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2010-2011 ANNUAL REPORT Table of Contents

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2010-2011 ANNUAL REPORT Table of Contents 2010-2011 ANNUAL REPORT Table of ConTenTs letter from the CEO 1 Cincinnati ballet Dancers 2 Marketing Report 3 Development Report 6 education & outreach Report 8 Cincinnati ballet otto M. budig academy Report 10 finance Report 12 Cincinnati ballet 2010-2011 board of Trustees 14 Donor Honor Roll 14 Cincinnati ballet staff 16 DEAR CINCINNATI BALLET LOVERS, Cincinnati Ballet concludes another fiscally and artistically successful year in its Our Strategic Plan focuses on the creation of world 2010—2011 Season. We have established a consistent and successful structure premieres. This is essential so Cincinnati Ballet for our Season offerings – a balance of world premieres, classic favorites, and can develop a style that uniquely defines us and proven successes. Beginning with The Kaplan New Works Series in September, makes the company a worthy organization for we presented local choreographers and composers, working together to create touring. Touring would add more dancer weeks of brand new dance and composition. The result was a breadth of ideas from employment and lift our dancers to greater heights. the wonderful, haunting work of Peter Adams with Heather Britt to Ka-Ron We attained that goal with the world premiere of The Brown Lehman’s fantastical fairytale with impressionistic music from Michael Firebird, brought to life by the dynamic artistic team, Chertok. Internationally celebrated Jessica Lang offered For Always, Forever in Adam Hougland, Marion Williams, and Trad A Burns. honor of the 25th wedding anniversary of Julie and Steve Shifman with music To prove we also had our classical chops, we paired by Shostakovich. There was Sergey Sergiev’s contemporary and mechanized The Firebird with one of Balanchine’s most technically rendition of Art of Noise, and a masked Janessa Touchet, danced to the difficult neo-classical ballets,Theme and Variations – rhythmical music of Daniel Joseph Dorff. We also got a sneak preview of the sexy a varied and brilliant evening of dance! and joyful work for our last series of the season by Missy Lay Zimmer and Andrew Hubbard. The end of the season experimental success was our collaboration with Over the Rhine, Infamous The Sleeping Beauty, choreographed after Marius Petipa by Associate Artistic Love Songs. Three very different world premieres Director Devon Carney was the perfect fairytale hit. Classic tutus, outrageous – by three very different types of choreographers – characters, lavish costumes, with music by Tchaikovsky, played by our Cincinnati breathed life onto the stage lifted by the live sounds Symphony Orchestra (thanks to the tremendous support of the Louise Dieterle of Karin Bergquist’s voice and the music that has Nippert Musical Arts Fund) – a triumph! The Sleeping Beauty brought Cincinnati made Over the Rhine an internationally beloved Ballet back to Cincinnati’s beloved Music Hall for the first time in five years. band. Devon Carney, Donald Byrd and Missy Lay Zimmer with Andrew Hubbard each found ways We said goodbye to our ten-year-old Frisch’s Presents The Nutcracker and began of revealing the words, mood, rhythm and shape the preparation and celebration for a brand new world premiere Nutcracker for of every song, filling our dancers’ bodies with new December 2011! expressions and sensuality. Roaring standing ovations closed our season. As I watched, I thought, this is A Midsummer Night’s Dream included the theatrical skills of Brian Isaac Phillips the manifestation of what we were meant to be. Our and two fantastic actors from Cincinnati Shakespeare Company, which clarified house is full, our sponsors are many and our dancers and made the danced narrative humorous and accessible – great fun! are hot. It doesn’t get much better than that! Victoria Morgan, Artistic Director & CEO 1 PrinciPal dancers CERVILIO Oğulcan SARAh Anthony jANESSA mIGuEL Borova hAIRSTON KRutzkamp TOuChET AmADOR dancers Senior sOLOIST SOLOISTS Corps de ballet ZACK GEmA Liang Fu DAwN DANIELLE jOSHUA GRuBBS Diaz KELLy BAuSINGER BODDEN COurtney SELAhATTIN COurtney STEphen Jill mAIZyALET Connor ERKAN Hellebuyck Jacobsen Marlow VELÀZQUEZ New DaNcers APPRENTICES Kelly James jacqueline KAyleigh SAmuEL Abigail Yankle CunninghAm DAmico GORhAm Jones MaruNA Morwood CB II Kevin Erin Travis Sara Grace ThOmas TERRy Crall Guerin HayS Reeves Caleb Roberts Trainees Nicole SAmanthA Brianna Tony Voris DEBenedictis Habel Lee SEwer 2010–2011 SeaSon Photography: Peter Mueller 2 MaRkeTing Report Marketing brought Cincinnati Ballet all over the region to meet current and future audiences face to face, wherever they gather. The Nutcracker alone visited more than 20 holiday events, including Krohn Conservatory, Frisch’s locations in Northern Kentucky and Eastgate, Fountain Square, IKEA in West Chester, Cincinnati Museum Center, Cincinnati Art Museum and many more. Outstanding social media practices and in-your- neighborhood appearances connected audiences with the brand and the dancers. Cincinnati Ballet’s image was everywhere in 2010–2011, with broad visibility on billboards, airwaves