unionized venues and more reliant on contributed revenue, members vary depending on whether Theatrical unions make it possible for such as grants. a venue is operating as commercial hundreds of thousands to make their or non-profit, or is a hybrid of the living on professional stages in the Heavy reliance on both public and two as in the case of theaters within city, set safety standards, and ensure private contributions can be burden- institutions. These unions include Actors’ that those who work in the theater some to theater companies, particularly Equity Association (Equity, or A.E.A.) are treated fairly. Nevertheless, as in terms of program scheduling, as representing actors and stage managers; is the case with many aspects of funding sources fluctuate greatly American Federation of Musicians of the operating and/or working in small year-to-year, and are strongly tied to United States and Canada (AFM/AFofM) theaters with modest budgets, union more macro-scale economic cycles. representing professional instrumental compensation requirements may be Additionally, the processes of applying musicians, in New York by Local 802; challenging to achieve or limiting for for grants and maintaining strong The Dramatists’ Guild of America, some organizations. More information relationships with donors places a heavy known as the Guild, the D.G.A., and on common theatrical unions and resource pressure on small venues with the Dramatists Guild, the professional professional associations can be found in few paid employees. organization for playwrights, librettists, the Appendix on page 53. composers, and lyricists; International Performance-Based Revenue Alliance of Theatrical Stage Employees Revenues (I.A.T.S.E.) whose members work in the Ticket-based sales make up only a por- theater, film, and TV that represents Due to their size, small theaters are tion of revenue for non-profit theaters. backstage workers, electricians and uniquely positioned to generate revenue On average, performances themselves operators, among others, and affiliate in a number of different ways. Revenue make up only 41% of all revenue for non- United Scenic Artists (U.S.A.), the structures for theaters are contingent profit small theaters. labor union for designers, artists, and on theater type and operating model. craftspeople in the entertainment and Commercial for-profit theaters operate Broadly, this share has decreased in decorative arts industries; and The Stage such that venue owners generate recent years. There is a reluctance on Directors and Choreographers Society revenues primarily through renting the part of many institutions to raise (SDC), representing professional stage their venue to producers, who generate ticket prices, due to the fact that it directors and choreographers. their income through show revenues, would violate the equity mission of many Industry Support and Challenges 43

organizations and may deter audiences Contributed Revenues from attending performances. In recent years, larger theaters have transitioned Foundation Funding away from subscription-based ticketing, A number of high-profile foundations as audience preference has shifted away have long supported the local small from individual institutions and toward venue theater sector, such as the industry-wide exploration. However, Howard Gilman Foundation and the subscription models have seen success Andrew Mellon Foundation. Their finan- at theaters curating content for specific cial support has long been a key source demographic groups, such as for chil- of revenue for the sector. Established dren and young families. institutions at a mid-tier scale ($250,000 Spotlight: Theater Breaking to $2 million) have indicated that foun- Through Barriers (TBTB) Other Programming dation support has been critical in their TBTB is the only Off-Broadway theater survival and development. Multi-year organization dedicated to advancing A number of theaters offer program- grant funding structures are particularly artists and developing audiences of ming beyond traditional theater beneficial as they enable organizations people with disabilities and altering the performances. These are often a result to plan operations and programming misperceptions surrounding disability of community demand, such as educa- budgets across multiple years. However, by demonstrating that disability does tional programming, and the mission newer and less established theaters have not affect the quality or integrity of art of the organization itself to stimulate expressed more difficulty in tapping or artists. With the support of the NYC conversation around a certain topic. The into foundation funding. They are often Create-Disability Forward Fund from Apollo Theater has developed streaming required to prove their credibility and the Department of Cultural Affairs, content programs, The Tank organizes consistency as part of an extensive grant TBTB hosts the Playmakers Intensives, festivals, and The Theater Breaking application process. Given their limited a week long opportunity for groups in- cluding those with disabilities to meet, Through Barriers develops classes and organizational capacity and limited track write, rehearse, and present new plays. educational programming as a way to record, this requirement has put these Photo: The Artificial Jungle at Clurman expand their mission and provide addi- theaters at a disadvantage. Funding Theatre; Charles Ludlam (playwright); tional contributions to the New York City cannot be procured before a company Anthony Michael Lopez, Anita Hol- dramatic arts and performing industry. is established, yet funding is needed to lander, and David Harrell (pictured) scale up. However, a number of small These initiatives may generate revenue, theaters have indicated that industry but this is typically modest and often organizations, such as the Alliance for cross-subsidized by other revenue Resident Theaters New York (A.R.T./New sources. Mission-based education pro- York Theatres), have been instrumental grams present unique opportunities to in providing the necessary support to foster relationships with local communi- pursue foundation funding. Multi-year grant ties, as well as provide City government funding structures are an opportunity to foster partnerships It has also been suggested by various particularly beneficial as between production companies, theaters that recent rounds of foun- they enable organizations performance spaces, and City-backed dation funding have become more to plan operations and educational programs. However, alter- competitive. Funders are increasingly programming budgets native uses of space require additional prioritizing a multitude of social benefit across multiple years. programming that some small venue missions beyond theatrical performance theaters do not have the resources to alone in order for small theaters to be support and organize. competitive for substantive funding.

Government Funding Many theaters in the sector receive regular support from New York City Department of Cultural Affairs (DCLA) Industry Support and Challenges 44

and New York State Council on the Arts provides, the City’s Materials for the (NYSCA), as well as Federal funding Arts Program distributes a total of $10 from National Endowment for the Arts million in supplies to arts groups annu- (NEA). The consistency of the funding ally. Though funding and awards may is useful support of the budget of many provide essential support and help draw institutions, organizations and theater recognition of merit to those working companies working here, particularly at in this industry, the industry is aware it the grassroots level. In FY19 alone, DCLA must look beyond government funding provided $45.6 million in expense and to adequately meet its diverse needs and operating support for 383 organizations to sustain growth. working in theater and/or multidisci- Spotlight: Pregones / PRTT plinary arts. This represents close to 23% A long history of relationships exists Pregones/PRTT is a multigenerational of DCLA’s FY19 overall expense budget. between local theaters and companies performing ensemble, multidisci- As the largest arts funder after the and City and State elected officials, arts plinary arts presenter, and steward of federal government, DCLA continues to councils, and community organizations bilingual arts within both their Bronx make a major commitment to support in their districts. The five Borough and Manhattan theaters. They have the small theater industry. Presidents, Members of the State a rich history of bringing bilingual Assembly, and City Council Members Puerto Rican/Latinx theater to New Since 2000, in addition to operational systematically award funds to constitu- York City and communities that and expense support, DCLA has pro- ents creating theater and arts program- historically had scarce access to theater. vided funding for some 50 theater-re- ming in the neighborhoods they oversee. They have helped develop hundreds of diverse-heritage and underrepresented lated construction projects throughout This is a way individual City government artists through their residency pro- the city. More than half of these theaters officials can support the work being grams. They use a variety of strategies and spaces requested and received created in their local theaters and to reach their audience from conduct- funding in the $10 million range each. cultural centers and invest in local artists ing their own community outreach, In addition, more than 55 small venue and companies. to providing free programming for theaters and organizations received seniors and schools, as well as utilizing funding for equipment. Moreover, Donors and Individual Giving online platforms to reach a wider array NYSCA has also contributed to capital While donor contributions have long of visitors. Photo: Fly-Babies; Rosalba improvements of New York City theaters been a source of revenue for theaters, Rolón (director); Jesús Martínez (pic- and institutions. In addition to the in the face of flattening revenues from tured); Erika Rojas (photographer) operating and capital funding that DCLA ticket sales in recent years, a number

Figure 7.2: Selected Foundation Funding

Foundation Examples of Recent Funding 2019 –2020 Recipients

Name: New York Theater Program 36 NYC-based theatrical organizations Andrew W. Mellon Foundation Grants: $30,000 –$186,000 / 3 years with budgets of $50,000 –$3m annually

180 NYC-based performing arts organi- Name: General Funding zations, presenters, and service organiza- Howard Gilman Foundation Grants: $10,000 –$250,000 / year tions with budgets that exceed $250,000 annually Industry Support and Challenges 45

of small theaters have become more media outlets that historically reviewed goal for a number of theaters, which aggressive in pursuing this source, which small venue productions on a regular is to increase inclusivity by cultivating takes time to cultivate and develop. For basis, many productions face challenges audiences who have historically been some theaters, one well-connected or when advertising their shows. Some underrepresented in the theater, well-funded board member can have a remaining outlets have criteria in review- including people of color, people with significant impact on the ability to raise ing performances, including length of disabilities, and younger audiences. needed funds. Additionally, there are run and geography, which could place a Theaters are looking to be more rooted potential limits as ‘giving fatigue’ can burden on a sector that, as opposed to in a specific place, deeply embedded in take hold, with the sheer number of arts Broadway, is geared toward local resi- the local framework and engaged with (and non-arts) organizations locally and dents rather than tourists. As a result, local communities. nationally seeking funding. Corporate newer and less-known theaters bear a donors, relatively limited in this sector, considerable burden, as the cultivation In conclusion, the small venue theater tend to channel their funding to middle of an audience base relies heavily on industry is seeing challenges and oppor- or larger tier organizations, and focus on word of mouth and social media, as well tunities related to space and equipment, those with a mission-driven or geo- as critical review. workforce, revenue generation, fund- graphic compatibility, such as Chocolate raising, and audience development. Factory Theater receiving support from In order to address this, theaters are Through it all, small theaters' cultural Long Island City neighbor JetBlue. adopting a wide variety of strategies and and economic impacts are increasingly tools. These include using innovative important to the larger dramatic and Audience Development marketing efforts, leveraging social performing arts industry of New York media and online platforms to target City. Theater arts practitioners and It is widely acknowledged across the younger demographics that may not policymakers working in the field are small venue theater industry that audi- traditionally find their way to the theater, well-positioned to continue to support ence retention and attraction is a major initiating strategic partnerships across a thriving small venue theater industry challenge. The increased density of theaters within the sector, such as that advances cultural innovation, theater performance options throughout co-producing, or neighborhood-oriented reinforces the depth of talent in the the city on a given night, combined partnerships like in the historic South sector, contributes substantially to the with the proliferation of at-home Village, below Washington Square Park, city’s economy, and provides benefits entertainment services, has made it and utilizing the existing and growing to diverse audiences and communities even more challenging for productions number of listing platforms. When across the city. ● to gain visibility and attract audiences. successful, these efforts not only boost Furthermore, with the absence of print ticket sales but also achieve a broader