and in newspapers, community appearances and buzz all throughout Cincinnati’s social media. Television appearances increased by 57% over last year; print stories increased by 15%; total impressions (based on circulation figures) grew by 98%; Twitter followers leapt from 900 to 2,600 and Facebook “Likes” quadrupled. Marketing launched a strong social media-fueled “whisper” campaign, promising a surprise on December 26, which was the announcement of a brand new Nutcracker in 2011. Cincinnati Enquirer broke the exclusive story. With a dedicated mini-site, direct mail and social media blitz, Cincinnati Ballet launched the individual campaign, a unique marketing-development partnership where a contribution gave customers the ability to pre-purchase tickets. In pricing, average ticket price increased by $2.85, an increase of 7%, compared with Consumer Price Index rise of 2.7% over the previous year, indicating that consumers attach strong value to tickets. Marketing achieved this not by raising prices, but by offering fewer discounted tickets. Marketing’s strategic mandate is to “fill every seat”. Although the focus on raising average ticket price brought an annual ticket sale revenue increase ($80,000), the number of paid seats declined by 2%. Next season’s challenge is to increase audience numbers as well as average ticket price, with a focus on two important types of limited discounts: subscription sales and group sales. Applying pricing knowledge gathered in 2010–2011, Marketing is launching a new policy of demand pricing to increase revenue in 2011–2012 and appropriately price and fill the house. Top Right: Sarah Hairston, Top Left: Janessa Touchet, Bottom: Cincinnati Ballet Dancers • Photography: Peter Mueller 3 The Kaplan New works Series Frisch’s presents The Nutcracker [6 world premieres] December 16–26, 2010 • Aronoff Center for the Arts September 9–19, 2010 “since 1974, Cincinnati Ballet’s presentation of Frisch’s Mickey Jarson Kaplan Performance Studio Presents the Nutcracker has delighted thousands with “New Works means many things to me: It is the sheer its moments of magic, opulent celebrations and faraway adventure of new ideas. It is the chance to see art in journeys.” VictoRIA MoRgan creation, and to foster the creativity of established and “The depth of talent in the Cincinnati Ballet has grown emerging artists. It is the opportunity to challenge the enormously in recent seasons.” David Lyman minds and bodies of our extraordinary dancers.” Victoria MoRgan, Artistic DirectoR and CEo Subscription sales $12,720.25 91% of goal Single ticket sales $654,694.62 107% of goal “For die-hard arts lovers, it rarely gets more exhilarating than this.” David Lyman, Cincinnati ENquirEr Group sales $145,370.00 110% of goal Subscription sales $39,103.30 109% of goal Seats sold 18,088 98% of goal Single ticket sales $39,262.50 115% of goal Student matinee 2,498 seats Group sales $6,627.50 121% of goal Average ticket price $43.94 (list price $30-80) Seats sold 2,147 109% of goal Average ticket price $39.36 (list price $45-50) A midsummer Night’s Dream February 11–13, 2011 • Aronoff Center for the Arts “a Midsummer Night’s Dream is – without a doubt – The Sleeping Beauty [world premiere] shakespeare’s best comedy. The work is so profoundly October 22–24, 2010 • Music Hall universal that it works in any artistic discipline, whether “the Sleeping Beauty was first performed in 1890 (with it’s visual art, opera, ballet, on the theater stage or in film.” choreography by Marius Petipa). stylistically, I wanted Brian Isaac Phillips, DramatuRg to preserve the artistic feel of the original. But dancers move differently from how they did 120 years ago. Legs “And when it’s done – especially the first act – you’re left go higher. Turns last longer. Dancers of today are more longing for more. What a wonderful feeling.” David Lyman technically proficient. They display more movement, Subscription sales $95,747.30 106% of goal more buoyancy, more freedom. Dancers are more Single ticket sales $115,101.50 96% of goal exuberant.” DevoN Carney, Choreographer Group sales $29,745.50 112% of goal “The story is familiar and fanciful, a combination sure to please audiences. The Tchaikovsky score is lush and Seats sold 5,482 100% of goal extraordinarily melodic. And it is packed with small Student matinee 1,126 seats but delicious character roles that showcase company Average ticket price $42.11 (list price $30-80) dancers...A performance worthy of Tchaikovsky’s sumptuous score.” David Lyman, Cincinnati ENquirEr Subscription sales $94,070 102% of goal Single ticket sales $132,454.50 88% of goal Group sales $27,886 85% of goal Seats sold 5,434 115% of goal Student Matinee 980 seats Top: Cervilio Miguel Amador, Middle: Janessa Touchet, Bottom: Dawn Kelly Photography: Peter Mueller Average ticket price $45.30 (list price $30-80) 4 The Firebird [world premiere] Infamous Love Songs [world premiere] March 18–19, 2011 • Aronoff Center for the Arts April 29–30, 2011 • Aronoff Center for the Art “The two pieces of this program encompass everything “We are completely comfortable with and inspired to see magnificent and innovative about this art form.
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