Figure 7.3: NYC Department of Cultural Affairs (DCLA) Funding and Support

383 50+ 55 284 theater/performing construction theater/performing active arts organizations projects arts spaces theaters

383 theater/performing 50+ construction 55 theater/performing 284 active theaters arts organizations projects funded by DCLA arts spaces provided utilizing DCLA provided expense for small venue theaters funding for equipment Materials for the support by DCLA in 2019 citywide since 2000 by DCLA since 2000 Arts Program Industry Support and Challenges 46 RECOMMENDATIONS

The small venue theater industry is a critical element of the city’s artistic community and is supported by an unparalleled community of passionate creatives and theater goers. That said, the industry is in need of appreciable support and partnerships. Local government has a tremendous opportunity to support the industry through the following approaches that are based on the analysis presented in this study:

Geography: Given New York’s evolving delegate a direct contact within City real estate dynamics and a renewed government that can support issues The City can take steps to citywide focus on cultural equity surrounding theater owners and oper- and innovation centers, opportunities ators when they face regulatory and/or help sustain the industry for City support could target boroughs operational and maintenance issues. and ensure its prolonged outside Manhattan, helping to facilitate growth and survival, partnerships with grassroots organiza- Employment and Labor: The City further solidifying New tions facing unique challenges should build on existing workforce York City as the global given their location and their often-ex- development training partnerships that capital of profound and panded role as a community-focused provide pipelines to employment and/ significant performing arts. cultural hub. or union membership for young New Yorkers and find ways to support smaller Marketing: The City could explore theater companies with their labor supporting promotional and awareness needs, offering a fair wage and on-the- campaigns that spotlight small job paid training during productions, venue theaters thereby helping to as the skills needed and costs have cultivate audiences. increased considerably in recent years.

Industry Partnerships: The City could The aforementioned initiatives are just convene sessions to introduce poten- a few of many mechanisms that could tial partners and mentors who might have a significant impact on the small demonstrate methods of mining venue theater industry. The demand for critical resources for smaller, newer smaller theater venues and the theaters, who often have limited orga- programming within them is higher nizational capacity to dedicate to the than ever. The City can take steps to fundraising process. help sustain the industry and ensure its prolonged growth and survival, further Theater Venues: The City might coor- solidifying New York City as the global dinate as necessary across agencies capital of profound and significant (MOME, DCP, EDC, DCLA, DOT) to performing arts. ● ndustryI Support and C hallenges 47 CONCLUSIONS TO THE STUDY

New York City’s small venue theater industry is as integral to the city’s artistic character as ever. It is a valuable economic asset to a thriving community of creatives who call this city home, and it continues to set the global standard for cutting edge performance—inspiring productions that transcend geography and artistic medium. Despite its importance and growth in recent years, many theaters are faced with significant challenges as they attempt to push the boundaries of the dramatic arts.

Theaters are constantly faced with the outlets reach expanded demographics harsh reality of rising real estate and and help shed light on a vibrant theater "The inspiring level of operating costs, making it increasingly industry beyond Broadway. difficult to create affordable environ- innovation our artists ments for productions and rehearsals. Despite these challenges, the industry display is what keeps us Additionally, rising costs constrict continues to generate moving and inno- going within this sector." already small budgets that inhibit hiring vative works of theater. With the right Susan Bernfield, New Georges much needed staff. Small theaters are support, leadership, and partnerships also faced with the decline of traditional within the sector itself, the small venue advertising mediums and have often theater industry is poised to become an resorted to transitioning to new forms even greater attraction for local resi- of digital marketing. While these new dents and cultural tourists alike. ● tools can be effective, traditional media

Roundabout Theatre Company –Too Heavy for Your Pocket; Eboni Flowers, Nneka Okafor (pictured); Jeremy Daniel (photographer) Appendix 48 APPENDIX

Methodology for the Economic Analysis

In order to holistically appraise the are those that have a primary focus on Economic Data Collection impact of the small venue theater theatrical production. The database industry, a bespoke methodology excludes dance companies, stand-up Non-profit Theaters was drawn together, which sought to comedy, magic shows, bands, and Generally, a non-profit theater that is encapsulate the industry’s complexity, opera companies. With regard to recognized by the IRS as a tax-exempt while also acknowledging its inherent performance venues, the database organization under Internal Revenue interconnectedness with other artistic includes independent theaters, with Code section 501(c)(3) is required to disciplines. This complexity is the result one or more stages, as well as theaters file an annual tax return on IRS Form of an industry that is largely composed which are part of larger organizations, 990. A Form 990 includes information of very small organizations operating including universities, community col- about revenues, expenses, number and below the threshold requiring official leges, cultural centers, drama schools salaries of employees, board members, fiscal status, thereby operating in an and churches. While the vast majority and other financial data. informal or semi-informal manner. of performance venues are formal Further, the industry is strongly entan- theater establishments, a small number The study includes financial information gled with other artistic disciplines of them, those presenting immersive about individual small theaters that including dance, stand-up comedy, shows are more informal in nature filed Form 990s for tax year 2017 from circus, opera, and music, which adds an (without a formal stage). Guidestar.com, a website that aggre- additional layer of intricacy. gates information about non-profits. Given the unique nature of the industry, (Because theaters' tax years vary This economic study gathered a using a standardized database such as according to an organization’s account- database of small venue theater orga- IMPLAN (which uses NAICS codes) for ing, the information in Form 990 tax nizations, assembled financial data estimating the size (in terms of direct returns for tax year 2017 covers roughly, associated with these specific orga- economic output and jobs) was not fea- but not exactly, the same time periods.) nizations through tax forms and other sible, as the most relevant industry in The study used information in the Form industry databases, and used IMPLAN the IMPLAN database was ‘Performing 990s for tax year 2017 to discern the (the industry standard economic anal- Arts Companies,’ which includes revenue and expenses breakdown, ysis tool) to calculate the indirect and significantly more organizations than which subsequently helped to calculate induced impacts. The study assumes the ones relevant for this study (such the economic impact of the industry that revenues declared in tax forms for as Broadway, Dance, Music, Comedy, and analyze revenue and expenses non-profit organizations and ticket sales etc.). Hence, the database of organi- in detail. For about half of the small revenues for commercial organizations zations for this study was built from theaters that filed Form 990s for 2017, form the basis of the industry’s annual scratch using a variety of web sources, the study includes information from direct economic impact. which catalogue and promote theaters Form 990s for the tax years 2014, 2015, and performance venues, including and 2016. The study used this informa- Industry Sizing – Database Theater Mania, Broadway World, tion to estimate growth in the industry’s Playbill, Show Score, and Time Out, as economic output, jobs, and wages. The study focuses on two organization well as through various other industry types: theaters, including those within databases including the Alliance for Some non-profit small theaters are not larger organizations, and production Resident Theaters New York, Off- required to file Form 990s even though companies. In order to remain within Broadway League, Off-Broadway they have obtained 501(c)(3) recognition the study’s scope, the production Alliance, and Indie Space’s database of because they normally have annual companies included in the database production companies. gross receipts of less than $50,000. Appendix 49

Others have not applied for 501(c) the theater-specific programming was approach for non-profit theaters to (3) recognition from the IRS; some of disaggregated. This was done firstly by account for the fact that revenue these theaters operate under a fiscal contacting the venues independently. generated by these non-profits are sponsor, such as Fractured Atlas, in Certain non-profit organizations circulated within the economy order to obtain some benefits provided contacted only made available either (as wages and other intermediary to tax-exempt organizations (e.g., grant their annual revenues or their annual expenses) as opposed to leaving the eligibility). Although there may be expenses. In this case, it was assumed economy in the form of taxes and several reasons why a non-profit organi- that revenues equal expenses and income for shareholders. zation does not file a Form 990, for the vice-versa. Where specific information purposes of this study, the analysis is was not made available, estimates were The indirect and induced impact based on an assumption that non-filing made based on available 2017 analysis breakdown by each impacted small theaters normally have annual programming information. category for economic output and jobs gross receipts of less than $50,000. are included at the end of this section. Indirect and Induced Impact Commercial Theaters Limitations With regard to the commercially-run To model indirect and induced impacts, organizations, show-specific data for one needs to estimate the impact of The revenues of a large number of the year 2017 was collected through business-to-business activity between smaller, non-profit production compa- the Off-Broadway League industry the small venue theater industry and nies that normally have annual gross platform. This data was allocated to the organizations outside of it, along with receipts under $50,000 or have a fiscal venues in the organization database and the impact of spending by employees sponsor (such as Fractured Atlas) were data for the outstanding 2017 shows of these affected industries. The not included in the estimated economic were estimated. This was calculated most common, and widely accepted output, since these organizations do not using average ticket price (available methodology, to do this is using file Form 990s. through TDF, GoldStar, Commercial IMPLAN (a commercial platform that Observer, Wall Street Journal, and uses ‘input-output’ models to assess Theaters within higher education insti- Broadway World), number of shows in cross-industry effects by using his- tutions, such as the Schimmel Center 2017, venue capacity, and an estimated torical data to predict how different at Pace University and the NYU Skirball occupancy of 65% (based on known sectors relate to one another, and how Center for the Performing Arts, are not 2017 Off-Broadway shows). For exclu- output from one sector serves as input included in the study because of the sively presenting theaters, rent was to another). barriers to obtaining accurate informa- calculated, in lieu of ticket sales, based tion specific to theatrical performance. on publicly available space rental rates, In a typical IMPLAN model (that ana- and an assumption of 50% occupancy lyzes industries made up of for-profit Regarding commercial theaters, the throughout the course of a year. companies), a certain amount of the assumption that ticket sales are equiva- economic output is assumed to go to lent to total economic output, presumes Data Analysis shareholders as profits and to different that the theaters act as production levels of government as taxes (and companies. As a result, the estimated As mentioned earlier, this study hence is taken out of circulation in the economic output does not account for assumes that the annual economic economy). However, since the small rental revenues of presenting theaters, output for non-profit organizations venue theater industry is largely made or for concessions. ● is composed by an organization’s up of non-profit organizations, such reported revenues in IRS-990 forms, assumptions didn’t hold true since while for commercial organizations it non-profits do not distribute profits to is composed of ticket sales or rental shareholders. Hence the analysis had revenues. Knowing that certain per- to be split in two parts—one that only formance venues, particularly those used the estimated economic output belonging to larger organizations (e.g., from commercial theaters to calculate BAM), offered a wider variety of artistic the indirect and induced impact, and programming, beyond theater alone, the other that used a more nuanced Appendix 50

Indirect Economic Impact by Impacted Category - Output Indirect Economic Impact by Impacted Category - Jobs

1 Independent artists, writers, and performers $132,721,823 1 Independent artists, writers, and performers 2,311

2 Real estate $78,432,041 2 Real estate 259

Promoters of performing arts and sports and agents Promoters of performing arts and sports and agents for 3 $35,223,140 3 185 for public figures public figures

4 Management consulting services $23,823,935 4 Management consulting services 167

5 Advertising, public relations, and related services $17,457,370 5 Advertising, public relations, and related services 132

6 Employment services $16,749,291 6 Employment services 129

7 Insurance carriers $14,703,335 7 Insurance carriers 115

8 Management of companies and enterprises $12,788,848 8 Management of companies and enterprises 75

Accounting, tax preparation, bookkeeping, and Accounting, tax preparation, bookkeeping, and payroll 9 $12,164,106 9 56 payroll services services

Internet publishing and broadcasting and web search Internet publishing and broadcasting and web search 10 $9,141,053 10 41 portals portals

11 Legal services $7,211,962 11 Legal services 39

12 Radio and television broadcasting $7,181,918 12 Radio and television broadcasting 35

Non-depository credit intermediation and related Nondepository credit intermediation and related 13 $6,509,434 13 33 activities activities

14 Other educational services $6,065,532 14 Other educational services 31

Insurance agencies, brokerages, and related 15 $6,055,823 15 Insurance agencies, brokerages, and related activities 27 activities

16 Office administrative services $5,975,867 16 Office administrative services 25

17 Other personal services $5,974,780 17 Other personal services 24

18 Wholesale trade $5,458,076 18 Wholesale trade 21

19 Cable and other subscription programming $5,272,953 19 Cable and other subscription programming 20

20 Electric power transmission and distribution $5,153,262 20 Electric power transmission and distribution 20

Monetary authorities and depository credit Monetary authorities and depository credit 21 $4,542,295 21 20 intermediation intermediation

22 Wired telecommunications carriers $4,388,740 22 Wired telecommunications carriers 20

Environmental and other technical consulting 23 $3,938,908 23 Environmental and other technical consulting services 19 services

24 Printing $3,776,737 24 Printing 18

25 Couriers and messengers $3,730,603 25 Couriers and messengers 17

26 Periodical publishers $3,537,443 26 Periodical publishers 17

Wireless telecommunications carriers (except 27 $3,398,706 27 Wireless telecommunications carriers (except satellite) 16 satellite) Scenic and sightseeing transportation and support Scenic and sightseeing transportation and support 28 15 28 $3,276,073 activities for transportation activities for transportation Commercial and industrial machinery and equipment Commercial and industrial machinery and equipment 29 14 29 $3,104,649 rental and leasing rental and leasing

30 Architectural, engineering, and related services 14 30 Architectural, engineering, and related services $2,665,683

31 Others 281 31 Others $62,230,702 Total 4,195 Total $512,655,088 Appendix 51

Induced Economic Impact by Impacted Category - Output Induced Economic Impact by Impacted Category - Jobs

1 Owner-occupied dwellings $25,946,773 1 Hospitals 65

2 Real estate $14,698,380 2 Full-service restaurants 61

3 Hospitals $12,717,063 3 Real estate 48

4 Wholesale trade $8,282,501 4 Individual and family services 47

5 Insurance carriers $7,374,169 5 Limited-service restaurants 47

Monetary authorities and depository credit 6 $6,281,091 6 Home health care services 45 intermediation 7 Offices of physicians 41 7 Offices of physicians $5,896,008

8 Personal care services 39 8 Limited-service restaurants $5,652,681

9 Retail - Food and beverage stores 37 9 Other financial investment activities $5,119,177

10 Other personal services 35 Junior colleges, colleges, universities, and professional 10 $4,580,447 schools Junior colleges, colleges, universities, and professional 11 34 schools 11 Full-service restaurants $4,302,544 12 All other food and drinking places 32 12 Retail - Nonstore retailers $3,981,877 13 Wholesale trade 30 13 Electric power transmission and distribution $3,273,290 14 Child day care services 26

14 Legal services $3,159,388 15 Other educational services 24

15 Wired telecommunications carriers $3,119,659 16 Offices of other health practitioners 23

16 Funds, trusts, and other financial vehicles $3,111,419 17 Retail - General merchandise stores 21

17 Retail - Food and beverage stores $2,901,395 18 Religious organizations 20

18 Other local government enterprises $2,731,335 19 Retail - Nonstore retailers 20

19 Wireless telecommunications carriers (except satellite) $2,550,347 20 Private households 18

20 Air transportation $2,502,473 21 Elementary and secondary schools 17 Non-depository credit intermediation and related 21 $2,269,532 activities 22 Nursing and community care facilities 17

22 Management of companies and enterprises $2,098,490 23 Retail - Clothing and clothing accessories stores 17

23 Retail - Clothing and clothing accessories stores $2,076,648 24 Services to buildings 16

24 Offices of other health practitioners $2,015,941 25 Retail - Health and personal care stores 15

25 Retail - General merchandise stores $1,956,779 26 Transit and ground passenger transportation 14

26 Individual and family services $1,920,217 27 Offices of dentists 14

Securities and commodity contracts intermediation 28 Employment services 13 27 $1,874,395 and brokerage 29 Other financial investment activities 13 28 Home health care services $1,855,861 30 Retail - Miscellaneous store retailers 12 29 Offices of dentists $1,827,854 31 Others 335 30 All other food and drinking places $1,804,316 Total 1,197 31 Others $59,805,903

Total $207,687,952 Appendix 52

Defining the Sector: Theater Roles and Responsibilities

The small venue theater adherence to operational by-laws, The director is responsible for orches- industry is host to a diverse fundraising activities and executive staff trating the creation of a production, array of skillsets that are widely leadership searches. bringing artistic vision together and ensuring the quality of the final produc- transferable throughout the The marketing and communications tion. This includes directing the cast performing arts. Performance, team is responsible for promoting and collaborating with assistant direc- production, and compositional ticket sales and subscriptions to the tors, designers, choreographers, and talent often work across a performance, theater company, and/or music, fight, and intimacy directors. multitude of mediums on theater. a full-time, part-time, or The producer is responsible for finding freelance basis, fostering The development team is responsible the funding to finance a show and man- for growing and diversifying revenue aging the financial risks. They source fluidity throughout the for the theater and may include grant the performers and creative team, and industry that allows for critical writers and producers. come in independently to put on a show cross-pollination of ideas and if the theater is not producing its own. skillsets. The finance and administration team is responsible for payroll and accounting A number of designers, depending Theater Staff Roles of revenue and expense streams, and on the scale of the performance, may forecasting and managing the cost of work alongside the director on specific productions and overhead. audio-visual pieces of the production. These positions outline typical roles They are key creatives who work with within a theater or theater company The education and outreach staff is re- production and stage managers. Set who may or may not be involved on sponsible for educational programming, designers also work with carpenters the production-side. community outreach, and interfacing and electricians as costume designers between schools, communities and work with wardrobe. Lightening design- The executive director oversees the theater staff, often offering placements ers create the overall atmosphere of a planning and management of the and work opportunities. production and sound designers create theater including staff, finance, and sound effects and ensure good sound programming. Creative Production Talent quality throughout the production.

The managing director is in charge These positions develop the produc- The cast includes actors, dancers, and of the organizational aspects of pro- tion from conception to performance. other performers involved in bringing duction and ensures its artistic and the production to life. financial success. Additionally, they The playwright is the storyteller who may also direct individual productions. writes or adapts the script. Playwrights Performance Production Talent Depending on theater or company size, can conceive of their own performanc- this role may be combined with that of es, or be commissioned by theaters. In These positions support the produc- executive director. musicals, the book writer creates dialog tion during performance. and storyline in accompaniment with The board of directors includes advi- musical numbers written by a composer The stage manager is the senior sors, sponsors, and/or supporters, often and lyricist. member of the team responsible for from various industries, who oversee the organization of backstage crews Appendix 53

Common Theatrical Unions and Professional Associations

and cast during performances and Actors’ Equity Association (Equity, or The AFM is affiliated with AFL–CIO, rehearsals. They are responsible for A.E.A.) is the union for stage actors and the largest federation of Unions in the the health and safety of performers stage managers. The union offers over United States; and the Canadian Labour and crew, and making sure production 30 different contracts, which include Congress, the federation of unions has completed their tasks in all phases. those for Broadway, Off-Broadway, in Canada.4 In larger productions a deputy and/ national touring companies, and many or assistant stage manager assist with summer and regional theaters, as well The Dramatists’ Guild of America, props, costumes, and can be dressers as guest artists at universities and other known as the Guild, the D.G.A., and the or mechanics. theaters. Equity establishes fair employ- Dramatists’ Guild, is the professional ment requirements for theater workers organization for playwrights, librettists, The production manager’s role is that are negotiated by representative composers, and lyricists. It offers similar to that of the stage manager, but organizations. They maintain employ- three levels of membership, including more focuses on the technical require- ment requirements for theaters with Member, Associate, and Student, that ments of a production, co-ordinating all greater than 100 seats and less than provide standardized contracts for the production's technical and staging 500 seats, which are set through nego- Broadway, Off-Broadway, and League of requirements. They connect the pro- tiations with the bargaining partner for Resident Theatre (L.O.R.T.). ducers with the creative team and are the sector, the Off-Broadway League, ultimately responsible for fiscal matters or the League of Resident Theatres. International Alliance of Theatrical and reporting to the producer. Theaters with capacities below 100 Stage Employees (I.A.T.S.E.) has about seats are held to baseline wage levels 122,000 members working in the The technical team manages and and insurance requirements, workplace theater, film, and TV. They represent operates all technical aspects of a safety rules, and health pensions. backstage workers, electricians and show covering sound, lighting, special Actors' Equity Association and League operators, among others. I.A.T.S.E effects, traps and flys, and AV, including of Resident Theatres wage scales apply affiliate, United Scenic Artists (U.S.A.), the safe and effective use of equipment throughout the country as well as to is the labor union for designers, artists, such as lights, projectors, speakers and members throughout NYC, and they are and craftspeople in the entertainment microphones. staggered according to the nature of a and decorative arts industries. given production. The backstage staff includes a ward- The Stage Directors and robe supervisor and make-up artists American Federation of Musicians of Choreographers Society (SDC) is helping actors prepare. the United States and Canada (AFM/ the newest theatrical union and rep- AFofM) (Local 802 in New York City) resents professional stage directors The orchestra or band provides the is the largest organization in the world and choreographers. music for musical theater, dance, and to represent professional musicians. sometimes drama and in larger produc- They negotiate fair agreements, protect tions are led by a music director an/or ownership of recorded music, secure conductor. benefits such as health care and pen- sion, and lobby legislators. In the US, it Front of house staff include a house is the American Federation of Musicians manager, box office staff, ushers, and (AFM)—and in Canada, the Canadian bar staff. Federation of Musicians/Fédération canadienne des musiciens (CFM/FCM).

Appendix 54

Endnotes

1. https://wp.zillowstatic.com/street- 9. https://www.statista. easy/2/2017-StreetEasy-Rent-Afford- com/statistics/183815/ ability-Report-467583.pdf gdp-of-the-new-york-metro-area/

2. The count of venues in NYC is based 10. Discrepancies in the availability of on a combination of the most reliable data between commercial and non- sources available and proprietary profit theaters has resulted in differing research. The total number of theatrical levels of detail within the economic activities is likely higher than those analysis for each type of theater. More quantified. data is available on non-profit theaters and thus, their corresponding analysis is 3. http://www.nyclgbtsites.org/site/ more granular. caffe-cino/ 11. As established by the Association of 4. Output accounts for revenues that Resident Theatres. are predominantly from ticket sales, space rentals, private fundraising, and public grants. This analysis is based on the 282 theater organizations that normally have $50,000 or more in gross receipts and are required to file an IRS Form 990 or 990-EZ.

5. Sum of the number of employees for which a W-2 form was filled out across all organizations in 2017. This number does not account for double counting, i.e. Many actors would receive more than one W-2 form throughout the year from more than one organization.

6. Wage-earner numbers are based on organizations reporting employment.

7. Job growth for the small venue theater industry was established using available data from 126 theater organizations.

8. https://www.osc.state.ny.us/osdc/ rpt1-2020.pdf Appendix 55

References

Arts Alliance Illinois, and Americans for Mayor's Office of Media and Producing Model Can Lead to the the Arts. “Arts & Economic Prosperity Entertainment. “Theater Workforce Rejuvenation of the Theater In the 21st IV: The Economic Impact of Nonprofit Survey Summary.” Mayor's Office of Century.” Columbia University, 2013. Arts and Culture Organizations and Media and Entertainment, 2015. Their Audiences in the City of Chicago.” Theater Communications Group. Americans for the Arts, 2012. Meiksins, Rob. “Nonprofits On and Off “Research & Resources.” Research Broadway: The Search for Enterprise & Resources, www.tcg.org/Default. Blankenship, Mark. “TDF Stages: Is This Models.” Non Profit News | Nonprofit aspx?TabID=1584. a Secret to Off-Off-Broadway Survival?” Quarterly, 18 Apr. 2018, nonprof- Theater Development Fund, 2014, www. itquarterly.org/nonprofits-off-broad- Voss, Zannie Giraud, et al. “Theater tdf.org/stages/article/1014/is-this-a-se- way-search-enterprise-models/. Facts 2017.” Theater Communications cret-to-off-off-broadway-survival. Group, 2018. National Endowment for the Arts. The Broadway League. “Broadway's All America’s a Stage: Growth and Economic Contribution to New York City Challenges in Nonprofit Theater. 2016-2017.” The Broadway League, 2018. National Endowment for the Arts, 2008, www.arts.gov/sites/default/files/ The Broadway League. “The TheaterBrochure12-08.pdf. Demographics of the Broadway Audience 2017-2018.” The Broadway Seymour, Lee. “Off-Broadway Theater League, 2018. Isn't Dying - It's Evolving. And It's More Profitable Than Ever.” Forbes, Forbes Chicago Loops Alliance. “Arts In The Magazine, 18 Jan. 2018, www.forbes. Loop Economic Impact Study.” Chicago com/sites/leeseymour/2018/01/17/off- Loop Alliance, 2018. broadway-theater-isnt-dying-its-evolv- ing-and-its-more-profitable-than-ever. “Creative New York.” Center for an Urban Future, 2015. Stanton, Robert. “Keeping the Lights On Off-Broadway: How the City Must Step Dunning, Anne, and Nello McDaniel. Up.” Gotham Gazette, 9 Apr. 2019, www. “Emergent Phenomena: A Report on gothamgazette.com/opinion/8426-keep- Theaters Leading Change New York.” ing-the-lights-on-off-broadway-how-the- ARTS Action Issues, 2011. city-should-step-up.

Dunning, Anne, and Nello McDaniel. Steketee, Martha Wade, and Judith “The Emerging Narratives in the Arts: Binus. “Women Count: Women Hired A Special Report From ARTS Action Off-Broadway 2010-2017.” League of Research.” ARTS Action Research, 2012. Professional Theater Women, 2018.

Louloudes, Virginia. “Theaters for Sullivan, Katharine Beckett. “The (Re) the 21st Century.” The Rockefeller Birth of Off-Broadway: How the Slow Foundation Cultural Innovation Fund. Death of America's Greatest Alternative Appendix 56

Contributors

Mayor’s Office of Media and BuroHappold Cities Consulting Data Source Contributors Entertainment Adam Friedberg Randi Berry, Indie Space Carla Hoke-Miller, Director of Theater Alice Shay Peter Breger, Off-Broadway Alliance Programs and Partnerships Shayan Lotfi Ginny Louloudes, Executive Director, Shira Gans, Senior Executive Director, Shivam Jumani Alliance of Resident Theatres New York Policy + Programs Gabe Warshaw (A.R.T./New York Theatres) Isabelle Dupraz Maricha Miles, Off-Broadway League Jeffrey Shubart, The Lucille Lortel 3x3 Design Theatre Foundation Megan Marini Kate Fisher Jakob Winkler

Roundabout Theatre Company – Theatrical Workforce Development Program; Christian Soto, Leslie Recinos, and Danasia Miller (pictured); Lorenzo Ciniglio (photographer) Appendix 57

Interviewees, Roundtable Attendees, and Strategic Advisors

Noel Allain, Bushwick Starr Anne Hamburger, En Garde Arts David Mendizábal, The Movement Victoria Bailey, Theatre Development Deadria Harrington, The Movement Theatre Company Fund (TDF) Theatre Company Tyler Mercer, Live Source Theatre Caitlin Baird, New York Theatre David Herskovits, Target Margin Group Workshop (NYTW) Theater Nicole Merritt, National Sawdust Susan Bernfield, New Georges Bill Hofstetter, Hofstetter+Partners Annie Middleton, Rattlestick Adam Bernstein, The New Group Emily Howard, Howard Gilman Playwrights Theater Randi Berry, Indie Space and Indie Foundation Maricha Miles, Off-Broadway League Theater Fund David Henry Hwang, Independent Beth Morrison, Beth Morrison Projects Montana Levi Blanco, Montana Levi Playwright David Pincus, League of Independent Blanco Costume Design Lauren Jost, Spellbound Theatre Theater Renee Blinkwolt, Ars Nova Becky Leifman, CO/LAB Theater Group Catherine Porter, Scherman Foundation Peter Breger, Off Broadway Alliance Eric Lockley, The Movement Theatre Diane Ragsdale, Program Director Terry Byrne, President of The Company and Assistant Professor for the Master Off-Broadway League and General Todd London, Head of the MFA of Arts in Arts Management and Manager of the Westside Theatre Playwriting Program at the New School, Entrepreneurship at the New School Steve Cosson, The Civilians School of Drama and the Director of Taylor Reynolds, The Movement Doreen Cugno, St. George Theatre Theatre Relations for the Dramatists Theatre Company Jennifer DiBella, Roundabout Theatre Guild of America Brian Rogers, Chocolate Factory Company Brandon Lorenz, Actors' Equity Theater Alec Duffy, JACK Association Rosalba Rolón, Pregones/PRTT John Eisner, Artistic Director, The Lark Ginny Louloudes, Executive Director, Mark Rossier, New York Foundation for Susan Feder, Mellon Foundation Alliance of Resident Theatres New York the Arts Cynthia Flowers, Soho Rep. (A.R.T./New York Theatres) Diego Segalini, Lower Manhattan Natalie Gershtein, Pipeline Theater Leslie Marcus, Playwrights Horizons Cultural Council (LMCC) Company Kristin Marting, HERE Arts Center Sarah Stern, Vineyard Theatre Ryan Gilliam, FABnyc Kerry McCarthy, The New York Nicholas Viselli, Theater Breaking Kirk Gostkowki, Chain Theatre Community Trust Through Barriers (TBTB) Laura Greer, Apollo Theater Jonathan McCrory, National Black Rosalind Grush, The Tank Theatre Bushwick Starr – Annual Maria Hernandez Park Event

Fitting for the world premier of GIRLS by Branden Jacobs-Jenkins at Yale Repertory Theatre; Mary Zihal (draper), Montana Levi Blanco (costume designer) En Garde Arts –Red Hills; Asiimwe Deborah Gkashugi, Sean Christopher Lewis (playwrights); Katie Pearl (director)